Wushu Festival

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Zhong Youquan talks about Liu Dian Ban Pole(Six-and-a-Half Pole)

Zhong Youquan talks about Liu Dian Ban Pole(Six-and-a-Half Pole)
    Liu Dian Ban Pole means six points actions plus a half as usual. There are plenty of explanations to the name focusing on the word "Half." Someone says the name of the pole method comes from its basic actions, six main movements plus an additional one considered to be the "Half." In my opinion, this definition is absurd. There are seven actions in total mentioned by the claimer obviously, why one of them should be called the "Half"? Another explanation holds that the additional "Half' refers to the end point of the pole only. But one pole has two head points itself. Why does the name emphasize one head point merely instead of two? So this idea is not convincing either. Someone else even praises the “Half” highly as the superiority of the Pole Kung-fu requiring all the players to perform it half of the action faster than their opponents. However, each pole method has its own superiority in order to survive. And speed is also an important pursuit for all the practitioners of martial arts. Why does Six-Points-and-a-Half Pole emphasize it particularly? This explanation is superficial too. In fact, the connotation of each action of the Pole should be taken into consideration.
    Generally speaking, Liu Dian Ban Pole's methods base on six main movements---Qiang (Thrust), Ge (Cut), Chou (Take out), Tan (Flip), Quan (Circle), and Dian (Point). Learners should practice the actions as much as possible. Moreover, players should learn to lead the force frontward, backward, leftward, rightward, upward and downward as conversant as possible in order to master all the movements well. The following passages will be the introduction and requirement of these main actions.
    Qiang (Thrust)---- Hold the pole that has only one attacking point with both hands. Stand at attention, push the people are step one foot forward. Each hit should be on the same point. The pole should be kept horizontal constantly, the player must send out his power with his waist strength and make sure that the point can initiate the most powerful attack with his will.
     Ge (Cut)----Raise the front point up to the height of one' s head, draw the foot back to the beginning stance of the movement, press the pole down in front of the thigh like cutting. The whole movement looks like fishing. Players should hold their breath, tight up their waist muscle and drop down their bodies a little. The purpose of practicing Qiang and Ge together is to help learners to master and control of power forward and backward.
     Quan and Dan (Circle and Point)
     Practicing Quan is aiming at realizing different inner circles of one's body. Besides the circles described by the pole, the player must build the inner circles of waist, chest and hands, which means coordinating each movement and treating each part of the body as a whole like a unified circle. The practice can also help the player to master the tenacious force controlled highly by the player's will moving powerfully and skillfully. According to the movement Tan, there is a good method for training. Putting a core of Chinese olive on the ground, the learner should touch and hit it with the pole point more and more. It's helpful for us to learn attacking with the point of that Chinese olive with our inner force actually as the strength under your will, since you could never smash the core without the right usage of strength. The distance between the pole and the core of the olive should be as close as possible.
     Chou and Tan (Take out and Flip)
     Hold the pole with both hands in the same direction, keep the same distance between hands as that of shoulders and jerk the pole points backward alternately maintaining the body straight and facing forward. Commence the force with chest muscle, reach the strength to the point of the pole, keep the paces moving as "ÄË" forward or backward. The movement looks like the method "Chou" (Take out) and "Tan"(flip). It helps us master the forces rightward or leftward and the approaching gait.
      The learner could find out and understand the secret of the "Half' by practicing the above movements if he can pay much attention to the start, the will and the usage of inner strength. According to my own opinion of the Six-Points-and-a-Half Pole, we can only comprehend it in the internal aspect rather than the appearance. The method can be considered as a kind of one's will training because the player has to move under the certain will to reach certain effect. After practicing hard for a long time, we will find that the will is as powerful as an additional movement, which is the real meaning of the so-called "Half."
                                      

 Yi Jin Jing II(Three Sets of Yi Jin Jing Exercise)

  Yi Jin Jing II(Three Sets of Yi Jin Jing Exercise)
  Three Sets of YI JIN JING(Sinew Metamorphosis Classie) Exercise  (Twenty-Two Movements in All)
     Among numerous forms of exercises, the following form is developed step by step into three steps and twenty-two movements. Mr. Zhen Guanying, a scholar in Qing Dynasty, recorded the exercise patterns and named them YI JING GRAPHICS with Bodhidharma as the founder in his book KEY NOTES OF CHINESE AND WESTERN SANITATION. In the Kingdom of Xuan Tong Emperor, the three sets were entitled THE TWENTY-TWO MOVEMENTS OF YI JIN JING EXERCISES in another edition with a preface written by Liang Shixian. The first set presented in the book contains twelve movements, focusing on figure training to strengthen health. The other two have five moves each, despite differing only in difficulty. Both of them place emphases on mind training, that is to learn to meditate while practicing, so that one's Nei Qi (Internal Energy Flowing) will function in certain parts inside his body as he required. Beginners are suggested to start with the first set and exercise step by step. Having no trouble Success in exercising will bring three advantages:
     1.The normal flowing of Nei Qi can fend off bad health and avoid serious diseases.
     2. Channeling Nei Qi to do away with discomfort when one is not feeling well.
     3. Directing Nei Qi to finger tips or some other parts and send it out as means to heal sickness for others.
     1) The first style in the first series
     Face eastward and raise your head slightly .look up slightly and stand flatly. Make sure that the distance between your feet is equal to the extent of your shoulders. Your feet cannot be irregular. Hold down your arms and bend your elbows slightly. Let your palms adown and ten fingertips forward. Ruminate numbers from one to forty-nine. Following your counting in mind so, you should try to raise your ten fingertips upward and press your palms downward for forty-nine times responding your ruminating. That is called Forty-Nine Qiao An.
The second style
     After you finish ruminating and counting those numbers as well as the responding actions, you can curl up your eight fingers to two fists with their back forward and make your thumbs free and upward. Be sure that your thumbs should unwind and cock departing from your fists and point to your body but keep a distance from it. Bend your elbows slightly, tighten your fists and warp your thumbs each time you ruminate each number from one to forty-nine so that you will have tightened your fist for forty-nine times when you finish ruminating. It is called forty-nine Qiao (tilting) accordingly.
   The fourth style
     After you finish ruminating those numbers following foregoing styles, spread out your arms forwardly and flatly and make sure there should be one distance of almost a foot between your fist and palm. Let your Hu Kou face upward and your fists are level with your shoulder. Bend your elbows slightly. Tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
  The third style
    After you finish ruminating those numbers following foregoing two styles, you can pile your thumbs on the knars of the middle fingers becoming two fists. Then you screw downward and extend your bended elbows and let the "Hu Kou"(the interspaces between your two thumbs and forefingers) face forward. Tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish ruminating. It is called forty-nine Jin (tightening).
   The fifth style
    After you finish ruminating those forty-nine numbers following foregoing styles, prick up your arms and let your two fists face each other. With the Hu Kou backward, raise your head slightly. And make sure that there will be a medium distance between your fists and your body. Tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
   The sixth style
    After you finish ruminating those forth-nine numbers following foregoing styles, turn your fists to your ears and there is one distance of almost an inch between your fist and ear. Let your elbows be level with your shoulder. Make your Hu Kou facing the shoulder and your fists face forward. Try to turn your tips of elbows backward and tighten the fists each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
   The seventh style
    After you finish ruminating those forty-nine numbers following foregoing styles, stretch your body backwards once your tiptoes are to lift off. Spread out your arms flatly to let them be level with your shoulder. With your Hu Kou forward, tighten the fists upwards or backwards and try to combine your breast each time you ruminate one number so that you will have tightened your fists for lorry-nine times when you finish your ruminating.
   The eighth style
    After you finish ruminating those numbers following foregoing styles, spread out your arms forwardly and flatly like the fourth style but the distance between the fists is closer. Tighten the fists each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating
   The ninth style
    After you finish ruminating those forty-nine numbers following foregoing styles, draw back your arms to the place just over your mammillae. Then turn over your fists with palms forward. Each tiptop of your fists should be level with the tip of nose. And the space between the fingertips of the forefingers and the tip of nose is about one or two inches. Raise your head slightly and tighten your fists each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
   The tenth style
    After you finish ruminating those numbers following foregoing styles, let your fists be away from each other and make your elbows be level with your shoulder with your forearms erect and fist forward. Make the Hu Kou of your fists be level with your ears. And try to raise the tips of elbows and energize backwards and tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating.
   The eleventh style
    After you finish ruminating those forty-nine numbers following foregoing styles, draw back your arms to your hilum. The distance between the fingertips of your forefingers and the hilum is about one or two Fen. Tighten the fist each time you ruminate one number so that you will have tightened your fist for forty-nine times when you finish your ruminating. After you finish ruminating, exhale once and send the Qi to your Dan Tian following your slobber with your mind. Repeat this for three times.
   The twelfth style
    After the eleventh style, without ruminating the numbers any more, open and relax your fists and hold down your arms down straight naturally. Turn your palms forwards and let each tiptop of your palms be level with your shoulder. Lift your heels slightly to help the upper limbs. That is just like the principle of holding something heavy in your hands in a level named Ping Duan Chui Wu. Then pile up your hands to fists over your head and spill down at full tilt at the same time. Repeat these two actions for three times. Then pedal your right foot following your left one. Repeat pedaling for three times also. Then sit down eastwards to Yang Qi (to cultivate your inside energy) for a while. If you go on with the second series, just do it following your cultivating the Qi without spilling and pedaling your hands and feet any more. Or you may go on with the second series without doing the twelfth style. You can do the first style of the second series after you have exhaled for three times and sent the Dan Tian described in the eleventh style.

 

Ye Zheng talks about Liu Dian Ban Pole(Six-and-a-Half Pole)

Ye Zheng talks about Liu Dian Ban Pole(Six-and-a-Half Pole)
    The points of practicing Liu Dian Ban Pole passed on by Master Ye Wengong are as follows:
    The Pole Techniques: Qiang, Ding, Tiao, Tan, Hum, the Half Movement of Lan's Press-and-Dissolve (Lan Gun An Xiao Ban Shi)
    Essentials: Stableness is like the Mountain Tai. Speediness is like a heavy storm faith of overcoming difficulties as if you were drunk. Dreamy eyes.
    Starting Position: Stand sideways and straight. Face leftwards, hold the front part of the Pole with the fight hand, named Vanguard Hand. Hold the back part of the Pole with the left hand, named Backup Hand. The distance between the two hands should be the same as the length of one of your arms.
Classic Movements:
1. Stand sideways and straight. Hold the Pole with hands and raise it to the height as your neck . 2. Close to the opponent rapidly and press the Pole on his waist (Named An Xiao Ban Shi/the Half Movement of the Press-and-Dissolve). 3.Step the fight foot forward, bend the legs like tiding on a horse, push out the Pole with two hands' force, maintain the Pole parallel with the ground (Named Qiang)4. Drag the left foot forward as a "T" shape (" T "stance), lash acted by the fight hand, while push down with the left hand like fishing. 5.Push down with the fight hand and raise the Pole up with the left at the same time (Named Ding/Point). 6. Press the Pole down with the left hand and raise it up with the right (Named Tiao). 7.Press the Pole downward and leftward, approaching to the rival with the fight hand. Raise the Pole upward and rightward with the left hand, assisting the fight hand's movement (Named Tan). 8.Fix the end of the Pole as an axis with the left hand. Raise the Pole up with the right hand and press it down hard (Named Hum). 9.The movements from 3 to 8 mentioned above would be composed as the Approach (Yi Jin, including Qiang, Ding, Tiao, Tan and Hum). 10.Drag the left foot backward. Turn the movement into that as tiding on a horse. 11.Perform Ding, Tiao and Qiang coherently, which is named as Withdrawal. Repeat the Withdrawal three times. 12.Step out the left foot and turn it fight. Face your opponent. Perform the Tan. 13. Turn the body right. Form the stance "T" shape. Perform the Tan, Hum, Qiang, Ding and Tiao successively. 14. Drag the left foot backward and turn it left from the back. Face the opponent. 15. Push the Pole out with the fight hand. Draw it back with the left hand (Named Lan). 16. Perform the Tan, Hum, Qiang, Ding and Tiao leftwards. 17. Take the left foot back, perform the Tan. 18. Perform the Hum and withdraw the whole performance.
    (That is all for the Single Movement.)
 

Yang Style Tai Ji Falchion

Yang Style Tai Ji Falchion
    Tai Ji Falchion, famous for the name of "a ring on its head with long blade", is one of the Chinese traditional Kung-fu apparatus. This type of falchions had appeared and used in Xihan Dynasty and accordingly replaced the Long Sword being one of the main weapons in battlefield at that time. The Falchion is distinguishable from other weapons by a ring on its head. Its blade bending a little bit upward is sharp, narrow and long, the back of its blade is thick, the short part of its top is sharpened to razor sharpness with two edges like a real sword. In other words, Tai Ji Falchion might be the combination of some normal sword and broadsword. With the above-mentioned characteristics of Tai Ji Falchion, the holder could start his attack by chopping, hacking, ripping and thrusting powerfully. Moreover, there is a bow bending forward on the upper part of the handle, with which the holder could catch and hook the rival's weapon after leading the falchion out of the scabbard. The bow bending backward on the lower part of the handle can protect the holder's fingers as well.
     Tai Ji Falchion's style is quite different from the normal Kung-fu apparatus. Thus, we can hardly find even one in common Kung-fu apparatus stores. In cases for sports, players would like using the wooden or leaf-shaped falchions instead. However, the style of falchions should be in line with the corresponding performances and particular methods. The means of playing or using Tai Ji Falchion are actually designed in accordance with its special style. We couldn't find any huge chop, sharp block or sharp split in Tai Ji Falchionplay, because its fundamental theory derives from those of Taiji Quan  Dot (Zhan), Stick (Zhan), Link (Lian), Follow (Sui), Smooth (Zou), Dissolve (Hua). With the aim to attack first while start second in the fight, the players should move back and forth, up and down occasionally and dodge rightward and leftward nimbly. The movement must be quick and flexible. Both the stances of waist and legs and the steps must comply with the swordplay. Players should lead the performance by their will and operate the sword with internal force. And methods of Press (An), Mop (Mo), Shift (Tui), Hold (Tuo) should be performed by sustaining the falchion with palm and elbow. When the players turn the waist running the falchion, the movement should be free and flowing.
     Chinese Kung-Fu is outstanding in the consciousness of attack and defence, force, speed, difficulty, sense of rhythm and other comprehensive ideas. Under the traditional martial arts, Tai Ji Quan is a noticeable member of the Chinese Kung-Fu. Its performance is led by will, and its internal force is required to be slight and steady. Its foundation is martial arts, while its outcome is to make the internal spirit and the external body healthy.

Wu Style Thirteen Tai Ji Falchion

Wu Style Thirteen Tai Ji Falchion
    Tai Ji Falchion is one of the weapons of Tai Ji Quan series including falchion, spear, pole, sword and perch. Each of the different schools of Tai Ji Quan has its own special character and set of various movements to hold up and use those different weapons indeed.
     Four movements including Xuan Lan (Spinning Round and Blocking), Hui Qie (Cutting Back), Shang Hong (Banging upwards), Xia Sao (Sweeping Downwards), You Long Xi Shui (A Dragon Swimming in and Playing the Water) and Bian He (the name of a Kung-fu Master) Xi Shi (Bringing a Stone with Him) Hui Tou Zou (Walking up Backwards) to escape from the danger and make Jin Qian Darts (Coin Darts) were taught in the early years in every school of Tai Ji Quan interiorly. With reference to the characteristics of the whole set falchion playing movement of Wu Style, they are coherent and natural, unbreakable, creative and special, and pleasing the eye. The actions have got many dulcet gestures making people relaxed and happy. Their emotional implications have been making people calm and free. Nevertheless, the styles also have the falchion played "like a feral tiger" fiercely and ferociously. Every movement of those styles is threatening. It may frighten any one watching it.
     Every movement of the Thirteen Styles of Tai Ji Falchion is the same as Wu style Tai Ji Quan that has significance either in the state of activity or inactivity, one each emphasizes the skill of attacking strongly. The purpose to attack in every movement is hidden in the consciousness. The purpose being obtained both in body and spirit, we must first practice our consciousness, and then our bodies. When practicing, we should feel and act as if we are fighting with the opponents, when we are really fighting with, we should feel fighting with nobody. Make the body move following our mind. Put the priority in mind and make the falchion guided by the spirit. Every movement requires proper and clear consciousness. The entire process and each hitting point should be caught and incarnated well and clearly both in body and spirit. Simply put, we should think with our brains, move with our mind guided, look with our eyes and act with our bodies followed. The upper and the lower, as well as the inner and the outside parts should be harmonious as a whole.
     The attacking implications of Wu style Tai Ji Falchion will be introduced as follows. The redundant statements are eliminated and all the ways to attack are explained in a certain order. Therefore it is easy for the learners to grasp the main idea and make progress effectively. There are about 19 ways to use Wu style Tai Ji Falchion, shan (to fan), pi (to slash), kan (to chop), An (to press), zha (to stab deeply),ci (to stab lightly), Huo (to slit forward),Liao (to crook a hand upward), Tiao (to stir up), Gua (to block, to hang or follow ), Mo (to block outward), ai (to slash back), ong (to blow up),Sao (to sweep),Luo (to horsetail),Lan (to block), Peng (to shield),Bo (to dial) and Zhan (to lop).
     Shan (to fan): Hold the hilt naturally with the thumb upwards and make the falchion move from right to left or from left to right. It can be used together with other ways like jie, gua, qie and an. For example, in the third group of the movements, the "zuo gong hui gua" (to hang the left bow back) of the "Zuo gu you pan liang fen zhang" (glancing fight and left to consider both sides) means shan first and then gua. And in the seventh group "Ban ma Xia Qie" (cutting down with horsing halfway) in the "san xing kai he zi zhu zhang" (three stars opening and closing considered independently), the transitional movement is to "fan independently"
     Pi (to slash): Hold the hilt alike and keep the blade moving downward, sideward down slantways or backward. The movement lasts for a relative long time smoothly embodying the meaning of the word "Pi". For example, in the third group of the movements, the "fan shen hou pi" (to keel over the body and then to "pi" accordingly)
  "zuo gu you pan liang fen zhang", in the sixth group the "huishen hou pi" (to turn over the body and then to "pi"  accordingly) of  "Yu nv chuan suo (the jade virgin is weaving around) ba fang shi (looking around and controlling all the directions)", in the eleventh one, the "zuo you lian pi" ("pi"  continuously from the left to the fight) in the "xia shi san he (moving downwards with the three parts of one's body associated) zi you zhao (acting freely)", are all widely curve movements from the upside moving down.
     Kan (to chop): Hold the hilt alike and keep the blade moving downwards, or hold the falchion with your fight hand and keep the blade moving to the left or vice versa. This movement named "pi" is not so powerful but quick. But in the seventh group of movement the "tui dao zhui kan (pushing the falchion, running after the opponent and chopping him) in the "san xing kai he zi zhu zhang", even the movement are quite similar to Pi, it is shorter, faster, and less powerful, not to be indeed.
     An (to press): Hold the hilt alike and keep the blade moving downward. The movement and its spirit are both sinking down and being very heavy. In the twelfth group of movement, the "zhui pi la an" (running after one, chopping him, pulling and pressing then) of the "zuo you fen shui long men tiao" are (dividing the water leftwards and rightwards and jumping from the Gate of the Dragon) are actually using four ways continuously. The last consciousness is focusing on and sinking down the root of the falchion and the integrative force of the wrists moving downwards. We usually hold the hilt by one hand and hold the back of the blade by the other to "An" (to press). Or, one holds the hilt by one hand and makes the other touching his wrist lightly but closely.
     Zha (to stab lightly): to attack with the tip of the falchion to all directions with less force. In the fifth group, the "zhuan shen tui zha" (turning over one's body, pushing and stabbing deeply) of "feng juan he hua (the wind blowing the water lily) ye li chang (one could hide himself inside the lotus leaves)", the sixth one, "zuo gong qian zha" of the "yu nv chuan suo ba fang shi" are both embodied this way.
     Ci (to stab deeply): to attack with the tip of the falchion to all directions deeply with more force. In the third group the "gong bu zhui ci" (stepping with one of one's legs bending as a bow and running after the opponent and stabbing him deeply) of the "zuo gu you pan liang fen zhang". Its gesture looks like za, however, it is more deeper.
     Huo (to slit forward): Holding the hilt alike and keeping the blade downward, moving the falchion tip far to the front side to slit something. It is similar to the movement of a farmer digging a long narrow channel on the farmland with a sharp tool moving from one end to the other. It also looks like the movement of a butcher cutting the animal skin from down to the upper. In the twelfth group, the "huo pi ti liao" (slitting forward, slashing, kicking and crooking a hand upward) of "zuo you fen shui long men tiao" is of the usage of four ways, we Huo (to slit forward) first and then Pi, kicking first and then Liao.
     Liao (to crook a hand upward): holding the falchion with the fight hand, keeping  the tip upward and lifting it up and forward, or, you could hold the hilt alike as abovementioned, keep the tip backward and move it up and backward. The falchion action minded to be moved up and forwards was named qian liao (to crook to the front), and the one up and backwards, hou liao (to crook to the back). In the third group "yi bu hui liao" (stepping and crooking a hand forward) of the "zuo gu you pan liang fen zhang" is of the usage of liao.
Tiao (to stir up): hold the hilt alike, keep the falchion blade downward and then move its tip up. Different from huo (to slit forward), it is much shorter and lighter. Huo (to slit forward) emphasizes the back of the blade while to tiao (to stir up) on the tip of the blade. In the six group "hui shen hou pi" of the "yu nv chuan suo ba fang shi", its starting force is a force to tiao.
    Gua (to block, to hang or to follow up): Making a certain part of the falchion body or the hilt forwards propping up or raising outward or upward slantingly, and moving the blade downwards and the falchion tip forwards propping or hanging up, or blocking to reach toward a stable point kept focused on, one moves the falchion with his body backwards to the left side or the right, or upwards slantingly as the movement Gua somewhat like some willows on the bank of a river blocking the water to the other side. It is also like the clothes hung on the hanger drooping down, or like a car pulled by the other moving accordingly. In the first group "zuo gong shang gua" (the left bow hanging upwards) of "qi xing (seven stars) kua hu (riding a tiger) jiao dao shi (making the movements of the falchions across each other)", the third group "zuo gong hui gua" of the "zuo gu you pan liang fen zhang" are using the blade and the hilt to make the move gua.Mo (to block outward); Hold the falchion positively or negatively, and move it leftwards and rightwards level with the ground or upwards slantingly. The move is to block outwards evenly. In the seventh group, the "mo gua (to block outward and hang up)ti xi (to raise one's knee)"  of the "san xing (three stars) kai he (opening and closing) zi zhu zhang (making up one' s mind)" is of the usage of both mo (to block outward) and gua (to block, to hang up or follow).To Mo will be the first and followed by gua. Mo-ing and gua-ing shall be mixed and associated together with each other.
    Dai (to slash back): Hold the falchion positively or negatively, keep the blade outward and move it backward to the left or the right. The movement to Dai is to flare up and quite smooth. In the seventh group the "hui shen gua dai" (turning over one's body and slashing back) of "san xing kai he zi zhu zhang" is of the usage of it.
Hong (to bang up): Keep the blade upwards and move the falchion upward suddenly being close to the opponent and banging up like a thunder. In the eleventh group, the "shang bu hong jie" (stepping onwards, banging up and blocking) of the "xia shi (with the style downward) san he (joining the three parts) zi you (as free) zhao (movements)" is of the usage of it.
    Sao (to sweep): Hold the saber positively or negatively, keep the blade outwards, circle it from the fight to the left or do conversely with the knees bending somewhat like sweeping the floor. In the eleventh group the "dun shen (to squat oneself down) sao zhan (to sweep and chop)" and "zuo you (to the left or fight) heng sao (to sweep in a level movement)" of the "xiao shi san he zi you zhao" are of the usage of it.
    Luo (to follow up): Keep the blade outwards or move the hilt with the same direction of the opponent's weapon so as to follow up as if to clean out all the dust on the opponent's weapon. It is light, coherent and connected together smoothly. In the first group, the "che bu (returning the step) luo gua (to follow and hang up)" of the "qi xing kua hu jiao dao shi", the sixth group "pu bu (stepping downwards) luo gua (to follow and hang up)" of "yu nv chuan suo ba fang shi" are of the usage of it.
    Lan (to block): Move the blade to all directions slightly to block. In the third group the "cha bu (stepping forwards) you lan (to block rightwards)", "che bu (stepping back) zuo lan (to block leftwards)" and "dian bu (stepping slightly) you lan (to block rightwards)" of "zuo gu you pan liang fen zhang" is of the usage of it.
    Peng (to shield): The word Peng in Chinese means floating and expanding. Move the hilt upward slantingly to keep the weapon of one's opponent away from one's body and make his opponent unable to stand stable. In the first group zuo gong (left bow) shang peng (to shield upwards)" is ofs the usage of it.
 Bo (to fend): To play the falchion horizontally or vertically to change the direction of the opponent's weapon is named Bo. One's mind is following his own hand and his consciousness is with his waist at the same time. In the third group "ti xi bo lan" of "zuo gu you pan liang fen zhang", the seventh "Shan shen quan bo" (moving one's body to circle fending) of "san xing kai he zi zhu zhang" are of the usage of it.
    Zhan (to lop): When the blade is moving downwards, twisting his wrist, one is circling the falchion outwards suddenly and sweeping its blade to the left. It is like a dragonfly touching water slightly or a tile being getting skipped in and out the water continuously. In the second group the "chan tou (enlacing the head) lv zhan (to capture and chop)" of "teng nuo (moving one's body around quickly) shan zhan (to hedge the coming attack and fight back) yi qi yang (being high-spirited and vigorous)", the eleventh group "dun shen (to squat oneself sao zhan (to sweep and chop)" and "che bu (stepping back) pi zhan (to cleave and chop)" of "xia shi san hen zi you zhao" are of the usage of it.
    There are many other unconscious unique ways actually with the thirteen styles of Wu's Tai Ji Falchion, such as chan (to enlace up), guo (to enwrap), quan (to circle) and da (to beat) However, we must stop our description here.
     Since the one style of Wu style Tai Ji Falchion as the following has been enriched by a lot of useful traditional experience and knowledge, it becomes increasingly substantial and flaring up.
                                   
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