TWELVE-LINE TANTUI

Posted on January 27, 2013by Paul Brennan

BOXING ARTS FUNDAMENTALS ILLUSTRATED HANDBOOK FOR TANTUI

postures performed by He Guangxian

text compiled by Hu Jian

published by Chinese Library of Shanghai

1st edition May, 1917

drawings by Xu Beihong of Yixing
[In his early twenties at the time of the books publication, Xu was later to become one of the
renowned painters of the 20th century. This books drawings are therefore a priceless example of his
early work. Though unimpressive when held up against his later work, they may arguably have a
certain something when compared to other artists attempts at drawing figures rapidly within the
martial arts publications of the era.]
[translation by Paul Brennan, Jan, 2013]
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Boxing Arts Fundamentals Illustrated Handbook for Tantui

- calligraphy by Huang Yanpei

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PREFACE [by Ling Rongqi]

The Englishman Charles George Gordon once said that the Chinese people are hard-working and
easily employed, and that if we train our military, we will have the strongest army in the world. It is
because we are hard-working that we are easily employed. But where does our tendency to work hard
come from? It is because of our boxing arts. For all the styles of boxing arts, they are to be attended to
without interruption. Practitioners with genuine interest take no pleasure in going at them halfheartedly. Through personal hard work, everything will be achieved.
Ever since Europeans started bringing firearms to the East long ago, our nation has been defeated
again and again, and so boxing societies have been abandoned. We did not understand that while
firearms are advantageous for long-range attack, they are disadvantageous for close-quarter combat.
When fighting in narrow alleys at the range of knife or body, rifles and cannons lose their
effectiveness, and boxing arts rival their use.
When the Japanese defeated the Russians east of the Liao river [in 1905], was it not because of
jujitsu that they were victorious? Jujitsu is a part of our nations boxing arts. They actually stole our
nations secrets and then changed the name. It has recently dawned on our countrymen that boxing
arts are our nations specialty, able to both defend ones health and protect the nation. The military
uses them for training, and schools hold courses in them, thereby preserving our cultural essence.
But these arts have no specialized literature adequate to supply for the self-training of students, for
which the discerning regret.
The Jiangsu Educational Association set up a Physical Education Training Institute, in which there
is a boxing course taught by Zhang Mengji of Wuxing [in Zhejiang], who instructs in the northern art
of Tantui. My classmates Hu Shaogang [Jian] and He Shoubai [Guangxian] have made a handbook
about it so that students may teach themselves. You can go by its explanations and drawings to obtain
it for yourself without the trouble of seeking it. Inspired to share, Hu and He have generously made
this book available. It will go far and will become a bestseller shining in the world of physical
education. [This was apparently not a vain prediction by 1923, the book was on its 7th printing.]
written by Ling Rongqi of Nanjing at the Jiangsu Educational Association, Phy-Ed Bureau
lecturers dorm

PREFACE [by Zhu Hongshou]

I once studied world history. Since the arrival of the modern era, every culture in the world has
advocated using the military as a back-up for peace. We Chinese are called the sick men of Asia,
looked down on by the whole world. Why is this? Because we have made the perilous error of not
giving attention to martial studies, and have become unaware that our nations study of martial skills
was the earliest to develop.
During the Eastern Han Dynasty, commoners came up with systems in their own localities. Then
during the Liang Dynasty, the Indian zen master Damo transmitted teachings to China and wrote the
two classics of Changing the Sinews and Washing the Marrow. What he passed on to his followers
was called the Buddhist School, what in modern times is the renowned Shaolin School. Hong Boxing
originated from the first Song emperor. The Wudang School began with Zhang Sanfeng. In the Yuan,
Ming, and Qing dynasties, there were famous schools, but alas, the custom of venerating the civil and
trivializing the martial went to excess, and so skill in martial arts became inferior to earlier times.
As for their development in ancient times, although there has over the generations been no lack of
people studying these arts, they have generally been of a lower social status. Hence there are no
records of these systems that can be relied on, nor is there any lineage that can accurately be called
authentic, and those who do have the real stuff spend so much time fighting that they only do harm to
society. For these reasons, our sacred national culture may end up sinking into oblivion.
Martial arts stem from the goal of strengthening the body to extend ones lifespan.Therefore they
are called longevity arts, and their main purpose is not really for fighting people. Furthermore,
martial arts are in all respects related to physiology, yet within the world of our nations martial arts,
there are those who do not even know what physiology is. Whenever we see practitioners of martial
arts who have not learned the real stuff, their bodies have been extremely weakened by it. The reason
for this is not a flaw in martial arts, but is the fault of instructors who have no understanding of
physiology and are without systematic teaching materials.
During the last winter, everyone in the Jiangsu Educational Association has come to understand
that if we do not esteem our martial aspect, we will be inadequate to the task of building our nations
presence in the world. Thereupon the Physical Education Training Institute was established, in which
martial arts studies are a required course, and for which martial arts specialists have been invited to
teach. Students have come from all over the province to learn, and have quickly become capable. The
common curriculum has been compiled into a book, complete with illustrations, to share with the
world.
A member of the Training Institute, Huang Jingwan [editor of the book], asked a preface of me.
Although I have studied these methods for more than twenty years, I have also been studying
medicine, and between the two tasks I have not been able to focus on this one. Consequently my
study and experience of these arts is superficial. Nor am I any good at writing, so how can I presume
to write a preface anyway? And so I must stop here, for I cannot relate my knowledge any further.
written by Zhu Hongshou of Baoshan at the directors building of the Chinese & Western
Universal Hospital, 1916, 2nd month, 7th day

AUTHORS PREFACE [Hu Jian]

Boxing arts are our nations specialty, as everyone knows. Although there is such a variety of styles,
for those who seek to be able to learn something in a short period of time, it turns out there are not
many options. This is why students often dabble in one of them and then give up, unable to attain a
deep level.
We [I, Jian, and the rest of us] learned at the Jiangsu Educational Associations Physical
Education Training Institute, where Zhang Mengji of Wuxing instructed us in the movements of the
northern art of Tantui. All of its twelve lines are simple and nimble, easy for beginners to learn and
become proficient in, thus able to succeed in one of the systems.
Regarding its educational result, the movements are balanced [i.e. are done on both sides], and so
it can cause the body to be developed uniformly. Regarding its health effect, the exercise is
appropriately proportioned, and so it can improve blood circulation. Regarding its practical function,
your hands are made agile and your steps are made stable, so that when you encounter danger, it will
be sufficient to defend yourself with.
Our abilities are limited and shallow. Though we have explained every line in sequence, complete
with drawings, and have published it to share with all those who are interested, we would not
presume to praise ourselves for what we have learned.

ESSENTIALS OF BOXING ARTS by Xu Tingjun

In boxing arts, there are hundreds of fundamental skills. Once you train in them until you are
proficient, then [quoting from Qi Jiguangs New Book of Effective Methods, chapter 14:] Your body
is nimble, your hands fluent. With your feet agile yet stable, and with correct advancing and
retreating, [your legs will be able to fly.] Its ingenuity lies in dropping, turning, and slipping through.
Its fierceness lies in chopping and swinging. Its swiftness lies in flinging the opponent down so he is
looking up at the sky. Its softness lies in knowing when to lean out of the way When posture after
posture follows upon each other, [you will subdue the opponent.] When your adaptations are
inexhaustible, [he will have no idea what you are doing.] Your actions are shadowy and invisible, he
cannot figure it out, [and so he calls it magic.]
The use of weapons staff, saber, spear, sword, lance, shield, etc are all based in this. Now that
firearms have been invented, the staff, saber, spear, and sword have all been abandoned, and boxing
arts too are seldom considered anymore. Although firearms have the advantage at a distance, they do
not at short range. When fighting close in, sharp weapons ought to come forth. Adapting to
circumstances will depend on the agility of hands and feet, and on the vigor of the body. So how can
boxing arts be abandoned?
Therefore educational institutions nowadays incorporate both boxing arts and weapons. What I
hope of students is that you: do not shirk hard work, do not overemphasize posing, do not show off

with flashy techniques, and do not paint yourself with a collection of empty postures, for you should
seek applicable methods. Alas, this nation is trudging through troubles. Everyone should vigorously
express diligence, rousing the weak of today. Why abandon health and courage? We have to esteem
boxing arts.
Below are the essentials, followed by the Shaolin Stick and Shaolin Tantui methods. The stick
exercises are for training wrist strength, while Tantui is for exercising the leg muscles, both being
very helpful things in boxing arts.

1. Generally when practicing boxing arts: your head should press up, your neck should be flexible,
and your shoulders should hang down.

2. Energy passes through to your elixir field and wraps all the way around your waist.
Your shoulders follow your elbows, and your elbows follow your hands. Both feet stand on the ground,
all ten toes putting forth effort. These are the principles of standing.

3. Common methods of using the palm are: hooking hand, vulture hand, eagle hand, monkey hand,
plucking hand, rubbing hand, knocking hand, switching hand, feigning hand, chopping hand, rushing
hand, and blocking hand.

4. Common methods of using the fist are: thrusting punch, pressing punch, snapping punch,
continuous punches, and cannon to the sky.

5. Common methods of stepping are: advancing, retreating, short step, long step, stealing step,
advancing with one foot, advancing with both feet, continuous stepping, mandarin duck step,
shivering chicken step, double circling step, squared step, double squared step, pointed step, and
tiptoe step.

6. Amongst common principles of application, there is: emptiness and fullness, advance and retreat,
hard and soft, long and short, above and below, left and right, front and behind, far and near, and
wide and narrow.
There is the bow & arrow stance, in which your front leg is bent like a bow and your rear leg is
straight like an arrow, thereby protecting your lower abdomen and strengthening your legs.
Loosen your elbows.
Your punch is like a meteor streaking. Your eyes are like lightning flashing. Your waist is like a
snake slithering. Your leg is like a drill poking through. Your hand shoots out like an arrow, then
withdraws fast as lightning.

7. Common methods of kicking are: pressing kick, chopping kick, snapping kick, front sweep, kicking
while punching with the opposite hand, swinging kick, back sweep, whirlwind kick, back kick, sword
kick, spinning kick, millstone leg, deflecting kick, rushing kick.

8. Although the skills in boxing arts cannot be comprehensively described in writing, they do not go
beyond these eight kinds of methods: methods of watching, methods of using the hands, methods of
stepping, methods of turning, methods of pushing, methods of striking, methods of grabbing, and
methods of falling.
A mnemonic goes:
Be a cat when going through the center, a dog when going around from the side, and step like a
shivering chicken.
Have an eagles keen vision, a monkeys active hands, and slip all the way through like a foxs tail.
When you understand these things, you have the essentials of boxing arts.

The Shaolin stick exercises come from the Shaolin Temple. They are magnificently useful. Listed here
are the names of the exercises:

1. Skanda Threatens with his Pestle

2. Arhat Holds up his Alms Bowl

3. Turn the River to Stir the Sea

4. Yellow Dragon Turns Around

5. Black Dragon Coils its Tail

6. Emperor Waves his Banner

7. Silver Dragon Extends a Claw

8. Atlas Props Up the Sky

9. White Snake Flicks its Tongue

10. Crouching Tiger Claims the Mountain

Two thick ropes are attached to a roof beam above and the ends of a stick below. [The stick cannot be
more than about three feet wide.] Hanging below the center of the stick is a stone. Stick and stone are
about three feet apart, the stone placed on the ground.
When practicing, take hold of each of the ropes, and by bending them [i.e. pulling one toward you
while pushing the other away], lift the stone and gently let it down again. If two people stand at either
end of the stick, they can turn the stick together. This stick can bear the weight of a stone between
thirty and two hundred pounds.

As for the 10-Line versions of Tantui [here meaning snapping kicks] passed down from Damo, their
variations are numerous. The [two] most common versions are listed below:

1. Thrust Punch

2. Kick with Opposite Hand Punching


3, Saddle the Horse

4. Bracing & Pulling Down

5. Planting Across

6. Single Spreading

7. Touch & Lock

8. Drill Through & Surround

9. Coiling Elbow

10. Sword-like Snapping Kick

1. A Single Path Beside the Lawn

2. Sudden Toe-Kick with Opposite Hand Punching

3. Saddle the Horse for a Night Journey

4. Bracing & Pulling Down (or Tyrant Blocks the Road)

5. Planting Across so the Opponent Cannot Defend

6. Single Spreading

7. Touch & Lock

8. Drill Through & Surround

9. Coiling Elbow

10. Sword Kick

EXPLANATIONS OF TANTUIS FUNCTIONS (according to our research)

It is said that Tantui comes from the Dragon Pool Temple [Long Tan Si] in Shandong,and thus Tan
[Pool] is used in the name. Its patterns are divided into twelve lines. Each road is simple and easy,
and are variations on a theme.
Whenever beginners do not yet comprehend its subtleties, they ignorantly belittle it. Until the
power of their bodies has been trained, the whole thing will be superficial. Although they may be

strong enough to lift a caldron, what good is that? Those who value strength hope that ability with
hands and feet will count as applicability.
Beginners rarely understand these things, and so they only seek of Tantuis postures, overlooking
its wonders, showing a lack of discernment [buying the box and returning the pearl]. But how can
we mock them? To know it and not explain it is a fault that lies in ourselves, and therefore they are
not to be despised. So that our comrades will not look down on them, its functions are explained in
detail below.

[1] It develops power:

The body of a beginner is not very flexible, and thus the power emitted from the hands and feet is tiny.
After training over a long period, energy gradually extends from flank to fingertips, and at that time,
you will apply as much power as you wish. When focused in the exercise, with your hands and feet
expressing to the same place over and over again, it causes your muscles to daily develop and your
power to daily increase.

[2] It stabilizes stances:

A person who has not yet trained will be top-heavy. The soles of your feet will lack substance and be
unable to stand flush against the ground. As soon as any effort is used, you will become unsteady and
your feet will constantly tremble. In the old days, boxing masters had to first go through stance
training, in which the feet do not move, and which is incredibly dull. Tantuis method uses the
exercising of the hands and feet instead. Students who would otherwise be bored will say this is a
good method, a wonderful idea.
After the first few days of training, you will inevitably find your whole body to be extraordinarily
aching, especially your knees. This gradually happens simply because the muscles are performing so
many movements. Do not let this make you cower. You must forge on ahead. After about a week, the
ache will go away and your heels will become strong. Potential students often begin to distrust
northern instructors because of this experience, resisting their instruction, not going along with it
though they take it in, and when they talk with older students about any injuries, they become afraid
of it, diminishing their enthusiasm to learn it. Alas.

[3] It has practical application:

Tantui not only can train the self, for you can seek out a person of equal strength and work each line
with a two-person exercise, what is called Contact Tantui (compilers description). After practicing it
for a long time, you will dodge and deflect with unusual agility. Whether you work with a partner or
get attacked by someone, you will be able to perform all of its applications and also protect yourself
efficiently, and the methods of eye, body, hand, step, and so on (the [eight] methods described earlier
as a part of northern boxing arts), will be daily refined as a bonus.

[4] It toughens muscles and bones:

With Tantui it is said that if the Contact version be worked on, the hands and feet of both people will
be clashing with each other, and so they need to understand that the stronger the clashing, the harder
their bodies will get. After practicing it for not even half a year, their arms and legs will be hard as
iron. But whether or not such progress is made depends on how much hard work both people can
bear.
Comparing it to methods in the old days of striking against wooden dummies, sandbags, and so on,
it differs in severity and difficulty, and cannot be thought of in the same terms. This is because when
two partners are being equally forceful against each other, both will experience the pain of it, whereas
when striking dummies and the like, you alone will taste the hardship.
Described above are only the essential ideas. Its adaptability is difficult to describe in words, and
until you have become skillful and precise, you will not have a sense of it.
It is said among northern practitioners that for those who practice only the first line of Tantui for
several years, it is almost always the case that it is over before the opponent has kicked, for with a
single kick, a three hundred pound stone will be rolled away more than ten feet. How could an
opponent stand up to that?
Those who unceasingly work to toughen their muscles and bones may be few, but it is evident that
when it comes to developing power, toughening the muscles and bones, and invigorating the whole
body nothing compares to Tantui.
[Although inspiring, the exhortations in 3 & 4 to practice the Tantui two-person set do seem
somewhat out of place in a book that contains only the solo exercise.]

GENERAL REMARKS

- The materials that went into making this book were selected from what instructors have taught,
what my fellow students have learned, and what I [Hu Jian] have learned myself.

- This book makes use of basic northern boxing, the movements of which, being simple and essential,
are not only convenient for self-study but are also suitable for group instruction.

- This book has both illustrations and explanations. When you work from the illustrations, you will
not find it difficult to understand them at a glance, and so because time has been brief, the
accompanying explanations are not very detailed. May the knowledgeable pardon us for this.

- Because this book was hurriedly sent to the printers before there was time to proofread it in detail,
and since the compilers knowledge is superficial, errors are bound to be numerous. We hope that top
martial arts experts will come forward and put us right, for which we would feel most fortunate.

A BRIEF LOOK AT [THE NAME OF] TANTUI

Tantui is the fundamental training in northern boxing. In the north, athletic boys train in it upon
becoming teenagers. There are different explanations as to who created it:
Some say that a certain monk from the Dragon Pool Temple in Shandong created it for teaching
his followers. Later generations of martial arts practitioners then honored him by using Pool in its
name.
Others say that a man from Henan named Tan created it to emphasize training the legs. Once his
skill was deep and abundant, he defeated all challengers. His students who taught his method
therefore used Tan in the name.
[In this book, the author chose to go by the place name () rather than the surname (). Between
these two choices however, the surname is probably more reasonable, since to abbreviate Dragon
Pool to Pool seems unlikely, nor does there appear to be any reason to abbreviate it at all. The Shaolin
version mentioned earlier uses a different tan altogether (), meaning springy, snapping, or to
shoot, describing a quality of the kicking rather than a source of the system. Amongst our different
ways to render Tantui Mr. Tans Kicks, Dragon Pool Temple Kicks, Snapping Kicks the safest is to
just refer to it as Tantui, which covers all of these explanations.]

NAMES OF THE TWELVE TANTUI LINES

Line 1: THRUST PUNCH

Line 2: KICK & STRIKE

Line 3: CHOP & TIE

Line 4: PROP & PEEL

Line 5: SIDE STRIKE

Line 6: SINGLE SPREADING

Line 7: DOUBLE SPREADING

Line 8: SIT LIKE A MOUND

Line 9: TOUCH & LOCK

Line 10: ARROW KICK

Line 11: ABOVE, BETWEEN, BELOW

Line 12: ADVANCE WITH SIDEWAYS DRUMMING

METHODS OF MAKING A FIST AND USING A PALM


A. How to make a fist:

Tightly bend in all four fingers so that the larger joint sections make a single flat plane. The thumb
bends in at the upper joint, the tip placed between the middle finger and ring finger. The back of your
hand makes a flat plane with your forearm.

B. What to avoid when making a fist:

The grip is empty and there is no strength in it.

C. How to use a palm:

The thumb tightly bends in. The four fingers are straight, gathered together with strength. Do not let
them spread apart. When using a palm, push forward with the inner [outer] edge (the meatiest area
below the little finger and above the wrist), the fingers pointing upward.

D. What to avoid when using a palm:

The four fingers are not tightly together. The palm is facing forward.

THE DIFFERENT TYPES OF STANCES

A. Horse-riding stance:

Your feet are spread apart with the toes wider than the heels. The distance between your feet is
somewhat wider than shoulder width. Bend at the knees and squat down. Your thighs should be flat.
Your kneecaps must be in a vertical line with your toes. Your upper body is upright and your chest
should be sticking out. [For an example, see 1.2 of Line 1.]

B. Bow stance facing to the left:

The toes of both feet are pointed to a forty-five degree angle. Your left thigh is almost flat and your
right leg is straight. Your right heel must not leave the ground. Your upper body must be erect and
cannot be leaning. [See 1.1 of Line 1.] (The bow stance on the right side is the same as this, just on the
opposite side.)

C. Pouncing stance:

The standard is that when squatting down on your right leg, your left leg is prostrated straight, and
when squatting down on your left leg, your right leg is prostrated straight. But the foot of the straight
leg should still be flat on the ground and must not lift up the slightest bit. As for your upper body, it
should slightly incline in the direction of the squatting leg. [See 1.2 of Line 6.]


D. T stance right:

With your left leg bent so the thigh is flat, your right toes are touching the ground. Your right toes
should be in a straight line with your left heel. (The T stance on the left side is the same as this, just
on the opposite side.) [See 1.6a of Line 8.]

E. Retreating insertion stance:

Your front leg is slightly bent, rear leg straight. Your upper body should bend to the side, be it left or
right, but must not bend forward or back. [See 1.1 of Line 4.]

Points for attention:

The stances described above should change direction in accordance with what your hands are doing.
The postures should most of all avoid being stiff. Keep your attention by watching the actions of your
fists.

ILLUSTRATED HANDBOOK FOR TANTUI

EXPLANATIONS FOR EACH LINE

LINE 1: THRUST PUNCH (three times, five counts each)

Preparation:

Your body stands straight, chest sticking out forward, buttocks arched to the rear, your feet are
standing toes together [i.e. not only heels together]. Your right arm grasps into a fist (the standard
being that the thumb presses down on the ring finger) and is raised level to the right with the tigers
mouth facing upward (performing a side punch), while your left arm bends to be in front of your
chest, palm facing to the right and placed beside your right shoulder bone. This is the preparation for
the movements.


Movements:

1.1: Your left foot steps out to the left and the knee bends, making a bow stance, while your left hand
grasps into a fist and extends level to the left (performing a thrust punch). Your head goes along with
the movement and turns to the left. Your eyes must be looking toward your left fist.

1.2: Your left arm bends in horizontally to be to the side of your chest (performing a refusing hand
technique). At the same time, your right knee bends and flattens out so that both legs are bent into a
horse-riding stance.

1.3: Your left arm goes from beside your left lower leg to draw a half circle to the rear until at shoulder
level (performing a raising fist). At the same time, your right arm goes from the right, drawing a half
circle, your upper body turning to the left, and your right arm is raised level in front (performing a
carrying punch). Your right leg is now straight, and you are again in a bow stance facing to the left.

1.4: Your right arm draws a circle on the left side (performing a drumming punch) and the upper arm

comes tight to the side of your chest, the forearm raised forward with the center of the fist facing
upward.

1.5: Your left [right] foot kicks out (performing an inch kick), your left leg bending at the knee and
not leaving its location.

2.1: Your right foot steps down as your right arm extends level to the right. At the same time, your
torso turns to the left, then repeat 1.1 [on the other side].

2.2-2.5 are the same as in 1.2-1.5, except on the other side.


3.1-3.5 are the same as in 1.1-1.5.

Stand at attention three movements:

i. Your right foot steps down firmly and you repeat 2.1.

ii. Return to the preparation posture. (With your left arm to the outside, right fist to the inside, it is as
though you will perform a threading punch, which is also called cannon to the sky.)


iii. Your arms hang down, your toes may spread apart, and you return to standing at attention.

Points for attention in this line:

Bow stance and horse-riding stance should be distinct from each other and must not get blurred
together. The raising fist must go from below the forward knee. When the kick comes out, the knee
should be straight, but the knee of the standing leg should be slightly bent. While the fists are moving,
it should not cause the legs to wobble. If you can do it in this way, you will obtain the art.

LINE 2: KICK & STRIKE (three times, three counts each)

Preparation: same as in Line 1.

Movements:

1.1: Your right arm draws a circle going from above your head until placed below your right flank. At
the same time, your left fist extends to the left over your right arm (performing a flat leading punch),
the center of the fist facing downward, as your left foot steps out to the left. Both legs are bent to
make a horse-riding stance. Your head is turned to the left, eyes looking toward your left fist.


1.2: Your right fist extends to the left (performing a waist-driven punch) while your left fist withdraws
to be beside your chest, the center of the fist facing upward, and your torso twists to the left, your
right knee straightening, making a bow stance facing to the left.

1.3: Your left fist extends forward while your right arm bends in to be beside your chest. At the same
time, your right foot kicks out forward (performing a cross kick [a kick coordinating with an action
of the opposite hand]).

2.1: Your right foot steps down, your torso turning to the left, and both legs bend and flatten out to
make a horse-riding stance. At the same time, your right arm extends to the right, the center of the
fist facing downward (performing a flat leading punch), and your left arm bends in to be beside your
chest, the center of the fist facing upward.


2.2&2.3 are the same as in 1.2&1.3, except on the other side.

3.1-3.3 are the same as in 1.1-1.3.

[Stand at attention: same as before.]


Points for attention in this line:

When both legs bend, they should be neither too high nor too low. When in a bow stance, the kneecap
[of your front leg] should be in a vertical line with the toes, and for the leg that is not bent, the
straighter it is the better.

LINE 3: CHOP & TIE (three times, five counts each)

Preparation: same as before.

Movements:

1.1: Your left foot steps out to the left and the knee bends (making a bow stance). At the same time,
your left hand grasps into a fist and extends to the left (performing a thrust punch), your head turns
to the left, and your eyes look to your left fist.

1.2: Your left knee straightens, your right knee bends, and your upper body turns to the right. At the
same time, your right hand goes from below, arcs a half circle to extend to the upper right, the
forearm slightly bent in, the center of the fist facing to the right, while your left hand goes from above
in front, and arcs a half circle downward to raise to the rear (When your fists cross, your left fist is on
the outside, right fist on the inside. This is called cannon to the sky or threading punch.).

1.3: Your left arm goes up from below, arcs a circle in front of your body, and is raised level to the left
(performing a carrying punch [raising fist]). At the same time, your upper body turns to the left, your
right arm goes from above, arcs a half circle, and is raised level in front, the center of the fist facing to
the left (performing a chopping punch).

1.4: Your right fist arcs a circle on the left, the upper arm leaned in close beside your chest, the
forearm raised level, the center of the fist facing upward.


1.5: Your right toes forcefully kick out slightly forward (performing an inch kick), and your left knee is
slightly bent.

2.1: Your right foot steps down and the knee bends, your right arm extending to the right. At the same
time, your torso turns to the left. It is the repeat of 1.1 [except on the other side].

2.2-2.5 are the same as in 1.2-1.5, except on the other side.


3.1-3.5 are the same as in 1.1-1.5.

Stand at attention: as before.

Points for attention in this line:

For the threading punch, your fist is at shoulder height. The chopping punch and raising fist should
both be very forceful for it to be the right method.

LINE 4: PROP & PEEL (three times, five counts each)

Preparation: as before.

Movements:

1.1: Your left hand grasps into a fist and extends to the left (as a flat fist) while your right arm bends
in to be in front of your chest, palm facing to the left, placed beside your left shoulder bone. Your
head is turned to the left, eyes looking toward your left fist, and your right foot has advanced a small
step to the left rear (making a retreating insertion stance).

1.2: Your left foot retreats as your upper body turns to the right, making a diagonal bow stance. At the
same time, your left hand comes out as a palm to the right corner while your right hand goes across
and withdraws behind you as a hook.


1.3: Your right hand threads past your left palm, your left hand now below your left armpit.

1.4a: Your right hand draws a circle below your right knee.

1.4b: Your right hand continues the circle from behind your head until in front of your head.

1.4c: Your right hand (as a hook) then raises up behind while your left hand (as a palm) extends
beside [above] your leg. At the same time, your upper body turns from the left to the rear [from the
right to the left], making a left bow stance facing to the left.


1.5: Your right foot kicks out slightly to the left (performing a propping kick).

2.1-2.5 are the same as in 1.1-1.5, except on the other side.


3.1-3.5 are the same as in 1.1-1.5.

Stand at attention: as before.

Points for attention in this line:

Whether palm or hook, all four fingers put effort into joining tightly, but in the case of the palm, the
thumb bends inward toward the center of the palm.

LINE 5: SIDE STRIKE (three times, four counts each)

Preparation: as before.

Movements:

1.1: Same as in 2.1.

1.2: Your left fist bends in and raises up to be in front of your forehead (about two inches away from
it) while your right fist extends (performing a thrust punch to the chest) and your upper body twists
to the left to make bow stance facing to the left.


1.3: Your right arm draws a circle downward on the left side (performing a drumming punch), the
upper arm coming in close beside your chest, the forearm raised to be diagonally upward, the center
of the fist facing upward.

1.4: Your right foot kicks out (performing an inch kick), left leg slightly bent.

2.1-2.4 are the same as in 1.1-1.4, except on the other side.


3.1-3.4 are the same as in 1.1-1.4.

Stand at attention: as before.


Points for attention in this line:

Your stance should be stable. Your eyes look to the extended fist. Your chest should stick out and
your belly should withdraw.

LINE 6: SINGLE SPREADING (three times, four counts each)

Preparation: as before.

Movements:

1.1: Your left foot steps out to the left and the knee bends (making a bow stance). At the same time,
your left hand grasps into a fist and extends to the left (performing a thrust punch), your head
turning to the left. Your eyes are looking to your left fist.

1.2: Your right arm raises diagonally to the rear as your left arm bends its fist to be beside your chest.
At the same time, your right knee bends downward, your upper body inclines to the right, and your
left leg straightens, the toes turning to the right (making a pouncing stance).

1.3: Your left fist arcs a half circle above your left leg, turning and bending in to be raised in front of
your forehead. At the same time, your upper body turns to the left to make a bow stance facing to the
left, and your right fist chops down from above (performing a chopping punch), placed so that the
upper arm is close in front of your chest and the forearm is lifted up (performing a drumming punch).

1.4: Your right foot kicks out forward (performing an inch kick), your left leg slightly bent.


2.2-2.4 are the same as in 1.2-1.4, except on the other side.


3.2-3.4 are the same as in 1.2-1.4.

Stand at attention: as before.

Points for attention in this line:

When in the pouncing stance, your torso should incline to the side, the straight leg must not bend,
and the heel should press the ground without slackening.

LINE 7: DOUBLE SPREADING (three times, four counts each)

Preparation: as before.


Movements:

1.1: Same as in 1.1 of Line 2.

1.2: Your left fist coils a half [full] circle from in front of your left knee, upward and forward, and is
placed at your waist. At the same time, your torso twists to the left (making a bow stance) as your
right fist coils a half circle upward from your right side, and is placed below your left fist (performing
a waist-driven punch).

1.3: Your right fist does a crosswise strike forward, the center of the fist facing to the left (performing
a crosswise backfist).


1.4: Same as in 1.3 of Line 2.

2.1: Your right foot steps down, your torso turning to the left, and both legs bend to make a horseriding stance. At the same time, your right arm extends to the right, the center of the fist facing
downward (a flat fist), repeating 1.1 [except on the other side].

2.2-2.4 are the same as in 1.2-1.4, except on the other side.


3.1-3.4 are the same as in 1.1-1.4.

Stand at attention: as before.


Points for attention in this line:

The crosswise backfist should go diagonally upward to the right [in 1.3 and diagonally upward to the
left in 2.3]. In the case of the waist-driven punch, both fists must come tight in to the waist.

LINE 8: SIT LIKE A MOUND (twenty-eight movements [including Stand at Attention])

Preparation: as before.

Movements:

1.1-1-5 are the same as in 1.1-1.5 of Line 1.

1.6a: Your right foot steps down forward as your torso turns to the left, your right knee bends, and
your left heel lifts so the toes are touching down. Your right fist is slightly bent in to be above your
head, the center of the fist facing forward, while your left fist is placed beside your left heel. Both legs
are squatting down (making a T stance).

1.6b: Your right hand comes down from above, threading past your left fist, then bending in to be
beside your chest. At the same time, your left foot does a level kick to the left (a bracing kick) while
your left fist does a level strike to the left.

1.7 is the same as in 1.6, except the movement is done on the right side.


2.1-2.5 are the same as in 1.1-1.5 [except on the other side]. [There is a mistake in the drawing for 2.5,
which should instead look like the drawing for 2.5 in Line 10.]

2.6a: Your left foot lifts [steps down forward] as your right foot [torso] turns to the right. When your
left foot comes down, the knee bends, and your right heel lifts. Your left fist is slightly bent in to be
above your head, the center of the fist facing forward, while your right fist is placed beside your right
heel. Both legs are squatting down (making a T stance).


2.6b: Your left hand comes down from above, threading past your right fist, then bending in to be
beside your chest. At the same time, your right foot does a level kick to the right (a bracing kick) while
your right fist does a level strike to the right.

2.7: Same as in 1.6.


2.8: Same as in 1.7.

3.1-3.7 are the same as in 1.1-1.7.

4.1-4.5 are the same as in 1.1-1.5.

Stand at attention: as before.

Points for attention in this line:

When your left foot does the level kick to the left, your left fist should be in line with your left foot.
(And when your right kick does the level kick to the right, your right fist should be in line with your
right foot.) When making the T stance, your chest should be erect and must not slouch forward.

LINE 9: TOUCH & LOCK (three times, five counts each)

Preparation: as before.


Movements:

1.1: Same as in 1.1 of Line 1.

1.2: Your left elbow draws back, the center of the fist facing inward, your right palm slapping onto
your left fist. At the same time, your torso turns to the left.

1.3: Your left palm braces level to the left side as your right palm braces level forward.

1.4: Your right arm arcs a circle on the left (performing a drumming punch), the upper arm sticking
close beside your chest, the forearm raised diagonally upward, the center of the fist facing upward. At
the same time, your left hand stays where it is but grasps into a fist, the center of the fist facing
outward.

1.5: Your right foot kicks out forward (performing an inch kick), and your left knee is slightly bent.

2.1: Your right foot steps down, your right arm extending to the right. At the same time, your torso
turns to the left. It is the repeat of 1.1 [except on the other side].


2.2-2.5 are same as in 1.2-1.5, except on the other side.


3.1-3.5 are then the same as in 1.1-1.5.

Stand at attention: as before.

Points for attention in this line:

When your palms go out in unison, your torso must face halfway to the left, as in 1.2 and 1.3. Once
you become familiar with the movements, you can do it in this way as one movement [i.e. 1.2 and 1.3
will merge into 1.2&3].

LINE 10: ARROW KICK (three times, eight counts each)

Preparation: as before.


Movements:

1.1-1-5 are the same as in 1.1-1.5 of Line 1.

1.6: Your body turns to the left with your left hand going to the outside and your right hand going to
the inside (performing a threading punch), your left forearm rotating and bending in to rise above
your head, palm upward, as your right hand goes from your right side to be raised level. Your eyes are
looking to your right fist (a flat fist). Your stance has changed to a horse-riding stance.

1.7: Your left palm pushes to the right (as an inward slanting palm) while your body turns to the right
(making a bow stance), your left [right] elbow drawing back.

1.8: Your right hand extends forward (with a level punch) as your left fist withdraws beside your chest,
the center of the fist facing upward. At the same time, your feet perform level kicks in succession
(performing a double flying kick), left foot first, with your left fist tapping your right toes.

2.1-2.8 are the same as in 1.1-1.8, except on the other side.

3.1-2.1 are the same as in 1.1-1.8.

Stand at attention: as before.


Points for attention in this line:

During the flying kick, your upper body should be erect. When your feet come down, your body
should be stable and must not wobble.

LINE 11: ABOVE, BETWEEN, BELOW (three times, five counts each)

Preparation: as before.

Movements:

1.1: Same as in 1.1 of Line 1.


1.2: Your left arm shifts from the outside of your left knee to be below your right armpit. At the same
time, your left leg shifts behind your right leg (making a bow stance).

1.3: Your left arm goes horizontally to the left rear, hooking across, palm to the rear, fingers making a
hook shape (performing a hook and kick action) as your left foot kicks out forward (as a sweeping
kick), your right knee straightening. Your eyes are looking straight ahead.

1.4: Your left leg, in unison with your torso, turns to the left rear (making a horse-riding stance), your
right fist hanging across until below the hip, the center of the fist facing inward, while your left fist is
raised across to the left side, the center of the fist facing outward.


1.5: Your left fist goes from the left side upward to the right side with a diagonal strike. At the same
time, your torso twists to the right (making a bow stance).

2.1: Your left fist goes outward while your right fist goes inward (performing a threading punch). It is
the repeat of the posture in 1.1 [except on the other side].

2.2-2.5 are the same as in 1.2-1.5, except on the other side.


3.2-3.5 are the same as in 1.2-1.5.

Stand at attention: as before.

Points for attention in this line:

During the third part of the movement [the hook and kick], hand and foot should both exert force
at the same time, and you must not give emphasis to one or the other.

LINE 12: ADVANCE WITH SIDEWAYS DRUMMING (three times, two counts each)

Preparation: as before.

Movements:

1.1: Same as in 1.1 of Line 1.


1.2a: Your right foot does a low kick to the left.

[1.2b:] Then your torso turns to the left (as you make a pouncing stance) and your right fist is placed
near your right leg, the center of the fist facing downward.

2.1: Your right fist goes to the right to be raised level. It is the repeat of the posture in 1.1. Your eyes
look to your right fist. (You are in a bow stance.)


2.2 is the same as 1.2, except on the other side.

3.1 is the same as [the posture in] 1.1 [as in the drawing below], then 3.2 follows the same 1.2.

Stand at attention: as before.

Points for attention in this line:

When changing from pouncing stance to bow stance, your torso and hand should coordinate with
each other.