Yang Style Taiji Saber According to Fu

8/21/2019 Yang Style Taiji Saber According to Fu

1/62

YANG STYLE TAIJI SABER ACCORDING TO FU ZHONGWEN

Posted onJanuary 17, 2014byPaul Brennan

-

TAIJI SABER

as demonstrated by Fu Zhongwen and written by Cai Longyun

[published by The Peoples Physical Education Press, June, 1959][translation by Paul Brennan, Jan, 2014]

-

CONTENTS

Preface

Taiji Saber Training Principles

Taiji Saber Poem

Taiji Saber Movement Descriptions

List of Taiji Saber Applications

Pretend Combat Drills for Taiji Saber

Postscript

-

PREFACE

19589

Chinese martial arts exercises consist of a great variety of boxing systems, of which Taiji Boxing is but

one. Within Taiji Boxing, there are the exercises of the boxing set, sword, saber, spear, pushing hands,

and large rollback. Although these things are distinct in terms of posture, they nevertheless share
http://brennantranslation.wordpress.com/2014/01/17/yang-style-taiji-saber-according-to-fu-zhongwen/http://brennantranslation.wordpress.com/2014/01/17/yang-style-taiji-saber-according-to-fu-zhongwen/http://brennantranslation.wordpress.com/author/brennantranslation/http://brennantranslation.wordpress.com/author/brennantranslation/http://brennantranslation.wordpress.com/2014/01/17/yang-style-taiji-saber-according-to-fu-zhongwen/http://brennantranslation.wordpress.com/2014/01/17/yang-style-taiji-saber-according-to-fu-zhongwen/


2/62

common characteristics, such as hardnesswithin softnessor likea needle wrapped in cottonand

continuitywithout interruptionor flowingon and on ceaselessly.

In this century, the masses have endorsed such characteristics by combining health care requirements

with a transcendence of mere martial ways to move in the direction of therapeutic fitness. It has since

been scientifically verified that Taiji Boxing exercises are very effective therapeutic fitness, which explains

why Taiji Boxing has developed in this direction.Due to the Partysembracing and promoting of martial arts in the last few years, there has been

unprecedented development of Taiji Boxing exercises, and the masses are now participating in it more

and more every day. In response to public demand for Taiji Boxing reference materials, we have written

this book.

I learned from uncle Yang Chengfu since I was child, and therefore received a more systematic training

in the various exercises of Taiji Boxing, but on the other hand I have consequently suffered from a lack of

writing ability, and so I had hitherto not been able to contribute anything. I have recently met Cai

Longyun, who is an instructor like me for the Shanghai Martial Arts Team, and who has given me help

with the writing in order to complete this book. I hope that readers who notice inaccuracies within the

book will offer corrections in order to further improve it.

written by Fu Zhongwen in Shanghai, Sep, 1958

-

TAIJI SABER TRAINING PRINCIPLES

When practicing Taiji Saber:

1. Your head must not lean forward, back or sideways. You must tuck in your chin and straighten your

headtop, as though there is something on your head, your headtopbracing upward.But by all meansavoid the error of stiffening your neck when pressing up your headtop and pulling in your chin. Therefore

when your head presses up, you should pay that much more attention to loosening the muscles of your

neck, as in forcelesslypress up your headtop.Your eyes should look straight ahead and should not

appear to wander during the movements. Your mouth should be naturally closed. Your tongue should

curl upward to touch the upper palate. Exhale with your mouth and inhale with your nose, as is natural.

2. Yourbody must be upright rather than leaning, and your spine and tailbone must be straight and not

askewHowever, this does not at all mean your body is to be rigid or is even slightly without agility. As

you transition through the movements, there must be the adjustments of containing your chest and

plucking up your back, and of sinking your shoulders and turning your waist, as Yang Chengfu continues

in OnPracticing Taiji Boxing:When alternating between opening and closing, there should be the

lively use of containing your chest and plucking up your back, and of sinking your shoulders and turning

your waist. Right from the beginning of the training, these concepts need to be given attention. Otherwise

even after a long time it would be difficult to change your habits and you would be stuck in a state of

stiffness. No matter how deep your skill, it would then hardly be beneficial or even applicable.


3/62

3. The joints and muscles of you arms must loosen. Your shoulders should be loose and sunk, and your

elbows should hang down and be constantly bent. The palm should be slightly spread, and the fingers

should be extended but slightly bent.

4. You must distinguish between emptiness and fullness in your legs. When your body weight is shifted

onto your left leg, your left leg is fulland your right foot thus touches the ground emptily.The reverse

would of course be right full and left empty. Emptiness does not mean an intention of nothingness, for

the posture does not go all the way to that point but maintains room to alternate between expanding and

contracting. Fullness does not mean a fierce effort or an excessive exertion, simply substantiality. When

you bend a knee into a squat, a slight squat is all that is required. If you bend a knee all the way into a half

squat, there will be some excessive exertion, and you may also easily end up leaning forward and losing

your balance, violating the requirement of neitherlean nor incline.

5. The advance and retreat of your feet should lift and lower like the steps of a cat, lifting nimbly and

coming down lightly. When kicking, the top of the foot should flatten, toes pointing forward, but the foot

should be loose rather than stiff, and the kick should come out slowly.

6. You should be in a state of tranquility, causing your mind to gather within. Your spirit should be

present throughout the intricacies of every movement and should not fixate over any particular aspect.

The exercise will thereby be lively and the training will be valuable.

7. You must maintain naturalness of breathing and should not allow the movements to influence or

impede normal breathing. Although the breathing is the same for the saber set as it is for the boxing set

the deep breathing of energysinks to your elixir fieldyou should not be at all restrictive in the

beginning, for it will only work if you do ordinary belly breathing, and you should not fixate on the rise

and fall of your diaphragm. Otherwise your breathing will be unnatural, your movement will be

unnatural, and it will be harder to coordinate breath and movement.

8. You must move with a rounded and lively power rather than a stiff and awkward strength. A rounded

and lively power is the natural condition of your body and limbs, allowing your tendons and joints to be

fully relaxed. This complete relaxation is not the same as the slackening that comes from exhaustion,


4/62

rather it is the lowest amount of strength produced by the movements and lowest amount of tension

supported by the skeletal structure.

9. The movements must be a continuous process, flowing without pause. Your body and limbs should be

coordinated above and below, operating as one and then the more integrated your saber techniques, hand

actions, and footwork will be, as in: Whenone part moves, every part moves.By all means avoid the

errors of moving the hands without there being any action in your legs or moving the saber without there

being any action in your arms. Additionally, you have to link every movement as they precede and follow

each other so that the entire saber set from beginning to end becomes as though a single movement

without pause or discontinuity. Even though there are some places that demand a slightpause,it is

merely a way of describing an intention of deceleration, not at all an intention of actually coming to a

brief halt.

10. It should be slow rather than fast. However, slow does not mean pausing or stiffening. Because of this

issue of the speed, you must avoid an appearance of stiffness or coming to a halt. Maintain a constant

speed throughout, neither suddenly speeding up nor suddenly slowing down.

-

TAIJI SABER POEM

BIG DIPPER and SITTING TIGER are followed by EXCHANGING THE SABER.

ALWAYS AT THE READY, SUDDENLY EXPAND, rousing mind and energy.

LOOK LEFT & RIGHT, then SPREAD APART TO BOTH SIDES.

WHITE CRANE SPREADS ITS WINGS with a five-element palm.

WIND ROLLS UP THE LOTUS LEAVES, then store inward.

MAIDEN WORKS THE SHUTTLE deals with all directions.

THREE STARS POSTURE, then open and close, and TAKE CHARGE OF THE SITUATION.

DOUBLE KICK, then perform FIGHTING TIGER POSTURE.

DRAPE THE BODY, hanging at an angle, then perform MANDARIN DUCK KICK.

GOING WITH THE CURRENT TO PUSH THE BOAT, use your iron staff like a punting-pole.

LOWERING, ENGAGE THREE TIMES, moving with fluency.

SWIM TO THE LEFT & RIGHT, then LEAP THE DRAGON GATE.

BIAN HE CARRIES THE STONE, then the PHOENIX RETURNS TO ITS NEST.

-

TAIJI SABER MOVEMENT DESCRIPTIONS

ONE:BIG DIPPER and SITTING TIGER are followed by EXCHANGING THE SABER.


5/62

Movements:

1

1. Facing south, your feet stand shoulder width apart. Your left hand holds the saber handle, the tigersmouth facing downward, thumb to the outside, fingers to the inside. With the back of the saber touching

your forearm, the edge facing forward, the tip pointing upward, it is held at the left side of your body.

With the fingers naturally relaxed and the thumb angled forward, your right hand hangs at the right side

of your body. With your gaze straight ahead, you are standing properly in the posture of holding the

saber. See photo 1:

2

2. Your left hand circles the saber to the left, upward, and in front of your chest, elbow bent, and once in

front of your chest, the center of the hand is inward. Your torso goes along with the movement by slightly

turning to the left, your gaze now to the east. At the same time, your right knee bends into a slight squat

and your left foot shifts a half step to the east, knee bent, ball of the foot lightly touching down. The

weight is on your right leg, making an empty stance of left foot empty, right foot full. As your left foot

steps out, your right hand becomes a fist, elbow bending, and draws back to the right side of your waist,

the center of the fist toward your body, the fist eye facing upward. See photo 2:


6/62

3

3. Without pausing in the previous movement, your torso turns fully to be squared to the east. Your left

foot fills, the knee bending into a light squat, and your right foot steps forward, knee bent, ball of the foot

lightly touching down. The weight is on your left leg, making an empty stance of right foot empty, left foot

full. As your right foot steps forward, your right fist extends forward under your left hand, the fist eye

facing upward, elbow slightly bent, with your left hand continuing to hold the saber handle as before [and

appearing to move somewhat forward with your right hand due to the leftward turn of your body]. The

saber handle and your right fist are crossed with each other above and below [with the handle on top].

Your gaze is still to the east. [You are now in the BigDipperposture.] See photo 3:


7/62

4

4. The previous movement comes to a slight pause. (This is a pause-without-pausing kind of pause, and

this will be the case in all cases of pausebelow.) Your right foot steps back, the knee bends into a slight

squat, your right fist at the same time becoming a palm and sinking down in front of your body [as your

torso slightly turns to the right]. See photo 4:

5

5. Without pausing in the previous movement, your torso shifts back so the weight is on your right leg,your left foot at the same time lifting up and touching down lightly with the ball of the foot, making an

empty stance of right foot full, left foot empty. Your right palm continues downward and circles to the

right and upward, elbow and wrist bending into a semicircle, until raised in front of your head, palm

upward. At the same time, your left forearm, pivoting at the elbow, arcs upward and forward so the

center of the saber-holding hand is facing to the right, tigersmouth facing forward, elbow slightly bent,

the saber tip pointing to the rear, edge facing upward. Your gaze is still straight ahead. [You are now in

the sittingtigerposture.] See photo 5:


8/62

6

6. The previous movement comes to a slight pause, then your torso turns to the right, your left hand

going along with it by bending at the elbow and swinging across until beside your right ribs, the center of

the hand facing upward, tigersmouth facing outward, the saber tip pointing to your left, edge facing

forward. Your right hand at the same time lowers until beside your right ribs and grabs the saber in your

left hand, your left hand sending it to your right hand. Your gaze is to your hands. [You are now in the

exchangingthe sabermoment.] See photo 6:

Important points:


9/62

1. When you are standing straight holding the saber, your whole body should be naturally relaxed, and

you should not be sticking your chest out or sucking your belly in. Your spirit should seek quietude, your

thoughts should be focused, and you should be prepared for movement. Keep the saber edge here fromfacing inward or outward, just forward.

2. When moving into the left and right empty stances, you must clearly distinguish between empty and

full. When stepping forward and back, strive to step both nimbly and stably, and keep your body from

swaying.

3. During the circling movements, the elbow should be slightly bent rather than straight, but not overly

bent.

4. When the saber handle and your right fist cross each other in the third movement, their height should

be neither too high nor too low, for the blade should be at chest level.

TWO:ALWAYS AT THE READY, SUDDENLY EXPAND, rousing mind and energy.

Movements:

7

1. Without pausing in the previous movement, your torso turns to the left to be squared to the east, while

with your right hand holding the saber, tigersmouth near the hilt, and your left hand still facing upward

and touching the saber handle, the back of the saber still touching your left forearm as before, your hands

swing across to the left until your left forearm is pointing to the east, both elbows slightly bent, the saber

edge facing upward, tip pointing to the rear. At the same time, your left foot advances a half step, theknee bending into a slight squat, your right knee straightening behind, the weight now between your legs,

making a left bow & arrow stance. Your gaze is straight ahead. See photo 7:


10/62

8

2. Without pausing in the previous movement, your right hand sweeps the saber across, the center of the

hand facing downward, and once to the right side, the tip is pointing forward, edge facing to the right,handle level with the right side of your waist. At the same time, your left hand, now a palm, the palm

facing downward, swings across to the left, and once at your left side, the fingers are pointing forward

and are level with the left side of your waist, both elbows slightly bent. Your right foot has now left the

ground and lifted in front of your body, knee bent, toes hanging down naturally. Your left foot stays

where it is, but the leg remains slightly bent. Your gaze is still straight ahead. [This would appear to be a

moment of readiness.]See photo 8:

9

3. Without pausing in the previous movement, your right foot comes down forward to the southeast

corner and the knee bends into a slight squat, your left knee straightening behind, making a diagonal

right bow & arrow stance. At the same time, your right hand raises the saber upward, parallel with the

ground, then once at shoulder level, stabs forward and downward to the northeast corner, the edge

diagonally facing upward, right forearm level in front of your body. Your left hand at the same time

reaches out to touch your right wrist, fingers upward. Your face is turned to the left, your gaze to the

saber tip. [This would appear to be a moment of expand.]See photo 9:


11/62

10

4. The previous movement comes to a slight pause, then your right toes turn outward, your right hand

wipes the saber across to the right, the center of the hand facing downward, then upon arriving at the

right side, the forearm twists outward so the center of the hand is turned inward then upward while the

elbow bends to draw back the saber to the right side of your waist, the back of the saber facing outward,

the tip pointing forward. Your left palm goes along with your right hand as it swings across to the right,

and once at the right side of your waist, the palm is facing downward, fingers pointing to the rear. At the

same time, your left foot steps forward, knee bent, ball of the foot touching down, as your torso turns to

the right, and the weight is now on your right leg, making a left empty stance. Your gaze is to the east.

[This would be another readinessmoment.] See photo 10:

11

5. Without pausing in the previous movement, your left foot advances a half step to the northeast corner

and the knee bends into a slight squat, your right knee straightening behind, making a diagonal left bow


12/62

& arrow stance. At the same time, your left forearm twists inward so the thumb is angled downward, and

the hand brushes across forward and to the left, until to your left side, palm facing to the left, fingers

pointing forward, elbow slightly bent. Your right hand is sending the saber directly forward with a stab,

the center of the palm facing upward, the saber edge facing to the left. Your gaze is to the saber tip. [This

would be another expandmoment.] See photo 11:

12

6. The previous movement comes to a slight pause, then your right forearm twists outward so the saber

edge is facing upward, and the hand circles the saber upward and to your left rear, edge facing downward,

tip pointing to the rear. Your left palm is now facing downward and pushing down on the back of thesaber. As the saber circles, your left toes turn outward and your right foot steps forward to the southeast

corner, knee bent, the sole of the foot touching down, making a right empty stance, your torso turning

slightly to the left. Your gaze is to the saber body. [Another readinessmoment.] See photo 12:


13/62

13

7. Without pausing in the previous movement, your right shifts slightly forward, coming down full as the

knee bends into a slight squat, your left knee straightening, making a diagonal right bow & arrow stance.

At the same time, your torso turns to the right, your right hand sending the saber downward, forward,and upward in a raising action, the hand turning over, elbow slightly bent, the center of the hand facing

to the right, the saber edge facing upward, the tip pointing forward. Your left hand goes along with the

movement of the saber by touching the outer side of the saber body [which is now inward], palm facing to

the right, fingers upward. Your gaze is to the saber tip. [Another expandmoment.] See photo 13:

14

8. The previous movement comes to a slight pause, then your right foot takes a step back, the toes turned

outward, the knee bends into a slight squat, your torso turning to the right to be squared to the south. At

the same time, both hands circle downward, to the right, and upward, elbows bent, your right hand raised

beside your right ear, your left hand raised to the outside of your left shoulder. The body of the saber goes

along with the circling of your hands, with the tip pointing to the east throughout. As your hands circle,

your left leg lifts at your left side, knee bent, toes hanging down naturally. Your gaze is to the east.

[Another readinessmoment.] See photo 14:


14/62

15

9. Without pausing in the previous movement, your torso turns slightly to the left as your left foot comes

down forward to the east and the knee bends into a slight squat, your right knee straightening, making a

diagonal left bow & arrow stance. At the same time, both hands send the saber forward, your left fingers

pointing upward, the forearm at shoulder level, your right forearm raised forward and upward above

your headtop, elbow bent, the saber edge still facing upward, the tip still pointing to the east, Your gaze is

to the saber tip. [Another expandmoment.] See photo 15:

Important points:

1. During the four times above when you draw back the saber to your right side [movements 2, 4, 6, 8],


15/62

keep the edge from touching you, for you should keep the edge away from your body [especially in

movement 4 in the which the edge is even facing your body].

2. When turning your hand over to do the raising cut in movement 7 and sending the saber forward in

movement 9, the saber should be angled so the handle is higher than the tip rather than tip and handle

level with each other.

3. When you lift a knee [movements 2 and 8], your torso should stay straight. Stand stably and keep yourtorso from leaning back or to the sides.

THREE:LOOK LEFT & RIGHT, then SPREAD APART TO BOTH SIDES.

Movements:

16

1. The previous movement comes to a slight pause, then your left toes hook inward, your torso going

along with them by turning slightly to the right, and your right foot lifts off the ground. [You are now in

the moment of lookingleft.]See photo 16:

17

2. Without pausing in the previous movement, your right foot now comes down to the right side and your

left knee bends and lifts in front of your body, toes hanging down naturally, making a one-legged stance.

At the same time, your right hand sends the saber to the right with a level chop, the edge facing

downward, tip pointing to the right, as your left palm raises up to be level to the left side, fingers upward.Your face has turned to the right, your gaze to the saber tip. [You are now lookingrightand in the

action of spreadingapart.]See photo 17:


16/62

Important points:

Your right leg must straighten and your left knee should bend until the thigh is raised to be parallel with

the ground, the lower leg gathered slightly inward. Your torso maintaining its uprightness, your

shoulders are loosened and sunk, arms raised level. The saber tip is on a horizontal line with your

shoulder. Strive to be settled in your stance rather than swaying unstably.

FOUR: WHITE CRANE SPREADS ITS WINGS with a five-element palm.

Movements:

18

1. The previous movement comes to a slight pause, then your left foot comes down to your left side and

the knee bends into a slight squat to make a left bow & arrow stance. Your right hand at the same time

brings the saber in front of your body, wrist bent and sinking down, your torso turning slightly to the left,

your left palm remaining raised level to your left. Your gaze is to the south. See photo 18:


17/62

19

2. Without pausing in the previous movement, your right foot steps forward to the southeast corner and

the knee bends into a slight squat, your left knee straightening, making a right bow & arrow stance. As

your right foot steps forward, your right hand raises the saber forward until level, the wrist straight, the

saber edge facing upward, tip pointing forward, while your left elbow bends, the palm raised to the left,

palm facing to the left, fingers upward. Your gaze is to the saber tip. See photo 19:

20

3. The previous movement comes to a slight pause, then your torso shifts to the rear, your left knee

bending into a slight squat, your right leg straightening with its toes turning outward. As your torso shifts

back, your right hand circles the saber upward, to the rear beside your left shoulder, then downward,

elbow bent, your left palm now touching your right wrist area. Your gaze is to the east. See photo 20:


18/62

21

4. Without pausing in the previous movement, your left foot steps forward to the east, the knee bends

into a slight squat, your right leg straightening behind, making a diagonal left bow & arrow stance. As

your left leg steps forward, your right hand turns over and raises the saber up, edge facing upward, tip

pointing forward, your left hand remaining at your right wrist area throughout. Both elbows are bent,

both hands raised up in front of your forehead. Your gaze is to the saber tip. See photo 21:

22

5. Without pausing in the previous movement, your right sends the saber propping upward parallel with

the ground, drawing it to the rear, the hand raised higher than your headtop, elbow bent. Your left palm

at the same time pushes out straight ahead, fingers upward, elbow slightly bent. Your gaze is to your left

palm. Your stance has not changed. [Your arms are here performing the action of spreadingwings.]See

photo 22:


19/62

Important points:

1. When raising the saber on both sides, the saber must be coordinated with the steps and should not

move faster or slower, or arrive earlier or later.

2. For the propping saber and pushing palm [which as a fiveelement palmis perhaps intended to

resemble the chopping technique in Xingyi, associated with the element of metal and thus corresponding

to the saber], the saber body must be level and the left fingertips should be at eyebrow height. Your

shoulders should loosen and sink rather than rise up. Your torso should be upright and the weight should

be between your legs, not inclining to one or the other.

FIVE: WIND ROLLS UP THE LOTUS LEAVES, then store inward.

Movements:

23

1. The previous movement comes to a slight pause, then your left toes hook inward, your right heel turns

inward, and your torso goes along with them by turning to the right rear. As your body turns, your right

hand keeps the saber tip pointing to the east and does not change its direction. Once your torso is

squared to the west, your elbow has lowered to bring the saber down beside your shoulder, edge still

facing upward, tip now pointing to the northeast. Your left palm goes along with the turning of your body,

your gaze turning to the right. [You are now in the midst of the action of windrolling.]See photo 23:


20/62

24

2. Without pausing in the previous movement, your torso continues to turn to the rear, your right foot

retreating a step to the northeast corner, while your left elbow bends, bringing your left palm into contact

with the saber pommel, fingers upward. Your gaze is toward the saber tip. [You are now in a posture of

storinginward.]See photo 24:

25

3. Without pausing in the previous movement, your right leg straightens, your left foot leaves the ground,

the knee bending, and lifts to your left, toes hanging down naturally. Your right arm at the same time

twists inward and sends the saber in a level stab to the northeast, edge facing downward, tip pointing to

the northeast corner. Your left palm is now in front of your right shoulder, palm facing to the right,

fingers upward. Your gaze is to the saber tip. See photo 25:


21/62

Important points:

1. When turning to the rear, the saber tip must maintain its direction without changing, your body

turning without the saber turning.

2. When lifting the knee and stabbing, your right leg must straighten, your left knee should bend so that

the thigh is raised to be level, your torso should be upright, and your stance should be stable. The back of

the saber must be in a horizontal line with your right arm and shoulder. Your left elbow stays close to

your chest and belly, and it should not be allowed to rise up.

SIX:MAIDEN WORKS THE SHUTTLE deals with all directions.

Movements:

26

1. The previous movement comes to a slight pause, your left foot comes down to the southwest corner,

your torso turning to the left to be squared to the southwest [northwest], and your left knee bends into a

slight squat, your right leg straightening behind, making a left bow & arrow stance. Your right hand stays

in its position, but your left palm goes along with the turning of your body by extending a level push

forward to the southwest corner, elbow slightly bent, fingers upward. Your gaze is to your left palm. See

photo 26:


22/62

27

2. Without pausing in the previous movement, your right foot steps forward and the knee slightly bends,

your left leg straightening. With your left elbow bending to withdraw the palm in front of your right

shoulder, your right forearm twists inward to turn the hand over and hang the saber tip downward, then

the back of the saber goes along the outside of your left arm and circles behind you, and once behind you,

your left palm is pushing outward, elbow bent to make a semicircle. See photo 27:

28

3. Without pausing in the previous movement, your left foot steps forward to the southwest corner and

the knee bends into a slight squat, your right knee straightening behind, making a left bow & arrow

stance. At the same time, your left palm raises upward in front of your headtop as a sideways palm, elbow


23/62

bent, thumb angled downward, fingers pointing to the right, as your right hand sends the saber upward

and chopping down forward to the southwest, the tip slightly raised upward. Your gaze is to the saber tip.

See photo 28:

29

4. The previous movement comes to a slight pause, then your left palm lowers in front of your body,

elbow bent, palm facing inward toward your body. At the same time, your right forearm twists inward so

the center of the hand is facing downward, wrist bent, and the saber is withdrawn horizontal in front of

your body, the edge facing forward, the back of the saber touching your left forearm, the tip pointing

sideways to the left, as your left leg lifts in front, knee bent, toes hanging down naturally, and your right

knee bends into a slight squat, torso shifting back, the weight on your right leg. See photo 29:

30


24/62

5. Without pausing in the previous movement, your left foot again comes down in front, making a left

bow & arrow stance, as your right hand and left forearm in unison push the saber forward, the edge still

facing forward, the tip still pointing to the left. See photo 30:

31

6. Without pausing in the previous movement, your left toes hook inward, your torso turning to the right

rear, the saber going along with the turn, as your right leg lifts, knee bent, and your left elbow bends,

bringing the palm in front of your chest, thumb angled inward, palm facing downward. See photo 31:

32

7. Without pausing in the previous movement, your right foot comes down to the southeast corner and

the knee bends into a slight squat, your left knee straightening behind, making a right bow & arrow

stance. At the same time, your right hand sends the saber sinking down and pulling back to the right rear,

the edge facing downward, tip pointing forward, as your left palm does a level push forward, fingers

upward, elbow slightly bent. Your gaze is to the east. See photo 32:


25/62

33

8. The previous movement comes to a slight pause, then your right foot lifts off the ground as your right

hand makes the back of the saber face inward toward your body, the tip pointing sideways to the left,

your left elbow wrapping in for the palm to protect in front of your chest. Then your right foot comes

down again to the southeast, toes turned outward, as your right hand sends the saber forward, wiping

across to the right, and drawing to the rear, wrist bent. Your gaze is forward to the northeast corner. See

photo 33:

34

9. Without pausing in the previous movement, your left foot steps forward to the northeast corner and

the knee bends into a slight squat, your right knee straightening, making a left bow & arrow stance. At the


26/62

same time, your left palm raises upward in front of your headtop as a sideways palm, elbow bent, wrist

bent, thumb angled downward, fingers pointing to the right, as your right forearm twists outward so the

center of the hand is upward and sends the saber stabbing forward, the edge facing to the left, the tip

slightly raised upward. Your gaze is to the saber tip. See photo 34:

35




your body, the edge facing forward, the back of the saber touching your left forearm, the tip pointing

sideways to the left, as your left leg lifts in front, knee bent, toes hanging down naturally, and your rightknee bends into a slight squat, torso shifting back, the weight on your right leg. See photo 35:

36


27/62




37




38

13. Without pausing in the previous movement, your right foot comes down to the northwest corner and




28/62

the edge facing downward, tip pointing forward, as your left palm does a level push forward, elbow

slightly bent, fingers upward. Your gaze is to the west. See photo 38:

39

14. The previous movement comes to a slight pause, then your right foot lifts off the ground as your right

hand makes the back of the saber face inward toward your body, the tip pointing sideways to the left,

your left elbow wrapping in for the palm to protect in front of your chest. Then your right foot comes

down again to the northwest, toes turned outward, as your right hand sends the saber forward, wiping

across to the right, and drawing to the rear, wrist bent. Your gaze is forward to the southwest corner. See

photo 39:

40

15. Without pausing in the previous movement, your left foot steps forward to the southwest corner and


29/62

the knee bends into a slight squat, your right knee straightening, making a left bow & arrow stance. At the

same time, your left palm raises upward in front of your headtop as a sideways palm, elbow bent, wrist

bent, thumb angled downward, fingers pointing to the right. As your right forearm twists outward so the

center of the hand is upward and sends the saber stabbing forward, the edge facing to the left, the tip

slightly raising upward. Your gaze is to the saber tip. See photo 40:

41




your body, the edge facing forward, the back of the saber touching your left forearm, the tip pointingsideways to the left. As your left leg lifts in front, knee bent, toes hanging down naturally, and your right

knee bends into a slight squat, torso shifting back, the weight on your right leg. See photo 41:


30/62

42




43




44

19. Without pausing in the previous movement, your right foot comes down to the southeast corner and



31/62


the edge facing downward, tip pointing forward. As your left palm does a level push forward, elbow

slightly bent, fingers upward. Your gaze is to the east. See photo 44:

Important points:

1. In movement 2, when the saber circles behind you, you must get the tip to hang down and bring theback of the saber along your shoulder and back rather than simply waving it in a level circle over your

head.

2. When you pull back the saber as you go forward into a bow stance [movements 7, 13, and 19], you must

get the saber body to be close beside your body, the tip slightly raised upward, and your left palm should

be at chest level.

3. When stabbing in a bow stance [movements 9 and 15], your left elbow should be bent so the arm is

making a semicircle and the palm is in a posture of guarding your head. Your right elbow must also be

slightly bent and the saber tip should be at head height as if you are stabbing to an opponentshead.

4. During the transitional movements of MAIDEN WORKS THE SHUTTLE [which resembles the version

in the boxing set mostly by way of moving toward the four corners], the footwork, hand actions, and

saber techniques must cooperate and coordinate with each other. Every part of your body should be

loosened rather than tense. The directions you face as you transition must be precise, and you should not

allow bow & arrow stances that are meant to be toward the southeast or northwest, northeast, or

southwest to change to bow & arrow stances that go directly east or west, north, or south.

SEVEN: THREE STARS POSTURE, then open and close, and TAKE CHARGE OF THE SITUATION.


32/62

Movements:

45

1. The previous movement comes to a slight pause, then your left foot shifts a step back sideways to thenorth and the knee slightly bends, your torso shifting to the left, the weight moving to your left leg. At the

same time, your left palm waves across to the left to be raised to the left, elbow bent, palm facing to the

left, fingers upward, while your right forearm twists outward so the center of the hand is facing upward

and sends the saber raising up in front of your body, the edge facing upward, tip pointing forward. Your

gaze is to the east. [This is presumably a threestarsposture. After your left foot and left hand have

spread you out sideways, you are now if viewed from the front exhibiting a vertically diagonal line of

three points right foot, saber tip, left hand equivalent to the image of Orionsbelt.] See photo 45:

46

2. Without pausing in the previous movement, your left leg straightens and stands as your right leg lifts in

front, knee bent, toes hanging down naturally, making a one-legged stance. At the same time, your right

hand draws in the saber in front of your chest, your left palm pushing out to touch the pommel. Your gaze

is to the saber tip. [This would be the action of close.]See photo 46:


33/62

47

3. Without pausing in the previous movement, your right hand sends the saber stabbing directly forward,

the edge still facing upward, as your left palm raises to your left, elbow bent, fingers upward. Your gaze is

to the saber tip. Your stance has not changed. [This would be the action of open.]See photo 47:

48

4. The previous movement comes to a slight pause, then bending your right elbow and using the wrist as

a pivot, circle the saber downward, to the right, and to the rear. See photo 48:

49

5. Without pausing in the previous movement, your right foot comes down to the inside of your left foot.

As your right foot is about to touch down, your left foot slightly springs off the ground, and as your right

foot becomes full, your left foot comes down forward to the northeast corner. With your right knee

bending into a slight squat, the weight on your right leg, the ball of your left foot touching down, knee


34/62

bent, you are making an empty stance. At the same time, your right hand circles the saber upward,

forward to the northeast, and slicing downward, the edge facing downward, handle at the right side of

your waist, as your left palm raises upward and pushes down forward, elbow bent, palm facing

downward, pushing down on the forward section of the saber body. Your gaze is forward to the northeast

corner. [The twirling saber, hopping footwork, and decisive poise would seem to constitute taking

charge.]See photo 49:

Important points:

1. When the saber is circled toward your shoulder, the wrist must be loose and lively.

2. In the one-legged stance, you should be standing stably. With the empty stance, there should be a clear

distinguishing between empty and full.

EIGHT:DOUBLE KICK, then perform FIGHTING TIGER POSTURE.

Movements:

50

1. The previous movement comes to a slight pause, then your left foot shifts a step to the north and

becomes full, the knee bending into a slight squat, your right knee straightening. At the same time, your

left forearm twists outward so the palm is facing upward, as your right hand sends the saber tip to your

left and poking behind, the handle switching to your left palm, the edge facing upward, the back of the

saber touching your left forearm, your left hand now holding the saber as it is was in the initial posture.

Your gaze is to the east. See photo 50:


35/62

51

2. Without pausing in the previous movement, your left leg straightens and stands as your right leg lifts in

front, knee bent, your torso slightly turning to the left. See photo 51:

52

3. Without pausing in the previous movement, your left hand arcs upward and lowers to be level to the

left. At the same time, your right foot kicks forward and upward, the top of the foot stretched flat, as your

right hand arcs upward and lowers to be level to the right, palm facing downward, slapping the top of

your right foot. Your gaze is to your right foot. [This is the kickmoment, although the name double

kickusually indicates two kicks in quick succession, hopping from one kick into another, meaning the

initial shifting of the left foot to the north was probably originally a kick.] See photo 52:


36/62

53

4. Without pausing in the previous movement, your right foot comes down to the inside of your left foot,

both legs slightly bent, your torso squaring to the northeast. At the same time, your right hand waves

across to the right, palm still facing downward, as your left hand swings the saber across to the right until

by your right elbow area, the edge still facing upward. Your face has turned to the right, your gaze to the

east [southeast]. See photo 53:

54

5. Without pausing in the previous movement, your left foot steps to the northwest corner and the knee

bends into a slight squat, your right knee straightening, making a left bow & arrow stance. At the same

time, your left hand circles downward, to the left, and upward, raising until in front of your head, tigers

mouth facing upward, palm inward, as your right hand becomes a fist and extends in front of your belly,


37/62

the fist eye facing inward, the center of the fist facing downward, arm bent to make a semicircle. [You are

now in a left fightingtiger posture.]See photo 54:

55

6. The previous movement comes to a slight pause, your left toes hook inward as your torso turns to the

right rear to be squared to the southeast and your right leg lifts, knee bent, toes hanging down naturally.

As your foot leaves the ground, your right forearm turns outward so the fist eye is facing upward and

sinks down to the outside of your right leg, your left hand sinking down to the outside of your left leg. See

photo 55:

56

7. Without pausing in the previous movement, your right foot comes down forward, knee bent, making a

right bow & arrow stance. At the same time, your right fist circles downward, to the right, and upward,

raising up to protect your head, elbow bent, the fist eye facing downward, as your left hand circles


38/62

downward, to the left, and forward, to guard your body, elbow rounded, the center of the hand facing

inward, tigersmouth upward, the saber placed at your elbow area. Your gaze is forward to the southeast

corner. [You are now in a right fightingtiger posture.]See photo 56:

Important points:

1. When kicking out and slapping your foot, you must stand stably and the slap should be accurate. Keep

your torso from leaning back due to the kick or leaning forward due to the slap, instead staying upright.

2. When performing the FIGHTING TIGER POSTURE to the left and right, your elbows should maintain

semicircles and your shoulders should not be rising.

NINE:DRAPE THE BODY, hanging at an angle, then perform MANDARIN DUCK KICK.

Movements:

57

1. The previous movement comes to a slight pause, then your torso shifts back, your left knee bending,

right leg straightening, and your right fist changes to a palm, and circles forward, downward, toward your

body, and to the left, scooping under your left forearm, palm and forearm crossing, the palm facing

upward. [This is the action of draping.]At the same time, your left leg straightens to be standing, your

right leg lifts in front, knee bent, toes hanging down naturally, your torso turning to be squared to the

northeast, making a one-legged stance. Your gaze is to the east. [Standing on one leg hangsup your

body and squaring to the corner means you are hanging atan angle.]See photo 57:


39/62

58

2. Without pausing in the previous movement, your right foot kicks out to the east, the top of the foot

stretched flat. With your left hand unchanging, your right palm goes from below and to the outside of

your left forearm by arcing upward, to the right, and downward, lowering until level, palm facing

downward. [You are now in the posture of the kick,but no slap is mentioned this time, making this

kicking technique distinct from the doublekick.]See photo 58:

59

3. Without pausing in the previous movement, your right knee bends to withdraw the foot while your

right elbow bends to withdraw the palm in front of your chest, your left hand sending the saber handle to

your right hand. See photo 59:


40/62

60

4. Without pausing in the previous movement, your right hand upon taking the saber raises it upward

and sends it forward to the east in a level chop, the edge facing downward, tip pointing forward. At the

same time, your left hand, now a palm, is raised level to your left, elbow bent, palm facing to the left,

fingers upward. Your gaze is to the saber tip. See photo 60:

Important points:

Standing should be stable. Your left leg must be straight. Your right thigh must be level. Your torso

should stay straight. Your arms should loosen and sink. The back of the saber and your right arm should

be making a straight line.

TEN: GOING WITH THE CURRENT TO PUSH THE BOAT, use your iron staff like a punting-pole.


41/62

Movements:

61

1. The previous movement comes to a slight pause, then your right forearm twists outward so the center

of the hand is facing upward and the saber tip is pointing downward. The elbow bends and the sabercircles back beside your right shoulder and then behind your shoulder and back. Your torso goes along

with the movement by turning to the right to be squared to the southeast. Your right foot at the same

time comes down in front of your body, toes swung outward, knee bent. Your left hand is still raised to

your left. See photo 61:

62

2. Without pausing in the previous movement, your left foot steps forward from behind you into a sitting

stance, the toes hooked inward, knee bent. Your right hand continues to circle the saber around your

body, moving it over to the left, as your left elbow bends and the palm withdraws beside your left ribs. See

photo 62:


42/62

63

3. Without pausing in the previous movement, your right leg lifts, knee bent, as your body turns to the

right to be squared to the northwest, your right hand circling the saber to the outside of your left shoulder

and then sinking it downward to the right side of your body. Your left hand has now shifted to be in front

of your body. See photo 63:

64

4. Without pausing in the previous movement, your right foot comes down in front, the knee bends into a

slight squat, your left knee straightening behind, making a right bow & arrow stance. Your right hand at

the same time pulls the saber to the rear, edge facing downward, tip pointing forward, as your left palmgoes along with the forward movement of your body by pushing out straight ahead, elbow slightly bent,

palm facing forward, fingers upward. Your gaze is to your left palm. [If your saber was a pole and your

left hand was holding the top end of it, the joint action of your hands in this movement would resemble

that of pushingaboatthrough the water with a punting pole (in this case pushing the pole behind you

and facing the front of the boat, whereas in the posture of the same name in ChenWeimings1928 sword

manual, he would be pushing the pole forward, thus facing the river behind the boat).] See photo 64:


43/62

Important points:

While your saber circles from the right to the rear to the left, you must make the tip hang down and bring

the back of the saber along your shoulders and back rather than waving it in a level circle over your head.

When you move forward into a bow stance and pull back the saber, the tip should be slightly lifted, your

shoulders must loosen and sink, and your torso should be upright.

ELEVEN:LOWERING, ENGAGE THREE TIMES, moving with fluency.

Movements:

65

1. The previous movement comes to a slight pause, then your torso shifts back and slightly turns to the

left to be squared to the west, your left knee bending, the weight shifting onto your left leg. Your right leg

then lifts in front of your body, knee bent, toes hanging down naturally, while your left elbow bends and

draws back your left palm, and your right hand brings the saber across in front of your body, elbow

bending, the saber edge facing forward, tip pointing to the left. Your gaze is forward to the east [west].

[You are now effectively in the midst of a lowering,grounding yourself to push forward. Judging by the

name, this posture may have originally been a full squat with the right leg outstretched.] See photo 65:


44/62

66

2. Without pausing in the previous movement, your right foot steps forward to the northwest corner, the

knee bending into a slight squat, your left knee straightening, making a diagonal right bow & arrow

stance. Your right hand and left palm push the saber out straight ahead, the edge still facing outward, tip

still pointing to the left. Your gaze is still forward to the east [west]. [This appears to be the first

engaging,dealing with an opponent in front.] See photo 66:

67

3. The previous movement comes to a slight pause, then your left foot steps forward to the southwest

corner while your right hand sends the saber wiping across to the right rear, the center of the hand facing

downward. At the same time, your left elbow bends and draws in the palm until in front of your right ribs,

fingers upward. Your torso goes along with the movement by turning to the right, your face shifting to the


45/62

right, your gaze now to the saber body. [This would be the second engaging,dealing with an opponent

behind.] See photo 67:

68

4. Without pausing in the previous movement, your right foot steps forward to the west and the knee

bends, your left leg straightening, to make a right bow & arrow stance. Your left palm goes along with the

movement by sweeping across forward and to the left, fingers still upward. As your right foot steps

forward, your right arm twists outward so the center of the hand is upward and sends the saber slashing

across forward to the right [left], the edge facing to the left, tip pointing forward. Your gaze is forward to

west. [This would be the third engaging,dealing again with the opponent in front.] See photo 68:

Important points:

The saber actions of pushing, wiping, and slashing must be coordinated with your right foot coming

down, your left foot stepping forward, then your right foot stepping forward. Pushing, wiping, and


46/62

slashing are at slightly different heights. When pushing, the saber is level with your chest, and when

wiping or slashing, the saber is level with your waist.

TWELVE:SWIM TO THE LEFT & RIGHT, then LEAP THE DRAGON GATE.

Movements:

69

1. The previous movement comes to a slight pause, your right forearm twists outward so the saber edge

faces upward, elbow bending, and circles the saber upward, to the outside of your left shoulder, and

cutting downward to your left side, the edge facing downward, tip pointing to the rear. At the same time,

your left palm comes near to your right wrist, elbow bent, palm facing downward, fingers forward, and

with your left foot staying where it is, your torso shifts back, your left knee bending, right leg lifting up in

front, knee bent, while the saber is cutting downward. [This is halfway through the tothe left.]See

photo 69:

70

2. Without pausing in the previous movement, your right foot comes down in front and your right hand

continues to circle the saber downward, forward, upward, and chopping down behind, as your left foot

steps forward and the knee bends, your right leg straightening. At the same time, your left palm extends

with a level push forward, your torso turning to the right. Your gaze is to the saber tip. [This is halfway

through the tothe right.]See photo 70:


47/62

7

1

3. The previous movement comes to a slight pause, then your torso slightly turns to the left to be squared

to the northwest as your right hand sends the saber downward then raising forward until level in front of

your body, elbow bent, the saber edge facing upward, the tip pointing forward. At the same time, your

right leg lifts in front, knee bent, toes hanging down naturally, your left foot staying where it is, while

your left elbow bends, withdrawing the palm in front of your chest, fingers upward. Your gaze is to the

saber tip. See photo 71:

72

4. The previous movement comes to a slight pause, then your right hands circles the saber downward, to

your right rear, and raising upward, the edge facing upward, the tip pointing to the rear, as your left knee

slightly bends and your right foot starts to come down. See photo 72:


48/62

73

5. Without pausing in the previous movement, your right foot comes down to the inside of your left foot

and the knee bends into a slight squat, but just before the foot has landed, your left foot slightly springs

off the ground, and then as your right foot comes down fully, your left foot comes down forward to the

northwest corner, touching down with only the ball of the foot, the weight on your right leg, making an

empty stance. At the same time, your right hand arcs the saber upward, forward to the northwest, and

slicing downward, the edge facing downward, tip pointing forward, handle at the right side of your waist,

as your left palm pushes down forward, palm facing diagonally downward, fingers diagonally upward.

Your gaze is forward to the northwest corner. [At face value, it is this little hopping maneuver which

constitutes the leap,though it could have been intended to refer more to the reverse twirl of the saber in

this and the previous movement.] See photo 73:


49/62

Important points:

The saber actions and footwork must be coordinated. Your left foot should not jump too high, just a slight

springing up. Once in the empty stance, empty and full must be clearly distinguished, the saber tip shouldbe slightly raised, and your left palm should be at chest level and in line with the saber.

THIRTEEN:BIAN HE CARRIES THE STONE, then the PHOENIX RETURNS TO ITS NEST.

Movements:

74

1. The previous movement comes to a slight pause, then your right hand makes the saber tip hang down,

brings the back of the saber to the outside of your left shoulder, and circles it behind you along your

shoulders and back, while your left leg lifts in front of you, knee bent. See photo 74:

75

2. Without pausing in the previous movement, your left foot comes down in front and the knee bends into

a slight squat, your right leg straightening behind, making a left bow & arrow stance. At the same time,

your right hand sends the saber raising upward then chopping down forward, the edge facing downward,

tip lifted, as your left palm raises upward to be in front of your headtop, elbow bent, wrist bent, palm

sideways and facing forward, thumb angled downward. Your gaze is forward to the northwest corner. See

photo 75:


50/62

76

3. The previous movement comes to a slight pause, then your right forearm twists outward so the center

of the hand is facing upward, then using the wrist as a pivot, circle the saber tip to the right, upward, and

to the left so that the center of the hand is now facing downward. Your left hand is now in front of you

taking hold of the saber handle, the edge facing upward, the back of the saber touching your left forearm.

At the same time, your left toes hook inward, your torso turning to the right rear. [This and the next

movement would seem to represent the carrying.]See photo 76:

77

4. Without pausing in the previous movement, your right foot steps back and the knee bends into a slight

squat, your torso shifting back, the weight moving onto your right leg, your left heel leaving the ground so


51/62

that only the ball of the foot is touching down, making an empty stance of left foot empty, right foot full.

At the same time, your right hand becomes a fist and withdraws to the right side of your waist, the center

of the fist toward your body, the fist eye facing upward. As your left elbow bends so the saber is raised

level in front of your chest. Your gaze is straight ahead to the east. See photo 77:

78

5. Without pausing in the previous movement, your left hand sends the saber sinking down to your left as

your right fist extends directly forward, elbow slightly bent, the fist eye facing upward. [The phoenix

returning to its nestis possibly this punch launching out with a repetition of the beginning, and it is

similar in action to the entersits nestmovement in ChenWeimings1928 sword manual.] See photo 78:

79

6. The previous movement comes to a slight pause, then your left toes hook inward as your torso turns to

the right to squared to the south. Both legs straighten as your right fist becomes a palm hanging down at


52/62

your right side and your left hand holds the saber, hanging it up at your left side. It is the same as the

initial posture of holding the saber. See photo 79:

Important points:

1. When performing the chop, you must make the edge face diagonally downward, the tip raised up to be

level with your head.

2. When switching the saber into the other hand, your right hand should not make an overly large circle

with the tip, just a simple stirring action. Your left hand receives the saber with its palm upward and your

right hand gives the saber with its palm downward. Once your left hand receives the saber, it grasps itfirmly, and your right hand touches on top of the handle.

3. Once in the closing posture, you must stand still for a while rather than moving on from the exercise

right away.

-

LIST OF TAIJI SABER APPLICATIONS

1. CHOP TO THE SHOULDER

2. INWARD HACK TO THE WRIST

3. STAB TO THE BELLY

4. OUTWARD CHECK TO THE WRIST

5. THRUST TO THE WAIST


53/62

6. OUTWARD HACK TO THE WRIST

7. CUT TO THE THROAT

8. UPWARD CHECK TO THE WRIST

9. CLEAVE TO THE LEG

10. DOWNWARD CHECK TO THE WRIST

-

PRETEND COMBAT DRILLS FOR TAIJI SABER

PREPARATION POSTURE: Persons A & B face each other holding their sabers.

80

Both of you, Person A and Person B, are facing each other, standing straight, feet together, saber in right

hand. You are about two or three steps away from each other, A facing east, B facing west [continuing the

same orientation of the photos for the solo set]. The saber edges are facing downward, tips pointing

forward. Your gaze is toward each other. See photo 80:

FIRST SERIES OF MOVEMENTS [applications 1 & 2]: A advances with a chop toward Bsshoulder. B

evades and hacks inward toward Aswrist.

81

1. A [Fu Zhongwen in the photos], raise your saber up, advancing with your right foot, then chop down

toward Bsleft shoulder with the front section of your saber as your right knee slightly bends, left fingers

slightly extending so the palm is hanging diagonally at your left side, palm facing downward. Your gaze is

toward the body of your saber. See photo 81:


54/62

82

2. B, asAssaber chops toward your shoulder, raise your saber up, your right foot advancing to the

northwest corner, torso turning to the left. Your right knee bending, your saber hacking down towardAs

wrist with the rear section of your saber, tip slightly raised upward, left fingers slightly extending so the

palm is hanging diagonally at your left side. Your gaze is toward Asright wrist. See photo 82:

83

3. A, as Bssaber hacks toward your wrist, retreat two steps, right then left, your gaze toward B. See photo

83:


55/62

SECOND SERIES OF MOVEMENTS [applications 3 & 4]: B steps forward with a stab toward Asbelly. A

lifts his saber and does an outward check toward Bswrist.

84

1. B, as A retreats, take a step forward with your left foot, then your right foot follows, the knee bending to

make a right bow & arrow stance, your right arm twisting outward, wrist turned over so your saber edge

is facing upward, and do a level stab toward Asbelly, left palm still hanging diagonally at your left side.

Your gaze is towardAsbelly. See photo 84:

85

2. A, as B stabs forward, evasively shrink back your belly and lift your saber upward, your right arm

twisting inward to do a reverse check toward Bsright wrist with the front section of your saber. At the


56/62

same time, [retreat your left foot and then] your right foot pulls away, left palm still at your left side. Your

gaze is toward Bsright wrist. See photo 85:

86

3. B, as A checks toward your wrist, your right foot steps to the east in front of your left foot, your torso

turning to the left and shifting to the rear, evadingAssaber. See photo 86:

THIRD SERIES OF MOVEMENTS [applications 5 & 6]: A advances with a stab toward Bswaist. B rolls

his saber and hacks outward toward Aswrist.

87

1. A, as B steps away, your right foot advances, the knee slightly bending to make a bow & arrow stance,

your right hand stabbing your saber tip straight ahead toward Bswaist, edge facing downward. Your gaze

is toward your saber tip. See photo 87:


57/62

88

2. B, immediately circle your saber downward, to the left, and upward, while stepping your left foot from

behind your body forward to the southwest corner, left knee slightly bending to make a left bow & arrow

stance. Your right hand is now hacking down toward Asright wrist. Your gaze is toward the body of your

saber. See photo 88:

89

3. A, while B is hacking toward your wrist, sit your body back, left knee bending into a slight squat, your

right hand leading your saber away downward and back. See photo 89:


58/62

FOURTH SERIES OF MOVEMENTS [applications 7 & 8]: B advances with a cut toward Asthroat. A

pushes with his saber and does an upward check toward Bswrist.

90

1. B, as A sinks his saber away, advance your right foot to the outside of Asright foot, and slightly bend

your right knee to make a right bow & arrow stance. Your right forearm at the same time twists outward

so the center of the hand is upward and pushes out your saber horizontally with a severing cut toward As

throat using the rear section of your saber. Your gaze is toward Asthroat. See photo 90:

91

2. A, as B cuts toward your throat, gather your saber in front of your body, then push out with a

horizontal check towardAsright wrist, your left palm touching the back of your saber to assist the

pushing of your right hand. Your gaze is toward Bsright wrist. See photo 91:


59/62

FIFTH SERIES OF MOVEMENTS [applications 9 & 10]: B covers his body and cleaves toward Asleg. A

goes into a lifted stance and does a downward check toward Bswrist.

92

1. B, as A is cutting toward your wrist, swing your left toes outward, the knee slightly bending, and lean

away your torso to the left, your right leg straightening. Your right forearm at the same time twists

inward, the wrist turning over, and your saber cleaves diagonally to the outside of Asright leg with the

front section of the blade, your left palm raising until level to your left. Your gaze is toward A. See photo

92:

93

2. A, immediately shift your torso back, turning to the left, and lift your right leg in front of your body,


60/62

knee bent, to evade the attack. Your right hand at the same time sends your saber in a diagonal check

toward the outside of Bsright wrist, your left palm hanging diagonally to your left. Your gaze is toward

Bsright wrist. See photo 93:

CLOSING POSTURE: A & B raise their knees and embrace their sabers.

94

1. B, as A checks toward your wrist, bend your right elbow and draw in your saber to hold it in front of

your chest, the edge facing to the left, tip pointing upward, your saber standing vertical in front of your

body. Your left elbow bends at the same time, bringing your left palm to touch the top of your right wrist,palm downward, your left leg immediately straightening to stand upright, your right leg lifting in front of

your body, knee bent, toes hanging down naturally. Your gaze is toward A. A, at the same time, draw in

and embrace your saber, your knee lifting, your gaze toward B. See photo 94:


61/62

2. A & B, you now each bring your right foot down to your right, then your left foot goes to stand next to

your right foot, both legs standing straight. Your right hand at the same time sinks your saber down to

your right side, edge facing downward, tip pointing forward, your left palm hanging down on your right

[left] side, returning you both to the PREPARATION POSTURE of holding your sabers while standing

straight and facing each other.

Then switch to B advancing with a chop toward Asshoulder, B taking Asrole and A taking Bsrole,

switching from east attacking west to west attacking east. Perform the movements with the roles reversed

until returning to the PREPARATION POSTURE, then the full exercise ends. Of course if you do not want

to stop, A then returns to the A role by advancing with the chop toward Bsshoulder and it all repeats.

-

POSTSCRIPT


62/62

1958.12.15.

I know that within the Taiji Boxing system there is a TaijiThirteen Saber,which goes from PUSHING

DOWN WITH THE SABER to BLUE DRAGON LEAVES THE WATER, WIND SWEEPS AWAY THE

WITHERED FLOWERS, WHITE CLOUDS COVER THE HEADTOP, SHOULDERING THE SABER,

ROLLING TO EVADE THE WIND, STOMP THE FOOT AND LIFT THE SABER, SPREADING THE

CLOUDS TO SEE THE MOON, CHOPPING SABER, EMPEROR LIFTS THE CALDRON, HOLDING UP

A STICK OF INCENSE, PULLING IN THE SABER TO FEIGN DEFEAT, and PLAY THE LUTE, thirteen

movements which combine to make up the routine for single saber. When Fu Zhongwen asked me to

write this book in his stead, I still only knew of the Taiji Thirteen Saber. I was surprised in the course of

the writing to find that although this Taiji Saber set has thirteen movements, it was not the same in

content as that Taiji Thirteen Saber routine and does not resemble it in the way I imagined it would.

When I mention the Taiji Thirteen Saber here, it is not because I think the Taiji Saber set evolved from

the Taiji Thirteen Saber, or vice versa, it is to explain that within the Taiji Boxing system there are two

distinct saber sets. The one written of here is TaijiSaberrather than the other one I knew of.

Taiji Saber and the saber routines of other boxing systems have similarly absorbed the techniques of

ancient short swords, such as chopping, cleaving, hacking, checking, carrying, raising, pushing, stabbing,

propping, slicing, wiping, slashing, hanging, leading, blocking, and sweeping, which were then combined

with other martial arts components, such as stance, footwork, and body maneuvering to make training

routines for short weapons. Since writing the section above on the combat drills, I can again see that ithas the same elements of attack and defense as the saber sets of other boxing systems. However, as per

the progressive development of the Taiji Boxing system, the characteristics of this particular saber set are

suppleness, flexibility, and fluidity, and these characteristics make it the same kind of therapeutic fitness

as the boxing set.

As the training methodology for the saber set is the same as for the boxing set, it consequently has the

same beneficial influence upon the nervous system, cardiovascular system, respiratory system, digestive

system, and metabolism. At the same time, this saberdancetrains the mood and will imperceptibly

produce increasing delight.

Fu Zhongwen asked me three months ago to write this book for him. Seeing as I had come to Beijing to

participate in the work of organizing and researching martial arts, I have had difficulty finding time. At

last it is finished, and I am sorry you could not be reading it sooner. Also, because I am not adequately

familiar with this Taiji Saber set, there are bound to be a few errors in the movement descriptions above.

I hope our comrades will point them out and so make the revising for a second edition that much easier

Yang Style Taiji Saber According to Fu

Documents

Transcript of Yang Style Taiji Saber According to Fu