{"id":10952,"date":"2019-11-21T15:32:15","date_gmt":"2019-11-21T15:32:15","guid":{"rendered":"http:\/\/chinesemoment.com\/chinese-culture\/shaolin-kung-fu-shao-lin-gong-fu\/"},"modified":"2019-11-21T15:32:15","modified_gmt":"2019-11-21T15:32:15","slug":"shaolin-kung-fu-shao-lin-gong-fu","status":"publish","type":"post","link":"https:\/\/chinesemoment.com\/my\/shaolin-kung-fu-shao-lin-gong-fu\/","title":{"rendered":"Shaolin Kung Fu \u5c11\u6797\u529f\u592b"},"content":{"rendered":"
Shaolin Kung Fu emphasizes Ch’an Buddhism. Ch’an derives its name from the Indian word Dhyana, which simply means ‘Meditation’. Dhyanna was an Indian form of Buddhist meditation stressing sitting meditation and other forms of meditation to help bring a<\/em>bout enlightenment in its practitioners. Dhyanna is essentially meditation practice, as part of Buddhist practice. 
  <\/p>\n
Indian martial techniques and exercises predate their counterparts in China, just as Indian Buddhism and Dhyanna meditation practice does. However, the martial arts were known for the most part formed, shaped and cradled by the Shaolin Temple throughout history, just as Ch’an and Zen today are a result of Chinese influence. So Shaolin Kung Fu is the Granddaddy of all Asian martial arts, with an Indian uncle.<\/div>\n
 <\/div>\n
Given the fact that most Asian martial arts derive from their Chinese predecessors at Shaolin Temple, it is true that ‘all martial styles were born under the sun of Shaolin’ to a great extent. Indeed, it might be more accurate to say that most popular martial arts that emerged from Asia had a pre-history and formation period at the Shaolin Temple, or that martial arts are a direct result of the Shaolin Temple influence. Shaolin Kung Fu is known for their many animal styles such as Tiger, Crane, Dragon, Monkey, Praying Mantis and Snake. The famous Shaolin 18 Movements derive from Bodhidharma’s visit to China. He taught the Buddhist mo<\/em>nks Indian martial exercises in order to make them more fit for mediation and to keep them active. These later evolved into the 18 Movements of Shaolin Kung Fu, evolved into a full fighting system of its own.<\/p>\n
    \n
  • Shaolin temple, Shaolin warriors and Shaolin history<\/b><\/span><\/span><\/li>\n<\/ul>\n

    \"ShaolinShaolin Chuan originated in the Shaolin Temple on Mount So<\/em>ngshan at Dengfeng in Henan Province. It was named after the temple. The founder of the Shaolin Chuan was said to be an Indian monk, Bodhi-dharma. The proposition, though very influential, was proved to be false, for there was a monk named BodhHiharma but he knew nothing at all a<\/em>bout Chinese Chuan. In fact, Shaolin Chuan was the manifestation of the wisdom of the mo<\/em>nks of the temple, secular Wushu masters and army generals and soldiers. <\/p>\n

    According to historical records, the Shaolin Temple was built during the Northern Wei Dynasty in the 19th calendar year of the reign of Emperor Taihe (495) and is one of China’s most famous an-cient temples. The Shaolin Temple o<\/em>nce had many mo<\/em>nks on its premises. Those mo<\/em>nks of the lower level mostly came from the secular society and some of them knew some martial arts before entering the temple. Those who knew martial arts taught and helped each other to improve their skills. They also absorbed the experience of their predecessors and gradually developed their mar-tial arts into the unique Shaolin school. <\/p>\n

    During the Northern Qi Dynasty (550-577), Shaolin mo<\/em>nks could lift hundreds of kilograms in weight and were good at Chuan and horse riding. By the end of the Sui Dynasty (581-618), Li Shimin, king of the Qin state, fought with the self-appointed emperor of the Zheng state, Wang Shichong. Shaolin mo<\/em>nks Zhi Cao, Hui Yang, and Tan Zong took the side of Li and helped him catch the latter’s nephew Wang Renze to force the self-appointed emperor to surrender. After Li Shimin was enthro<\/em>ned as the first emperor of the Tang Dynasty, he awarded his followers ac-cording to their military merits and contributions. Monk Tan Zong had the title of chief general con-ferred on him, while the Shaolin Temple was given large grants of land and mo<\/em>ney to expand the temple complex. The Shaolin Temple was allowed to organize an army of monk soldiers, who acted as military people in warring times and as mo<\/em>nks in peace time. The Shaolin school of Chuan im-proved and developed through the trials of battles and wars. <\/p>\n

    The Shaolin mo<\/em>nks in the Ming Dynasty (1368-1644) were all taught to practise Wushu. In the 32nd calendar year of the Jiajing reign (1553), the Shaolin military mo<\/em>nks took part in the battles against Japanese invaders in southern China and accomplished many military exploits. Wang Shixing of the Ming Dynasty wrote in his Tour of Mount Song. ‘All of the 400 Shaolin Temple mo<\/em>nks have good Wushu skills’.’Fists and cudgels were wielded as if they were flying during practice’. Cheng Cho<\/em>ngdou also of the Ming Dynasty wrote in his book The Dossier of Shaolin Cudgel Fight: ‘Shaolin mo<\/em>nks are best known for their cudgel fights’. Ming general Yu Dayou, who was reputed for his anti-Japanese military service, went to teach cudgel fighting skills in the Shaolin Temple. It was in the latter half of the Ming Dynasty that Shaolin mo<\/em>nks switched from cudgel fighting to fist fighting, so that fist fights could be promoted to match cudgel fights. <\/p>\n

    In the Qing Dynasty (1644-1911), the people living around the Shaolin Temple were very active in practising Wushu, which boosted the development of the Shaolin school of martial arts. In the Shaolin Temple, the rear hall was used for Wushu exercises, wher various kinds of weapons were dis-played on the weapon stands ready for use at any time. Some mo<\/em>nks practised fist fighting to safe-guard the temple. After years of exercises and practising, foot prints were stamped on the brick floor of the rear hall and these prints can be seen clearly even today. On the north and south walls of the White-Clothes Hall, there are Qing Dynasty murals vividly depicting the exercises practised by mo<\/em>nks in the temple. <\/p>\n

    In the fifth calendar year of the Yo<\/em>ngzheng reign of the Qing Dynasty (1727), people were not allowed to practise Wushu. However, they could not be stopped either in the secular society or in the Shaolin Temple, wher Wushu was practised underground. <\/p>\n

    Apart from the Shaolin Temple on Mount Songshan, the Shaolin Temple was said to have set up more than a dozen Shaolin affiliates in other temples in the country. The Shaolin Temple on Mount Nine Lotus in Fujian Province during the Ming Dynasty was famous for developing the Shaolin Quan. <\/p>\n

    Around the 1911 Revolution against the Qing Dynasty, the Shaolin martial arts underwent further developments. Wushu clubs were established all over the country and most of them took the Shaolin Quan. Lots of patriots organized sabre and flying sword groups in order to overthrow the dynasty. They co<\/em>nstantly practised their skills and co<\/em>ntributed greatly to the cause. <\/p>\n

    The Shaolin school is very popular in secular society with a myriad of followers. Over the years it was enriched theoretically and its techniques perfected to form a colossal system of fist fight.
    Compactness is a feature of the Shaolin school. The moves and tricks of this school are short, simple and succinct as well as versatile. While fighting, Shaolin boxers would advance and retreat straight forwardly. They need o<\/em>nly a small space to execute their style of fist fight which is des-cribed as ‘fighting along a single straight line’. Shaolin Quart is powerful and speedy with rhythmic rising and falling of body movements. It stresses hardness of actions and blows but it also advocates softness in support of the hardness. The motto of the Shaolin fist fight says ‘hardness first and softness second’. When jabbing or palming, the arm is required to be neither bent nor straight, in an attempt to blend external and internal forces.<\/p>\n

    Requirements to a Shaolin Fighter<\/p>\n

    <\/b><\/span><\/span>To be as graceful as a cat<\/b>
    The fighter should make light, easy and graceful movements as the cat dose <\/b><\/span><\/span> <\/p>\n

     <\/div>\n
    To be as aggressive as the tiger<\/b>
    In the face of your enemy you should overrun his courage. Advance harshly, retreat without any confusion, estimate the real situation and than heavily punch with a sharp rush to the enemy. <\/p>\n

    To step like a dragon<\/b>
    Dragon in China is a symbol of strength and power, so steps should be strong, powerful and resolute. If steps are not resolute, something wrong will be with fists. A non-co<\/em>nfident step means a slipshod fist. Thus, steps must be strong and confident. The step follows the movement of the body. When one step is over, the movement of the body is over too. <\/p>\n

    To act like a lightning stroke<\/b>
    One must be quick as a lightning stroke and instantly respo<\/em>nse to any changes. Punches should look like flash of lightning.
     <\/div>\n

    To shout like thunder<\/b>
    In the fight the most powerful strike is delivered with a shout to help more powerful ‘effort-jin’ emission.

    To move like a gust of wind<\/b>
    The practicer must move vehemently like a gust of strong wind. If you started fighting with a fro<\/em>ntal attack, use your force on the left and right following the principle of ‘The fist is visible, the strike is invisible’ and ‘If you do not see your hand striking the enemy, you will never see this enemy’.<\/div>\n
     <\/div>\n
    To stay like a nail<\/b>
    One must stay on a foot like a driven nail.

    To be as heavy as a mountain<\/b>
    A fighter should maintain the stances like a mountain that can not be moved. He should be trained with Mabu, the Rider Stance and Pole Standing Stance. These two exercises are the most im<\/em>portant methods to train the strong feet and how to regulate the breathing.

    To be as light as goose<\/b>
    One must move around quickly, lightly and instantly to respo<\/em>nse to enemy’s actions like goose moving according to the lightest whiff of the wind.

    To be soft as cotton<\/b>
    Before full exposure to rigidity, one must avoid vividly. <\/p>\n

    As hard as iron<\/b>
    With the help of some methods of physical parts, arms or legs, fighter must become as hard as iron and in case of attacking by things like me<\/em>tal objects.<\/p>\n

    Ten Precepts of a Shaolin Fighter<\/p>\n

    <\/b><\/span><\/span>It is necessary that the body would be agile, quick and energetic. For instance, if you take a step, your hands should make a correspo<\/em>ndent swift movement; movements of all parts of the body must be coordinated. When you have to strike, try not to look even at the shadow of your hand. Do not pay attention to the fists. You must improve your skill all the time, o<\/em>nly in this case you can succeed. . <\/b><\/span><\/span> <\/p>\n

     <\/div>\n
    Motion of the heart co<\/em>ntrols the distribution of ‘Chi’ energy which born in the region ‘Dantian’ field, approximately 3 to 5 cm below the navel. The activity of the ‘Chi’ energy enforces the body to carry heroic struggle and to be valiant like a tiger or a dragon. If force and energy are melted into a single whole in the body, it is demo<\/em>nstrated by the ability to exert asto<\/em>nishing sounds.<\/div>\n
     <\/div>\n
    During the fighting, all the five elements should represent a unique fusion. In order to understand the interaction of the five elements of nature, one should observe Nature and the arrangement of the Universe around us. If you perceive laws of the birth and the surmounting of the five elements, you will understand the nicety of combat arts. Each of the five elements originates with the single ‘Chi’ energy. This energy is the ba<\/em>se of the force that makes the body act. If you understand their mutual transformation, you could move things weighing thousand of Jins (one Jin equals to a<\/em>bout 600 g ) with one motion of your hand or foot. This precept also demands that blood and ‘Chi’ should be in great harmony.<\/div>\n
     <\/div>\n
    You must know the eight-point theory of ‘Ba Tiao’. For instance, you move up and down, retreat, but your retreat appears to be an advance. If you follow this law, your eight successes will become more impressive. Owing to it your movements up will be energetic and movements down will be pliable and soft, and all the movements will be coordinated.<\/div>\n
     <\/div>\n
    You must be prepared to meet an enemy who appears, disappears and appears again. Your enemy can be as dangerous as a tiger released from the cage. However, if you are able in an instant to turn a<\/em>bout to defend yourself from the front and the rear, you would look like a divine protector of combat arms who is always protected from all the sides. You should be able to turn very quickly to face an enemy’s attack from the left and the right. If you retreat, you should decoy your enemy into a trap. During an attack, fury will be helpful for you. In that case, you will look like infuriated tigers and snow leopards. A small birdie that takes its chance can fly over a high mountain.<\/div>\n
     <\/div>\n
    Your gait must be as stout as that one of gods. It is better to make five more steps than to make a mistake by one Qun (one Qun equals to 3.2 cm ). There are different types of movements during the fighting. Measured steps, the Qun Bu, should be separated from each other by not more than three Chis (one chi equals to 0.32 m ). In a struggle, your life is at stake all the time, that’s why you should step carefully and measurably. Steady steps should be separated from each other by five Chis, and a too big step equals to two Go<\/em>ngs (in the ancient times one Gong equaled to five Chis). A quick step, the Kuai Bu, equals to one Zhan (one Zhan equals to 10 Chis). In fact, it is a horizo<\/em>ntal leap that is made with energetic force of thighs and feet (i.e. by the whole leg). A spilling step, the Zhan Bu, is a great upward leap to be made, if you are rounded up and you have to break out of encirclement.<\/div>\n
     <\/div>\n
    One also should understand the coordination of arm and leg during the fighting. The special point with Shaolin combat arts is its fist work. The pugilistic methods are such that each punch must pierce the enemy and cut him into pieces. The arm should bend without bending and unbend without unbending so that the enemy could not follow your movements and could never get sight of your punch. Your arms should separate your thorax with a speed of a lightning. Activity and training of sinews determine the force of arms. The punch must be a surprise, so the enemy could not avoid it. The arm must make an accurate cut, obediently flying up and readily, if necessary, going down. Notwithstanding how your body is twisted and your hands are bound by the enemy, there is always a chance to free yourself, like a swallow always has a chance to find ponds. If in a close combat, one of the hands is pinned down or both hands are neutralized, you can punch with elbow. Your punch can be directed into the enemy’s pudenda from below. Leg movements are more mysterious. There are seven leg works including Qi, the uprising, Fan, the overturning, Lo, the tumbling, Zhin, the advance, Ti, the kicking, Qai , other kicking, and Zhuan, other kicking. All the five natural elements unite into one ‘Chi’, feet act in unison striking from the front and from the rear, so it is impossible to approach you. Step by step and no sound is heard except sounds of punches of infuriated soles touching the ground after strikes. The legs are like ferocious tigers or dragons in the sky.<\/div>\n
     <\/div>\n
    This rule demands simultaneous advance of arms and legs, because during the fighting they act together and depend on each other. If you o<\/em>nly use your arms, the result may be o<\/em>nly satisfactory; the reason is when you advancing, your feet, arms and torso should act in a complete coordination. One should aim at achieving the following qualities including mind, body obedience, manhood, speed and fury. During a real fighting those five qualities will bring you miraculous results. Mental work, ‘Gong’, means that during the fighting one must more depend on one’s mind. Body obedience, ‘Shun’, means that one must train his body for a long time to make it a natural one. Manliness, ‘Yong’ means that one should work out bold plans and boldly realize them. Speed, ‘Ji’, implicates that during the execution of methods of hand-to-hand fighting one must act fast like a lightning. Fury, ‘Hen’ is required o<\/em>nly at the moment of your attacks. You should keep a vigilant watch over enemy’s stances and positions and clearly understand them. You must easily find his weak points, and should not rashly start fighting.<\/div>\n
     <\/div>\n
    One should know a<\/em>bout combat arts is all-round defense, its distinct manifestations and timely pursuit. If a man keeps in harmony those rule in his actions, he will become invincible. The rule of cover – ‘ting’ co<\/em>nsist in the necessity of permanent protection in the front, from the behind, from the left and from the right. Besides, one must not forget that the enemy can strike from above and from below. The rule of opening, ‘Kai’, co<\/em>nsist in the necessity of opening your weak or strong points depending on the situation on the left or on the right and in the necessity of delivering and receiving blows with the support of sinew force. Both fist and palm must be formed during a spurt. The rule of distinct manifestation, ‘zhe’ is used for the work of arms, body, head and heart. At the moment of action there should be a clear and efficient manifestation. If you act, you must be as fierce as a tiger, and if you manifest a sentiment, it must be a frightening fury. Your shout should frighten your enemy. You should be able to win without a fight, o<\/em>nly with your loud laughter. This rule co<\/em>nsisting of few hieroglyphs is more precious than gold. The rule of pursuit , ‘Zhui’, co<\/em>nsists in the following. You should use any opportunity to pursuit your enemy and should not give him a chance to come back himself. As soon as steps become faster, you should use this opportunity to rush to the enemy. If at that moment you act like lightning and thunder, you can take anyone by surprise.<\/div>\n
     <\/div>\n
    One should know a<\/em>bout combat arts is as following. Three body parts including eyes, ears and heart intelligence must be in great harmony. You should have attentive and active eyes and follow any enemy’s manipulations all the time. You must prick your ears to sense movements and rest. You should have keen ears to hear voices of tigers and snow leopards from the eight sides of the Universe. The eyes look, the ears listen and they transmit the received info rmation to the heart. If the heart is bright and eyes are a<\/em>lert, you will not commit mistakes.<\/div>\n
     <\/div>\n
    This rule for those who practice in combat arts is as following. Use your sinews, because ‘Shen’, the ability to use spiritual sources, allows to achieve a great success. Sinews are chiefs of bones. If sinews tremble, ‘Chi’ energy is wasted. Furthermore, sinews are transmitters of info rmation of three senses including vision, hearing and mind. If you are in possession of them, it is a great success.<\/p>\n

    Wo<\/em>nderful Methods of Shaolin Monks<\/p>\n

    <\/b><\/span><\/span>Striking around in the whirling horse stance<\/b>
    When anybody uses the ‘whirling horse stance’, he whirls his body around its axis and hails blows around aiming at the enemy’s heart, gives violent backhand strokes at the face, executes captures. One hand is moving after another, both hands are striking to the left and to the right. You can see the results of those blows. The fighter strikes with his foot forward and backward, turns somersault, moves during the fight. The hands move in the front, as if a ferocious tiger jumps after his pray. <\/b><\/span><\/span> <\/p>\n

     <\/div>\n
    The Iron Buffalo Ploughing the Field <\/b>
    The iron buffalo ploughs the field and fists fly around freely. Long rapid steps, the hand catches the tiger’s eye, and body turns like ‘whirling horse’, and circular foot movement ‘a blue dragon wags its tail’ are immediately executed, and then a new turn around the axis… You are jumping, squatting, laying on the ground, delivering blows, as if with a flail, rushing down to the enemy like an avalanche, delivering heavy punches and striking the tiger’s eye.<\/div>\n
     <\/div>\n
    Moving at Night, Hitting the Enemy<\/b>
    You turn and punch, your hand strikes the enemy’s palm. You make a step, catch the enemy, throw and mutilate him. If, when catching the enemy, your hands interlace with his hands, you have to punch the elbow from below (‘the lightning of the iron door flashes’), in order to punch the head, use your knees and shoulders. Just as a huge bird Peng spreads its wings, you turn around and ‘catch the moon with both hands’. You strike at the heart, then ring the enemy round with both hands and after that you use method ‘the blue dragon wagging its tail’ and ‘the carp fish making somersaults’.<\/div>\n
     <\/div>\n
    Golden Pheasant Standing in Solitude<\/b>
    ‘The golden pheasant stands in solitude’ and works with a hand in the center. ‘He presses the moon to his breast’, lowers the face and makes a kick, then turns the whole body around and makes a step; the fighter steps down the hall, squats and punches the enemy’s face. With high jumps to the right and to the left the legs work, vehemently kicking crushing strokes. If the enemy tries to strike back, you catch his feet with both hands. You have to take all-round defense by striking back. If you can, you punch as your great ancestors did. Strike forward, rush backward, and create insurmountable slashing and obstructions to the enemy.<\/div>\n
     <\/div>\n
    Make a Turn to Tie a Tiger<\/b>
    You make steps, rock yourself to the left and to the right and sink for some time lower. This method is executed at a low stance, you squat on the left or the right foot like a tiger climbing a mountain. You strike around, make a step and turn to the right. The enemy looses his heart and tries to escape. You will feel absolutely safe.

    Wo<\/em>nderful me<\/em>tamorphosis of the Rider<\/b>
    You make steps with your legs wide apart, as if you sit on a horseback and resort to me<\/em>tamorphosis. Deliver a heavy blow at the ribs and hasten to defend yourself, with completely natural movements you ‘come to the common spring’. You punch at the enemy’s arm catch from the front, make wave backward and ‘burst into Yuzhou’. Move your foot, your hand comes back to its initial position. You whirl your body to evade a blow. You take all-round defense and your ear-rings look like a coiled pythons ready to jump. A punch, as quick as a lightning, is called ‘tie up a packet’.<\/div>\n
      <\/p>\n\n\n\n\n\n
    \n
    72 Types of Shaolin Arts <\/b><\/span><\/span><\/div>\n<\/td>\n<\/tr>\n
    \n
     <\/div>\n<\/td>\n<\/tr>\n
    \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
    \n
    1<\/div>\n<\/td>\n
    		\n
    Mo zhang – the grinding palm<\/div>\n<\/td>\n<\/tr>\n
    \n
    2<\/div>\n<\/td>\n
    		\n
    Feng zhang – the windy palm<\/div>\n<\/td>\n<\/tr>\n
    \n
    3<\/div>\n<\/td>\n
    		\n
    Liuxin zhang – the rocket palm<\/div>\n<\/td>\n<\/tr>\n
    \n
    4<\/div>\n<\/td>\n
    		\n
    Chuanso zhang – the shuttle palm<\/div>\n<\/td>\n<\/tr>\n
    \n
    5<\/div>\n<\/td>\n
    		\n
    Tui shan zxang – the palm pushing a mountain<\/div>\n<\/td>\n<\/tr>\n
    \n
    6<\/div>\n<\/td>\n
    		\n
    Pi chai zhang – the palm cutting wood<\/div>\n<\/td>\n<\/tr>\n
    \n
    7<\/div>\n<\/td>\n
    		\n
    Chen zhuan zhang – the palm breaking bricks<\/div>\n<\/td>\n<\/tr>\n
    \n
    8<\/div>\n<\/td>\n
    		\n
    Jin zhusa zhang – the palm with iron grasp<\/div>\n<\/td>\n<\/tr>\n
    \n
    9<\/div>\n<\/td>\n
    		\n
    Jin gou shou – the iron hook-like arm<\/div>\n<\/td>\n<\/tr>\n
    \n
    10<\/div>\n<\/td>\n
    		\n
    Wa yan shou – the hand tearing out eyes<\/div>\n<\/td>\n<\/tr>\n
    \n
    11<\/div>\n<\/td>\n
    		\n
    Tanglang shou – the leg of an Mantodea<\/div>\n<\/td>\n<\/tr>\n
    \n
    12<\/div>\n<\/td>\n
    		\n
    Bai she xin shou – the hand as accurate as a spittle of the white snake<\/div>\n<\/td>\n<\/tr>\n
    \n
    13<\/div>\n<\/td>\n
    		\n
    Hei hou tiao shou – the black tiger jumps over a mountain<\/div>\n<\/td>\n<\/tr>\n
    \n
    14<\/div>\n<\/td>\n
    		\n
    Heihu zhua lian shou – the claws of the black tiger grasping the face<\/div>\n<\/td>\n<\/tr>\n
    \n
    15<\/div>\n<\/td>\n
    		\n
    She mao shou – the hand like a snake-shaped blade<\/div>\n<\/td>\n<\/tr>\n
    \n
    16<\/div>\n<\/td>\n
    		\n
    Bai xin shou – the hand of eight wizards<\/div>\n<\/td>\n<\/tr>\n
    \n
    17<\/div>\n<\/td>\n
    		\n
    Zhin cha zhi – the finger like a gold pin<\/div>\n<\/td>\n<\/tr>\n
    \n
    18<\/div>\n<\/td>\n
    		\n
    Zhou zhi – the bamboo finger, the finger like a bamboo stick<\/div>\n<\/td>\n<\/tr>\n
    \n
    19<\/div>\n<\/td>\n
    		\n
    Wu kua ho<\/em>ngqian zhi – five fingers like red flower pistil<\/div>\n<\/td>\n<\/tr>\n
    \n
    20<\/div>\n<\/td>\n
    		\n
    Zhin gong zuan zhi – the piercing finger as hard as a diamond<\/div>\n<\/td>\n<\/tr>\n
    \n
    21<\/div>\n<\/td>\n
    		\n
    Cuan xin zhi – the finger piercing the heart<\/div>\n<\/td>\n<\/tr>\n
    \n
    22<\/div>\n<\/td>\n
    		\n
    Tou gu zhi – the finger punching holes in bones<\/div>\n<\/td>\n<\/tr>\n
    \n
    23<\/div>\n<\/td>\n
    		\n
    Yi zhi jin – the finger as hard as me<\/em>tal<\/div>\n<\/td>\n<\/tr>\n
    \n
    24<\/div>\n<\/td>\n
    		\n
    Chan si zhou – the elbow with a cord wound on it<\/div>\n<\/td>\n<\/tr>\n
    \n
    25<\/div>\n<\/td>\n
    		\n
    Go xin zhou – the elbow punching the heart<\/div>\n<\/td>\n<\/tr>\n
    \n
    26<\/div>\n<\/td>\n
    		\n
    Po yin zhou – the elbow breaking Yin<\/div>\n<\/td>\n<\/tr>\n
    \n
    27<\/div>\n<\/td>\n
    		\n
    Niu chan tui – the dislocated thigh<\/div>\n<\/td>\n<\/tr>\n
    \n
    28<\/div>\n<\/td>\n
    		\n
    Pe zhu gan – a bamboo fighting pole<\/div>\n<\/td>\n<\/tr>\n
    \n
    29<\/div>\n<\/td>\n
    		\n
    Gu shu pan gen – twisted roots of a dry tree<\/div>\n<\/td>\n<\/tr>\n
    \n
    30<\/div>\n<\/td>\n
    		\n
    Te wu gen di – the iron buffalo ploughs soil<\/div>\n<\/td>\n<\/tr>\n
    \n
    31<\/div>\n<\/td>\n
    		\n
    Fei mai qiao – the leg flying like a feather<\/div>\n<\/td>\n<\/tr>\n
    \n
    32<\/div>\n<\/td>\n
    		\n
    Hei xian feng – the black water-spout<\/div>\n<\/td>\n<\/tr>\n
    \n
    33<\/div>\n<\/td>\n
    		\n
    Tie sazou – the iron broom<\/div>\n<\/td>\n<\/tr>\n
    \n
    34<\/div>\n<\/td>\n
    		\n
    Hou tiao qian – the mo<\/em>nkey jumping over a wall<\/div>\n<\/td>\n<\/tr>\n
    \n
    35<\/div>\n<\/td>\n
    		\n
    Yian qu shui – the swallow drinks water<\/div>\n<\/td>\n<\/tr>\n
    \n
    36<\/div>\n<\/td>\n
    		\n
    Chang e bian yue –  Sorceress Chan E ascends the moon <\/div>\n<\/td>\n<\/tr>\n
    \n
    37<\/div>\n<\/td>\n
    		\n
    Tian gou chi yang – the Heaven’s Dog eats the Sun<\/div>\n<\/td>\n<\/tr>\n
    \n
    38<\/div>\n<\/td>\n
    		\n
    Ha mo zu tian – the toad drills the sky<\/div>\n<\/td>\n<\/tr>\n
    \n
    39<\/div>\n<\/td>\n
    		\n
    Gang jin juan – the diamond fist <\/div>\n<\/td>\n<\/tr>\n
    \n
    40<\/div>\n<\/td>\n
    		\n
    Shi kai hua – the stone blossoms out like a flower<\/div>\n<\/td>\n<\/tr>\n
    \n
    41<\/div>\n<\/td>\n
    		\n
    Zuan xin chui – the hammer punching the heart<\/div>\n<\/td>\n<\/tr>\n
    \n
    42<\/div>\n<\/td>\n
    		\n
    Lu kai hua – the skull blooming out like a flower<\/div>\n<\/td>\n<\/tr>\n
    \n
    43<\/div>\n<\/td>\n
    		\n
    Duan mu zhuang – to break a wooden stove-couch<\/div>\n<\/td>\n<\/tr>\n
    \n
    44<\/div>\n<\/td>\n
    		\n
    Ti jie shi – to break a stone with a leg<\/div>\n<\/td>\n<\/tr>\n
    \n
    45<\/div>\n<\/td>\n
    		\n
    Fang feng Zhen – Zhen releases winds<\/div>\n<\/td>\n<\/tr>\n
    \n
    46<\/div>\n<\/td>\n
    		\n
    Da shai dai – to strike at a sand bag<\/div>\n<\/td>\n<\/tr>\n
    \n
    47<\/div>\n<\/td>\n
    		\n
    Fen mu guan – the coffin broken into pieces<\/div>\n<\/td>\n<\/tr>\n
    \n
    48<\/div>\n<\/td>\n
    		\n
    Dai tie wa – to wear iron hoops<\/div>\n<\/td>\n<\/tr>\n
    \n
    49<\/div>\n<\/td>\n
    		\n
    Diao shaku – to hang trousers with sand<\/div>\n<\/td>\n<\/tr>\n
    \n
    50<\/div>\n<\/td>\n
    		\n
    Yue ying jian – to jump over a moon abyss<\/div>\n<\/td>\n<\/tr>\n
    \n
    51<\/div>\n<\/td>\n
    		\n
    Feng xuan ai – the flight from a steep precipice<\/div>\n<\/td>\n<\/tr>\n
    \n
    52<\/div>\n<\/td>\n
    		\n
    Go wu ji – to jump over a roof gable<\/div>\n<\/td>\n<\/tr>\n
    \n
    53<\/div>\n<\/td>\n
    		\n
    Zuo liu xing – the rocket stance<\/div>\n<\/td>\n<\/tr>\n
    \n
    54<\/div>\n<\/td>\n
    		\n
    Taishan zhuan – the pole like the Taishan mountain<\/div>\n<\/td>\n<\/tr>\n
    \n
    55<\/div>\n<\/td>\n
    		\n
    Xin yi ba – the heart and mind clench<\/div>\n<\/td>\n<\/tr>\n
    \n
    56<\/div>\n<\/td>\n
    		\n
    Qi wei chuan dong – the bristling hedgehog strikes a hole<\/div>\n<\/td>\n<\/tr>\n
    \n
    57<\/div>\n<\/td>\n
    		\n
    Suang to yue – to embrace the moon<\/div>\n<\/td>\n<\/tr>\n
    \n
    58<\/div>\n<\/td>\n
    		\n
    Tie gan tui – the leg like an iron pole<\/div>\n<\/td>\n<\/tr>\n
    \n
    59<\/div>\n<\/td>\n
    		\n
    Kao re guo – the cauldron heated on fire<\/div>\n<\/td>\n<\/tr>\n
    \n
    60<\/div>\n<\/td>\n
    		\n
    Zuai ti deng – to throw down a stool by a foot<\/div>\n<\/td>\n<\/tr>\n
    \n
    61<\/div>\n<\/td>\n
    		\n
    Lu da gun – the ass’s strike<\/div>\n<\/td>\n<\/tr>\n
    \n
    62<\/div>\n<\/td>\n
    		\n
    Zhai she zu – the foot digging soil<\/div>\n<\/td>\n<\/tr>\n
    \n
    63<\/div>\n<\/td>\n
    		\n
    Guang chuan tie bu shan – to put on an iron shirt on the naked body<\/div>\n<\/td>\n<\/tr>\n
    \n
    64<\/div>\n<\/td>\n
    		\n
    Wu kong fan jin dou – Wu Kong fights against sinew dislocations<\/div>\n<\/td>\n<\/tr>\n
    \n
    65<\/div>\n<\/td>\n
    		\n
    Tian bing xia fan – the Celestial Soldier descends the sky<\/div>\n<\/td>\n<\/tr>\n
    \n
    66<\/div>\n<\/td>\n
    		\n
    Da murien – to strike a man of wood<\/div>\n<\/td>\n<\/tr>\n
    \n
    67<\/div>\n<\/td>\n
    		\n
    Xie zi zou lu – the scorpion crawls along the road<\/div>\n<\/td>\n<\/tr>\n
    \n
    68<\/div>\n<\/td>\n
    		\n
    Qian jintui – the leg weighing one thousand jins<\/div>\n<\/td>\n<\/tr>\n
    \n
    69<\/div>\n<\/td>\n
    		\n
    Zha yan huan zuo deng – to change in an instant the stool<\/div>\n<\/td>\n<\/tr>\n
    \n
    70<\/div>\n<\/td>\n
    		\n
    Luohan shen gong – Luohan’s magic feat<\/div>\n<\/td>\n<\/tr>\n
    \n
    71<\/div>\n<\/td>\n
    		\n
    Jiao long nu kong – the coiling dragon growls in wrath<\/div>\n<\/td>\n<\/tr>\n
    \n
    72<\/div>\n<\/td>\n
    		\n
    Qi guan qi mao – the breath ‘chi’ washes the hair on the skin<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n