Zhai Yao Yi Lu

[mooyingmantis]

Looking back over the past year, I noticed that the first section of Zhai Yao (Summary/Essentials) was never discussed. I thought this might be a good topic for the start of the new year. :)

Below is an introduction to the Zhao Yao series that I wrote for my students:

The Background of the Zhai Yao Series

"Historical research has shown that by the end of the Qing dynasty period (1644-1911), many of the Plum Blossom Praying Mantis lineage techniques were systemized into prearranged sets. By 1900 the core sets: Ba Zhou, Luanjie and Laiyang Beng Bu had been firmly established. According to tradition, it was during this time that Liang Xue Xiang (1810-1890), the fifth generation Master of the Plum Blossom Praying Mantis lineage, created the Zhai Yao series of sets.

The term zhāi yào (摘 要) is typically translated as "summary". A summary is the process of highlighting the main points of a topic or field of endeavor. Liang's Summary sets consist of seven sections (段 - duàn) of 360 - 375 total movements that were created to be the epitome of Mantis techniques and theory.

As time went on the first section, Zhai Yao Yi Lu (First Road Summary), was viewed as important enough to be adopted by the Seven Star Praying Mantis and Eight Step Praying Mantis kung fu systems."

As a side note: The fighting techniques that I teach my students in their first six months of training are all taken from Zhai Yao Yi Lu.

[Paul T England]

Interesting, I hold much value in the Summary Boxing sets and in my family they are highly regarded.

Paul

[iunojupiter]

As it goes, when my Shifu first started his Instructor training program, Zhai Yao was a part of it. We spent a good deal of each training session doing circuit training and learning Zhai Yao in depth. He instilled that if you wanted to learn to fight, first Zhai Yao was all you really needed. I think I spent 3 years straight going over just first Zhai Yao. It holds a special place in my heart ;)

Cheers,
Josh

[MightyB]

the Zhai Yao-s aren't really my favorite. Granted being "summary" forms of course they'll have a lot of repetition from other forms, but I don't know - to me the best real summary form for 7*PM is Mantis Exits the Cave.

Just thinking out loud.

[mooyingmantis]

Great feedback guys!

Here is the fist song used in Taiji Meihua Tanglangquan (Zhang Bingdou) for the first road:

First Road

Movement One
预 备 势
yù bèi shì
Preparation Stance

Movement Two
框 手 打
kuàng shǒu dǎ
Frame Hand Strike

Movement Three
叶 裡 藏 桃
yè lǐ cáng táo
Hide Peach within Leaves

Movement Four
左 封 右 崩 捶
zuǒ fēng yòu bēng chuí
Left Seal, Right Collapsing Strike

Movement Five
鴛 鴦 腳
yuān yang jiǎo
Mandarin Duck Legs

Movement Six
闭 手 挺 身
bì shǒu tǐng shēn
Close Hands, Straighten Body

Movement Seven
左 搓 捶 右 砘 肘
zuǒ cuō chuí yòu dun zhǒu
Left Rubbing Strike, Right Dun Elbow

Movement Eight
进 步 乘
jìn bù chéng
Advance Step

Movement Nine
拗 步 入
niù bù rù
Bent Step

Movement Ten
缠 鞭 过 耳
chán biān guò ěr
Wrap Around & Whip the Ear

Movement Eleven
鴛 鴦 腳
yuān yang jiǎo
Mandarin Duck Legs

Movement Twelve
探 捶
tàn chuí
Searching Strike

Movement Thirteen
闭 手 挺 身
bì shǒu tǐng shēn
Close Hands, Straighten Body

Movement Fourteen
爬 山 手
pá shān shǒu
Climb Mountain Hand

Movement Fifteen
偷 展 底 漏 圈
tōu zhǎn dǐ lòu quān
Steal Open, Bottom Leak & Circle

Movement Sixteen
右 隔 肘
yòu gé zhǒu
Right Divide Elbow

Movement Seventeen
双 齐 捶
shuāng qí chuí
Double Even Strike

Movement Eighteen
白 猿 偷 桃
bái yuán tōu táo
White Ape Steals Peach

Movement Nineteen
反 尖 脚
fǎn jiān jiǎo
Reverse Point Leg

Movement Twenty
燕 子 掠 水
yān zi lüè shuǐ
Sparrow Skims the Water

Movement Twenty-One
双 封 锁 口 捶
shuāng fēng suǒ kǒu chuí
Double Seal, Lock Mouth Strike

[Mantis9700]

Some versions of Zhai Yao Yi Lu have a kick in the beginning...not sure if that is in the quan pu or not?

[mooyingmantis]

Some versions of Zhai Yao Yi Lu have a kick in the beginning...not sure if that is in the quan pu or not?

Correct! :)
The HK Seven Star branch of Wong Hon Fan opens the form with a front kick. I have seen one Plum Flower instructor also open it with a kick. The Grand Ultimate Plum Flower instructors that I know do not use a kick at the beginning.

There are also blocking maneuvers coupled with the strikes that are not mentioned in the quanpu.

[YouKnowWho]

The 7 star Zhai Yao that I have learned was only 1 form. There is no Yi Lu or Er Lu, ...

------------------------------------------------------------------------------------------

http://www.plumpub.com/sales/chinese/chinbks_trad12PM.htm

Zhang Xiang San was one of Taiwan's best in the art of Praying Mantis. He was particularly known for his Liu He Mantis. Here is an important set rendered in the art of Seven Star Mantis. In his teachings Zhai Yao (Summary Set) was an introduction to many of the important basics and concepts of the Mantis. His style shows Seven Star but with a distinct Liu He flavor. This book has only one or two photos per page with a hand written text.
Learn more about this author/teacher.

[mooyingmantis]

The 7 star Zhai Yao that I have learned was only 1 form. There is no Yi Lu or Er Lu, ...

------------------------------------------------------------------------------------------

http://www.plumpub.com/sales/chinese/chinbks_trad12PM.htm

Zhang Xiang San was one of Taiwan's best in the art of Praying Mantis. He was particularly known for his Liu He Mantis. Here is an important set rendered in the art of Seven Star Mantis. In his teachings Zhai Yao (Summary Set) was an introduction to many of the important basics and concepts of the Mantis. His style shows Seven Star but with a distinct Liu He flavor. This book has only one or two photos per page with a hand written text.
Learn more about this author/teacher.

John,
Thanks for that link! I will have to pick up that book. :)

[mooyingmantis]

Here is a clip of my son and a classmate practicing two combinations from the first road of Zhao Yao Yi Lu on B.O.B.:

http://www.youtube.com/watch?v=OjlYKmGscO4

The first combination are the moves:

框 手 打 - kuàng shǒu dǎ - Frame Hand Strike

叶 裡 藏 桃 - yè lǐ cáng táo - Hide Peach within Leaves

左 封 右 崩 捶 - zuǒ fēng yòu bēng chuí - Left Seal, Right Collapsing Strike

Together these three moves are known as 鳳 凰 三 點 頭 - fèng huáng sān dian tóu - Phoenix Thrice Nods It's Head and are also found in the form Mei Hua Lu.

The second combination moves are:

进 步 乘 - jìn bù chéng - Advance Step

拗 步 入 - niù bù rù - Bent Step

缠 鞭 过 耳 - chán biān guò ěr - Wrap Around & Whip the Ear

鴛 鴦 腳 - yuān yang jiǎo - Mandarin Duck Legs

[YouKnowWho]

Now I understand. When you talk about Zhai Yao Yi Lu, you are talking about the first 13 moves of the Zhai Yao form.

http://img805.imageshack.us/img805/2918/zhaoyao.jpg

[mooyingmantis]

Now I understand. When you talk about Zhai Yao Yi Lu, you are talking about the first 13 moves of the Zhai Yao form.

http://img805.imageshack.us/img805/2918/zhaoyao.jpg

Ok, let's try this again. :)

Zhai Yao, as I have it, has seven sections. Each section could actually be considered its own form. The current discussion involves the first section/form. The first section has 45 movements.

The drills I linked to on YouTube deal with two separate combinations based on movements 2-11 of the first road.

I understand that your 7* teacher taught one section/form of Zhai Yao. Other families have more than one section. Wong Hon Fan taught 3 sections and documented them through his books. While several of Luo Guang Yu's other students, such as; Lin Bo Yan, Huang Jin Hong (Wong Kam Hong) and Zhao Zhi Min (Chiu Chi Man) were taught six sections (though the names of sections 4-6 under went a change).

[mooyingmantis]

Zhai Yao Yi Lu, Zhao Yao San Lu and Zhao Yao Si Lu each contain various methods of restraining, controlling and subduing an enemy through the use of hair restraining techniques.

Here are two hair restraining techniques found in Zhao Yao Yi Lu:

Movement Eighteen

白 猿 偷 桃 - bái yuán tōu táo - White Ape Steals the Peach

Hook the opponent's lead right hand with your lead right hook hand. Immediately place your left hand on the bend of the opponent's right elbow to control the arm. Then grasp the back of the opponent's head via the hair and pull him forward to off-balance him as you raise your right knee into his lower ribs or head.

Movement Forty-four

仙 人 取 发 - xiān rén qǔ fà - Immortal Takes the Hair

Execute a right sideward palm strike toward the side of the opponent's head. This baits the opponent to block with his right arm. When the opponent blocks, place your left hand on the bend of the opponent's right elbow and force his arm downward. Follow with a right grab to the hair at the top of the opponent's head. Pull downward with both hands to slam the opponent's head to the ground.

Pictures of the form and applications demonstrated by my son and one of his classmates can be found at:

https://www.facebook.com/media/set/?set=a.10150507517834481.388027.750549480&type=1

These techniques would have worked well against a countryman wearing a queue or a Japanese invader wearing a traditional chonmage.

Students train these in sparring by grabbing each other's headgear and throwing the opponent. :) They get a big kick out of that!

Enjoy!

[RAF]

In the late 1980s Tony Yang taught us a form, very long, with two parts called qi qing zhai yao. It really is only one form but we called it Part I and Part II because of its length and really does look like two forms. I competed with it in one of the early Great Lake Tournaments and missed first place by .5 of a point--although I learned a lot of mantis, in general, at that time, I didn't care for it much however, I loved this form because it had a great softness to it because it had Liuhe mantis in it--now I am wondering if this didn't come from the Zhang Xiang San line--I sort of learned the 2nd part but gave up on all of this once the baji and bagua came into.

I think I saw someone play parts of the qi qing zhao yao on a very old tape of praying mantis is Taiwan--James Sun voices it?

[RAF]

I think it was a part of this tape and a small portion of the entire form, I believe, is found at the 8.33 mark or so:


http://www.youtube.com/watch?v=_FWndGLfTYM&feature=related

[MightyB]

I think it was a part of this tape and a small portion of the entire form, I believe, is found at the 8.33 mark or so:


http://www.youtube.com/watch?v=_FWndGLfTYM&feature=related

Does anyone know what the original tape this is from is called? I'd like to see the whole thing.

[YouKnowWho]

I loved this form because it had a great softness to it because it had Liuhe mantis in it--now I am wondering if this didn't come from the Zhang Xiang San line--

I believe most of the Zhai Yao form in Taiwan all came from Zhang Xiang San. Zhang was Liuhe mantis master but he didn't teach it until in his later year. I believe Adam Hsu was his 1st Liuhe mantis student.

[Yao Sing]

Is that Master Shr Zhengzhong I see in there? Never met him but looks like him and definitely, from what I've seen, moves like him.

[Yao Sing]

Can anyone identify the style of Mantis starting around 6:30 in the clip? I don't recognize the set but it looks a lot like Wah Lum style of Mantis. I'll have to watch it again.

[xiao yao]

zhi yao yi lu and er lu of taiji mantis performed by my teacher - zhou zhen dong

http://www.youtube.com/watch?v=cF6rQUa_Xpk&list=PLD29E2353AD36356E&index=5&feature=plpp_video

http://www.youtube.com/watch?v=9nfoi-tXgmM&list=PLD29E2353AD36356E&index=3&feature=plpp_video

and my first teacher zhai yao yi lu - zhang bing dou lineage

http://www.youtube.com/watch?v=7VeHHYDUE8c&feature=related

[18elders]

Yep, that is Master Shr

[Yao Sing]

He has a unique movement that both John and Kevin display. Probably you and Jim move like that now too. :)

[yu shan]

Yea Dave, Shi ZhengZhong does have a unique energy doesnt he. I aspire to be able to achieve this someday.

[Tainan Mantis]

I believe most of the Zhai Yao form in Taiwan all came from Zhang Xiang San. Zhang was Liuhe mantis master but he didn't teach it until in his later year. I believe Adam Hsu was his 1st Liuhe mantis student.

In Taiwan Some notable teachers that taught zhai yao
Zhang Dekui taught 7 sections of zhai yao.
Li Kunshan recorded 6 sections of zhai yao. His 6th section included the 7th section that Zhang Dekui taught.
Wei Xiaotang taught 6 sections of zhai yao.
Luan Xingfu taught 4 sections of zhai yao.

This is not a complete list. Later the students of these teachers continued to teach zhai yao in Taiwan.

[Tainan Mantis]

4:03 Shi Zhengzhong performs Luan Jie. That is iat Confucious Tempe where we used to train. Now, you have to pay to get in so we don't train there anymore.

Right after that clip are the grand disciples of Jiang Hualong. Jiang Hualong's student is on the original video (forget his name) but not on this particular clip.

I don't know that guy at 6:30, he is probably the only guy on the tape that I have no clue what he is doing. I think it is something that he made up.

[mooyingmantis]

Here is one of my favorite fighting principles taught in Zhai Yao Yi Lu, though I have modified it for my fighting approach:

http://www.youtube.com/watch?v=zjm7v8D2nDs&feature=youtu.be

Here is a description of the traditional technique:

Movement Twenty

燕 子 掠 水 - yān zi lüè shuǐ - Sparrow Skims the Water

Note: You and your opponent are both standing with the right foot as the lead.

Execute a left inward grab to the opponent's right arm and a right overturned palm strike to the opponent's face. When the opponent blocks the palm strike with the left hand, leak the left hand from underneath to grab the opponent's left wrist and follow with a right circle strike to the head.

[mooyingmantis]

Here are the three overt kicking techniques mentioned in the quan pu of the first section of the Summary series:

Movements Five & Eleven:

鴛 鴦 腳 - yuān yang jiǎo - Mandarin Duck Leg

Note: The Mandarin Ducks Leg is the most common kick of the Zhai Yao series.

In movement five, the Mandarin Duck Kick is used as the "finishing technique". After a series of punching combinations to the head, a low lead roundhouse kick is thrown to the opponent's groin.

It is also used as a means to break contact with the opponent. After the kick, the kicking leg is placed to the rear forming a Twist stance. From here the fighter can turn to face the opponent or simply run like hell in the opposite direction.

In movement eleven, the kick is used after a right circle strike to the opponent's head.

In his book Master Zhang Bingdou explains the kick this way:

If the enemy shifts the body to dodge or lifts a hand to block, the center area will reveal an opening.
Then I take advantage of the situation and use the foot to kick his crotch or abdominal area.

The above is my paraphrase of Zhang Bingdou's explanation of the technique in his book, Grand Ultimate Plum Flower Praying Mantis Fist, Upper


Movement Nineteen:

反 尖 脚 - fǎn jiān jiǎo - Reverse Point Leg

This is a cross between an outside cresent kick and an inverted roundhouse kick.

To execute the leg motion:
1. Lift the knee as high as possible to the front,
2. Rotate the lower leg inward and upward so that the big toe side of the foot faces the sky,
3. Snap the kick outward and upward on a diagonal plane to strike the opponent in the lower ribs or groin with the top of the foot.

Movement Twenty-four:

鳌 鱼 侧 身 脚 - áo yú cè shēn jiǎo - Aoyu Leans Body Kick

Note: The áoyú is a mythological creature that has the head of a dragon and the body of a fish. It is featured in Chinese art and can be seen in festival parades.

In the form this is a defense against a rear attack in which the opponent attempts a punch to your head.
Your response would be to pivot 90 degrees, capture the opponent's wrist with the right hook hand, lean away from the attack and kick the opponent in the groin with the right leg.

[Tainan Mantis]

鴛 鴦 腳 - yuān yang jiǎo - Mandarin Duck Leg


THis form contains two types of Mandarin Duck kick.
In the beginning of the form, the kick where you retreat after kicking is called
'ling xing yuan yang jiao' 'To apply Mandarin duck kick while departing'

The second is immediately followed by 'tan chui' 'seeking punch', which would make the punch, not the kick the 'finish.'

In most versions of Zhai Yao one, there is an opening kick where you jump forward. This kick was taught by Jiang Hualong, but not be Cui Shoushan. WHy? I don't know.

Li Kunshan, student of Jiang Hualong wrote manuscripts that both included it and that left it out.

[mooyingmantis]

In the beginning of the form, the kick where you retreat after kicking is called
'ling xing yuan yang jiao' 'To apply Mandarin duck kick while departing'

Kevin,

Would the characters for this be: 令 行 鴛 鴦 腳 ?



The second is immediately followed by 'tan chui' 'seeking punch', which would make the punch, not the kick the 'finish.'

Oops forgot that, thank you for the correction! :o

The kick baits the opponent to lower his guard, thus opening him up for the searching strike.


In most versions of Zhai Yao one, there is an opening kick where you jump forward. This kick was taught by Jiang Hualong, but not be Cui Shoushan. WHy? I don't know.

Li Kunshan, student of Jiang Hualong wrote manuscripts that both included it and that left it out.

Yes, I have also seen that in Meihua and HK Seven Star versions.

I left the initial kick out of the quanpu I posted, since my sources (Zhang Bingdou, Zhang Zhenyuan and Xia Shaolong) do not teach the kick at the beginning.

Thank you for your insights!

[mooyingmantis]

Here is the quanpu for the second road of Summary #1:

Movement Twenty-Two
偷 展 斜 身 盘 肘 - tōu zhǎn xié shēn pán zhǒu - Steal Open, Slant Body with Coiling Elbow

Movement Twenty-three
急 打 燕 子 投 井 - jí dǎ yān zi tóu jǐng - Quick Strike, Swallow Jumps into Well

Movement Twenty-four
起 身 鳌 鱼 侧 身 脚 - qǐ shēn áo yú cè shēn jiǎo - Raise Body, Aoyu Leans Body Kick

Movement Twenty-five
霸 王 甩 鞭 - bà wáng shuai biān - Overlord Swings Whip

Movement Twenty-six
回 身 翻 车 至 底 - huí shēn fān chē zhì dǐ - Turn Body, Overturn Chariot to the Bottom

Movement Twenty-seven
朝 天 一 炷 香 - cháo tiān yī zhù xiāng - One Wick of Incense Faces Heaven

Movement Twenty-eight
插 肘 - chā zhǒu - Thrust Elbow

Movement Twenty-nine
崩 点 变 玉 环 - bēng diǎn biàn yù huán - Crashing Dot Changes to Jade Ring

Note: The division of a set into "roads" is not always agreed on by every Master. But what I am posting is one valid means of dividing the set.

崩 点 - bēng diǎn - crashing dot: The Chinese character 点 refers to the brush stroke in Chinese calligraphy that is used to make a "dot". An example of this is the four dots seen at the bottom of the character 点. The movement in the form is simply a beng chui/bung cheui strike. I believe the choice of the term beng dian refers to the quick, snappy action used to "dot" the opponent's face with the strike. :)

[iunojupiter]

I love the second section of Zhai Yao. Almost knocked my buddy out a couple of times with the last move alone. I've got some weight to throw around, and that downward beng chui can get some good oomph behind it. Even blocked, it's going to move the target.
I also love just pulling someone around like a rag doll with all the hooking/pulling combos. It's not just enough to hit them, but to pull them into the strike... poetry in motion.

Cheers,
Josh

[mooyingmantis]

I love the second section of Zhai Yao. Almost knocked my buddy out a couple of times with the last move alone. I've got some weight to throw around, and that downward beng chui can get some good oomph behind it. Even blocked, it's going to move the target.
I also love just pulling someone around like a rag doll with all the hooking/pulling combos. It's not just enough to hit them, but to pull them into the strike... poetry in motion.

Cheers,
Josh

LOL! My kind of training partner. I wish we lived closer together. :D

[iunojupiter]

LOL! My kind of training partner. I wish we lived closer together. :D

Only a 10 hour drive, give or take.

[mooyingmantis]

In the first six sections of Zhao Yao we see that the Jade Maiden is busy in three different ways:

进 步 玉 女 绣 花 - jìn bù yù nǚ xiù huā - Advance Step, The Jade Maiden Embroiders

玉 女 过 桥 - yù nǚ guò qiáo - The Jade Maiden Crosses the Bridge

右 玉 女 穿 梭 - yù nǚ chuān suō - The Jade Maiden Works the Shuttle

Here are descriptions of the three Jade Maiden techniques:

Advance Step, The Jade Maiden Embroiders

Shuffle the left foot forward into a Small Hill Climbing stance and change both hands to double hooks. Twist the hands at head height till the right hook is forward and the left hook is in front of the neck. Step the right foot forward at an angle and twist the hooks till the left hook is forward and the right hook is in front of the neck. This is traditionally interpreted as an elbow locking technique, but it can also be used as a neck twisting take-down.

The Jade Maiden Crosses the Bridge

Circle both hands downward and to the right in a counter-clockwise circle to block a strike toward the stomach. Step the left foot forward and continue to circle the hands upward and to the left with double claws to block a strike toward the face. Step the right foot forward and execute a right augmented elbow strike. The double claws can also be a feign toward the eyes before the augmented elbow.

The Jade Maiden Works the Shuttle

From a Small Hill Climbing Stance, execute a left seal to the opponent's lead right wrist. Shuffle forward and strike the opponent's face with the right thrusting mantis claw.

[Tainan Mantis]

崩 点 - bēng diǎn - crashing dot: The Chinese character 点 refers to the brush stroke in Chinese calligraphy that is used to make a "dot". An example of this is the four dots seen at the bottom of the character 点. The movement in the form is simply a beng chui/bung cheui strike. I believe the choice of the term beng dian refers to the quick, snappy action used to "dot" the opponent's face with the strike. :)

I have been wondering if I should chime in on this point for a while now.
As to why is the character 'dian' used' you state that it is because of the term of refering to one of the strokes of calligraphy as 'dian'

This argument has a certain amount of merit.
But this character 'dian' is first seen used in terms of weapons such as spear.
THe habit of calling a strike by this word 'dian' appears to start in the Ming dynasty with a spear strike.

So does mantis follow calligraphy terminolgy or spear (or jian)?

To prove your point that the term comes from calligrpahy, the technique 'dian spear' or 'dian jian (straght sword)' does remind one of the calligraphy stroke.

OR maybe it is some other reason entirely...
While the character for 'dian' in common usage can mean to 'dot' something like you said,
it also means small.
And so in Mantis it seems to me more likely that 'dian' is used to describe a back hand that uses a 'small' power. Since the technqieus were described by students as they were applied to them, this might make sense.

THe teacher tells the student to strike, the students uses a 'small' force and the teacher shows the application. THen the students train it on each other.
LAter than night (or sometime later) the student, especially Cui SHoushan, writes it down for future.

OR it could be a combination of the two.
To understand better it would help to find the term 'dian' used by other martial cultures. So Far I do not know of any that do so.

ANyone?

[B.Tunks]

In my understanding it is the rapid concentration of a large amount of force on a small area (which may even result in putting a hole in that target). Kevin is right - it comes from sword terminology and is something like a flicking stab (but different from a thrusting stab - 'ci').

BT

[mooyingmantis]

Kevin & Brendan,

Wonderful insights! Thank you both for sharing!

[iunojupiter]

In my understanding it is the rapid concentration of a large amount of force on a small area (which may even result in putting a hole in that target). Kevin is right - it comes from sword terminology and is something like a flicking stab (but different from a thrusting stab - 'ci').

BT

And funny how putting a dot into a letter/character is like a flicking stab. :D

It's all perception and interpretation. In the end, I think that as long as you understand the intention behind your own description, you can call it/describe it however you like.

Sadly, we'll never know the original meaning behind the naming conventions, as we cannot interview the people that gave the names to the moves. We don't know what they meant, which leaves us discussing all these nifty ideas... which in a way, is helping us vocalize how we interpret the move and share our insights with each other.

Personally, I like the dot reference, because to me, it's like putting a period at the end of a sentence. I pull off this particular beng chui, my sentence is over. :D

Cheers,
Josh

[-N-]

Dian is not just a dot. There isn't really an english word that is a good translation.

Dian is its own thing. And you have to know it in terms of the feel of the brush stroke for creating a dian.

It is a small, quick, precise, and finesseful kind of stroke. There is a small initial contact followed by an accelerated spiral into heavier contact, which immediately lightens and trails off. Sometimes you are writing several dian in rapid succession.

In striking, dian is not crashing or penetrating with a lot of follow through. It is more like a feint that has surface contact. Then you can follow with a change in attack such as a kick.

Dian is more like a very precise touch. To the point that you are reading feedback even as you are applying the stroke or motion.

(In sword, if you dian the carotid artery, I suppose you don't really need a followup :) )

[-N-]

My impression is that both the brush stroke and the spear/sword stroke refer to the same concept of dian.

As for whether dian came originally from caligraphy or weapons...

[-N-]

(In sword, if you dian the carotid artery, I suppose you don't really need a followup :) )

Well ok, if you continue with the calligraphy theme...

You can dian to draw a reaction which you control to create an opening for piet, the 4th stroke here: http://www.chinavoc.com/arts/calligraphy/eightstroke.asp

[holymantis]

all i can say is again WOW.
you guys make it look so dam easy.................:(

[mooyingmantis]

Whether used as a brush stroke, sword strike, spear thrust, stepping action, or backfist strike, I think we all agree that the term refers to a quick, flicking type of short strike. Thus, each interpretation conjures the same frame of reference for understanding the nature of the strike. :)

Great discussion guys!

[mooyingmantis]

Here is the last part of the quanpu for Zhai Yao Yi Lu:

Movement Thirty
回 身 崩 点 变 玉 环
huí shēn bēng dian biàn yù huán
Turn Body, Crashing Dot Becomes Jade Ring

Movement Thirty-one
起 身 隔 肘 至 膝
qi shēn yòu gé zhì xī
Raise Body, Divide Elbow to Knee

Movement Thirty-two
海 底 取 宝
hai di qu bao
Take Treasure from Sea Bottom

Movement Thirty-three
进 步 玉 女 绣 花
jing bu yu nu xiù huā
Advance Step, Jade Maiden Embroiders

Movement Thirty-four
阳 钩 底 叫
yáng gōu di jiào
Yang Hook Provokes at the Bottom

Movement Thirty-five
插 捶 护 眼 打
chā chuí hù yan da
Insert Strike, Eye Protecting Strike

Movement Thirty-six
搓 掌 打
cuō zhang da
Rubbing Palms Strike

Movement Thirty-seven
闭 手 挺 身
bì shou ting shēn
Close Hands, Straighten Body

Movement Thirty-eight
玉 女 过 桥
yu nu guò qiáo
Jade Maiden Crosses Bridge

Movement Thirty-nine
左 封 右 崩 捶
zuo fēng yòu bēng chuí
Left Seal, Right Crashing Strike

Movement Forty
钩 打 掌 手 雷
gōu da zhang shou léi
Hook Strike, Thunder Palm Hand

Movement Forty-one
电 张 手
diàn zhāng shou
Lightning Spreading Hand

Movement Forty-two
霹 雷 掌
pī léi zhang
Thunder Palm

Movement Forty-three
顺 风 扫 叶
shùn fēng sao yè
The Wind Sweeps the Leaves

Movement Forty-four
仙 人 取 发
xiān rén qu fà
Immortal Takes Hair

Movement Forty-five
收 势
shōu shì
Gathering Posture

[mooyingmantis]

Mantis includes the four core concepts of fighting:
1. 打 - dǎ - Striking
2. 踢 - tī - Kicking
3. 摔 - shuāi - Throwing
4. 拿 - ná - Holding

Here are three examples of overt 擒 拿 - qín ná - seizing & holding techniques found in Zhai Yao Yi Lu:

Movement Seven
左 搓 捶 右 頓 肘
zuǒ cuō chuí yòu dùn zhǒu
Left Rubbing Strike, Right Stopping Elbow

The rubbing strike is used as a wrist locking or breaking technique.

Movement Thirty-three
进 步 玉 女 绣 花
jìn bù yù nǚ xiù huā
Advance Step, Jade Maiden Embroiders

This is a combined elbow/shoulder locking technique. It is similar to the shiho-nage technique of Aikido.

Movement Thirty-four
阳 钩 底 叫
yáng gōu dǐ jiào
Yang Hook, Provoke Bottom

This is similar to the kote-gaeshi technique of Jujutsu.

[Tainan Mantis]

Movement Thirty-three
进 步 玉 女 绣 花
jìn bù yù nǚ xiù huā
Advance Step, Jade Maiden Embroiders

This is a combined elbow/shoulder locking technique. It is similar to the shiho-nage technique of Aikido.

Movement Thirty-four
阳 钩 底 叫
yáng gōu dǐ jiào
Yang Hook, Provoke Bottom

This is similar to the kote-gaeshi technique of Jujutsu.

You are using something like these?
Aikido hands in shihonage (http://www.youtube.com/watch?v=1S9W9IQJkPg)

Aikido - KOTEGAESHI (http://www.youtube.com/watch?v=1S9W9IQJkPg)

[mooyingmantis]

You are using something like these?
Aikido hands in shihonage (http://www.youtube.com/watch?v=1S9W9IQJkPg)


No, this is Aikikai based Aikido. It is a more gentler approach. I am speaking of more combat oriented aikido. Early Yoshinkan Aikido would be closer to what I am talking about. Also, please note that I said "similar", not the same.

In the video you linked to, the circular motion is done on an almost vertical plane, like a waterwheel. In Jade Maiden Embroiders the circular motion is done on a more horizontal plane, like a millstone. Yet the effect on the structure of the shoulder joint is similar when the action is done violently.


Aikido - KOTEGAESHI (http://www.youtube.com/watch?v=1S9W9IQJkPg)

This link doesn't work. But please note that I didn't compare Yang Hook, Provoke Bottom to the kotegaeshi of Aikido. I compared it to the kotegaeshi of traditional Jujutsu. Which are two different methods. The closest comparison would be with the action used in the kotegaeshi of the upper level of Hakko-ryu Jujutsu.

Perhaps I am comparing golden delicious apples with jonathan apples, but at least I was still in the orchard. :)

[Tainan Mantis]

The link is working when I hit it.
It is interesting to see Mantis moves in other arts, but I did not follow these examples.

Maybe if you would supply the clip ( i know, it would take time).


In movement seven of Zhai Yao Yi Lu we find:

Movement Seven
左 搓 捶 右 砘 肘
zuǒ cuō chuí yòu dùn zhǒu
Left Rubbing Strike, Right Stone Elbow

The Chinese word, 砘 - dùn, refers to a farming tool. After a farmer or landscaper plowed a piece of ground, they would use a stone roller to smooth out the dirt. The stone roller was called a 砘 - dùn.

Where do you get that character? It is an interesting hypothesis, but I don't think we can label it as a fact just like that.

I went back and checked manuscripts from several different teachers, all use 頓
Cui Shoushan, Li Kunshan, Liang Xuexiang etc.

頓 this can mean to stop, or something that happens suddenly. But most important, it can mean to hit as in 頓腳, to stomp with the feet.

Or, when people are very angry they swing their head and stamp thier feet as in 甩頭頓足.-shuai tou dun zu

I would say that striking is more reasonable than the farming tool.

But, I am still with you, I haven't given up hope that some names of moves might be named after farming tools or rafting oars or methods to mount the horse etc.
Just don't think I can agree with this version. But would happy to look at evidence to the contrary.

[mooyingmantis]

Where do you get that character? It is an interesting hypothesis, but I don't think we can label it as a fact just like that.

I went back and checked manuscripts from several different teachers, all use 頓
Cui Shoushan, Li Kunshan, Liang Xuexiang etc.

頓 this can mean to stop, or something that happens suddenly. But most important, it can mean to hit as in 頓腳, to stomp with the feet.

Or, when people are very angry they swing their head and stamp thier feet as in 甩頭頓足.-shuai tou dun zu

I would say that striking is more reasonable than the farming tool.

But, I am still with you, I haven't given up hope that some names of moves might be named after farming tools or rafting oars or methods to mount the horse etc.
Just don't think I can agree with this version. But would happy to look at evidence to the contrary.

砘 肘 are the characters used at Zhang Bingdou's site here: http://www.chinatanglang.com/newsshow3.asp?id=100

Thank you for sharing the characters used by the past generations! :) I have revised my translation to reflect your research.

[mooyingmantis]

Below are three interesting techniques which have poetic names that mention thunder and lightning. After each quanpu I have given my paraphrase of Zhang Bingdou's description of each technique as found in his book, Taiji Meihua Tanglangquan, Shang

Movement Forty

钩 打 掌 手 雷 - gōu dǎ zhǎng shǒu léi - Hook Strike, Thunder Palm Hand

I use "Left Seal, Right Collapsing Strike" to strike the enemy's head area.
If the enemy lifts a hand to block, I follow powerfully downward to pluck his blocking hand's wrist or forearm,
Then I use my left hand to pluck and immobilize his elbow area.
Finally I use my right palm to strike his facial gate.

Movement Forty-one

电 张 手 - diàn zhāng shǒu - Lightning Spreading Hand

I use "Hook Strike, Thunder Palm Hand" to strike the enemy's facial gate.
If the enemy raises a hand to block, my right hand follows powerfully to grasp his blocking hand to the rear.
Then I use my left hand to strike his facial gate.

Movement Forty-two

霹 雷 掌 - pī léi zhǎng - Thunder Palm

I use "Lightning Spreading Hand" to strike the enemy's facial gate,
If the enemy raises a hand to block, I follow powerfully and move my left hand toward the left to pluck his blocking hand's wrist or forearm.
Then I use the right palm to chop his neck area.

[mooyingmantis]

Essentials #1 gives two examples for dealing with rear attacks. Like most effective defenses, they are short and sweet.

Raise Body, Aoyu Leans Body Kick - 起 身 鳌 鱼 侧 身 脚
The enemy attacks with his fist from the rear to strike my center area. I turn my body and use my right hand to pluck his incoming hand's wrist or forearm, then use my right foot to kick his crotch or abdominal area.

Turn Body, Overturn Chariot to the Bottom - 回 身 翻 车 至 底
If the enemy attacks from my rear, I use my left palm to chop his face gate. Then I use my right fist to chop strike his center gate.

We worked on this second rear defense technique in our last class as we practiced the Turn Body, Overturn Chariot to the Bottom, One Wick of Incense Faces Heaven, Insert Elbow and Crashing Dot Becomes Jade Ring combo.

I showed the students that it didn't matter if the enemy was creeping up on you, or if the enemy had already grabbed you with one hand. The first downward chop clears a path for the second downward strike to land. Also the combined turning, stepping and lowering the stance multiplies the force behind the downward strike. "Mount Tai Falling on the Head" is no joke in this example!

[mooyingmantis]

Movements Six & Thirteen

闭 手 挺 身 - bì shǒu tǐng shēn - Close the Hands, Straighten the Body

Here is a paraphrase of Master Zhang Bingdou's comments on the application of this technique:

The enemy uses a foot to kick my center area or uses a straight hand to strike my center area. I use both hands to follow powerfully afterwards to embrace, obstruct his incoming foot or hand, then return both palms to split strike his face gate.

When this movement is found in the many families of Mantis, it often acts as a pause at the end of a series of movements that form a combination or as an ending point to a form.

It works like a comma in a sentence or a rest mark in a measure of music. The practitioner pauses to compose himself with his palms "closing" his center gate, his posture straightened and his mind fully aware.

Like the mantis for which the style is named, the practitioner waits and assesses the situation before moving into the next series of motions.

Note: Master Wong Hon Fan refers to this posture as Ride the Tiger with Lifting Palms in his book series.

[xiao yao]

"Bi" is also one of the 12 keywords of taiji mantis

In our lineage that movement is also more than just a rest pose. The Bi is done with power, as it also serves as a block... can be done with both an upward or downward power (with a jolting power, that can be followed up with a strike)

[mooyingmantis]

"Bi" is also one of the 12 keywords of taiji mantis

It is also found in the keyword principles of Babu, Hao Jia and Mimen (Su Yuchang lineage).

Do you know how Master Zhou explains the "bi" principle?


In our lineage that movement is also more than just a rest pose. The Bi is done with power, as it also serves as a block... can be done with both an upward or downward power (with a jolting power, that can be followed up with a strike)

I believe that is true for all lineages that employ the technique. That is why I gave Master Zhang's application before my thoughts. :) It is certainly a valid self-defense technique.

[xiao yao]

He explained it as "closing your door", a defensive movement to protect yourself.

[mooyingmantis]

Recently, I was introduced to a version of Zhai Yao Yi Lu, that is similar to Luanjie in that it opens with five strikes rather than the commonly seen three strikes (Phoenix Pecks Three Times). It is practiced in at least one line of Hao Jia Taiji Meihua Tanglangquan.

Has anyone else seen this?

[iunojupiter]

I have two openings to Zhai Yao, both similar except for 1 movement, but then again, my sifu trained under Sun Deyao for a time, so that would explain the Hao like beginning. Zhai Yao as done by Zhang Bingdou is very similar to the Sun Deyao version as far as I can tell.

[xiao yao]

my shifu told me originally zhai yao started with a double outward circle with the hands and a kick, but song zi de got rid of it

[mooyingmantis]

my shifu told me originally zhai yao started with a double outward circle with the hands and a kick, but song zi de got rid of it

Interesting! That is still preserved in some Qixing Tanglangquan families.

Any idea why Song Zide changed it?

[mooyingmantis]

I have two openings to Zhai Yao, both similar except for 1 movement, but then again, my sifu trained under Sun Deyao for a time, so that would explain the Hao like beginning. Zhai Yao as done by Zhang Bingdou is very similar to the Sun Deyao version as far as I can tell.

I have seen the version taught by Master Sun Deyao. The beginning can be seen here:

http://www.youtube.com/watch?v=ghdxZ8SeKBE&playnext=1&list=PL716063EA4F530A9B&feature=results_main

The Haojia Taiji Meihua Tanglangquan version of Zhai Yao that I am currently learning and will be training in China begins with five movements:

pi chui - chopping strike
za chui - smashing strike
kuang shou da - frame hand strike
ye li cang tao - peach hidden under leaf
beng chui - collapsing strike

Though the first two moves admittedly are a modern addition, they certainly make sense in a combat setting.

[mooyingmantis]

Interesting post taken from Mantis Quarterly

Firstly, I should say I have studied Zhaiyao as passed down by descendants of Grandmasters Luo Guangyu, Lin Jingshan & Wang Chuanyi.

Prior to being able to answer such questions, it is essential to understand what Seven Star Praying Mantis Zhaiyao actually is (and is not).
With the assistance of the footage on the internet we can demonstrate this quite easily.

The following videos are examples of Seven Stars First Road Abstraction (Yilu Zhaiyao)
https://www.youtube.com/watch?v=CNS7hDxQVi0
https://www.youtube.com/watch?v=AjNLR7FlcAI
https://www.youtube.com/watch?v=SxNS1xBhHnI
https://www.youtube.com/watch?v=KqS1uprXNj4
https://www.youtube.com/watch?v=3p01mznPa-k

Seven Stars First Road Abstraction (Yilu Zhaiyao) is not the following; (This is Meihua (Plum Blossom) Zhaiyao – Please note: This was labelled as Plum Blossom Mantis as early as the 1960’s by GM Lin & GM Wang.
https://www.youtube.com/watch?v=q17ZSEep2Os
https://www.youtube.com/watch?v=FsM5...=results_video

Yilu zhaiyao is so similar! How can we distinguish between what is Seven Stars and what is Plum Blossom?

In general we can say:
If it starts with a kick (Yingmen jiao) and ends with a penultimate Shunfeng saoye/Mopan shou = Seven Stars PM

If it starts with a punch and ends with penultimate Yeli canghua = Plum Blossom PM

Seven Stars Second Road Abstraction (Zhaiyao):
https://www.youtube.com/watch?v=-yIqBvsIvt8
https://www.youtube.com/watch?v=7jPThE4mk7Y

Seven Stars Second Road Abstraction is not this:
https://www.youtube.com/watch?v=F9_GIgSBPxU
The above should be called Northern Praying Mantis Zhaiyao.

Seven Stars Third Road Abstraction
https://www.youtube.com/watch?v=gw8IFuhn_eo
https://www.youtube.com/watch?v=5J8Bc2kf3Ww
https://www.youtube.com/watch?v=5jNHqE73fVk
https://www.youtube.com/watch?v=scpeQXsjVHE

Seven Stars Third Road Abstraction is not the following:
https://www.youtube.com/watch?v=_u-ywUcB54I (This should be called Northern Praying Mantis Zhaiyao).

I do not have the time or space to tell everything about Seven Star Zhaiyao however, I would like to share with you all some facts about Zhaiyao in recent times.
-----------
Main Sources
- Unpublished manuscript of Great Grandmaster Wang Yunsheng, 1900.
- Unpublished manuscript of Grandmaster Wang Chuanyi, 1960.
- Interviews conducted with students and disciples of Grandmaster Lin Jingshan (1885-1971) & Grandmaster Wang Chuanyi (1900-1971).
--------------
During the 1960’s those such as Master Zhong Lianbao asked Grandmaster Lin to teach them Zhaiyao. GM Lin refused; saying that he did not know all six zhaiyao! Later in 1969 when GM Wang Chuanyi returned to Yantai from Dalian, a small group of them were accepted by GM Wang to study Zhaiyao. At that time it was a well-known fact that he had learnt all six abstraction forms from his grandfather Wang Yunsheng. The small group of students included Zhong Lianbao, Yu Tianlu, Wang Zonglin and so on. In a very short time they learnt all six zhaiyao forms thus; what GM Wang taught them was an abridged version, making some alterations to the forms and not instructing them in how to use it. Some of those present just studied the first four sets and later acquired the last two from their classmates.
In conclusion the six zhaiyao sets of seven star mantis are extremely rare and in China today are taught only in Yantai & Dalian – all of which have been handed down by Grandmaster Wang Chuanyi.

I hope this information helps,


J Rodriguez (Wang Mengyi)

www.kuidetang.co.uk

[mooyingmantis]

Here are four examples of the 勾 摟 采 - gōu lōu cǎi - hook, embrace and pluck theory found in Zhai Yao Yi Lu:

Movement Fourteen

爬 山 手 - pá shān shǒu - Climb Mountain Hand

Step the left foot forward into a Seven Star step with a right hook, left grapple hand and a right thrust palm strike. The thrust palm strike is meant to trip the opponent over the left ankle.

Movement Eighteen

白 猿 偷 桃 - bái yuán tōu táo - White Ape Steals Peach

From a right Cat stance/Tiger Riding stance, shift forward and execute a right hook hand. Step the left foot forward with a left grapple and right hair grab. Lift the right leg and pull both fists to the rear at shoulder level.

Movement Twenty-One

双 封 锁 口 捶 - shuāng fēng suǒ kǒu chuí - Double Seal, Lock Mouth Strike

From a right Hill Climbing stance, execute a right hook, left grapple and right strike to the jaw or throat.

Movement Forty-four

仙 人 取 发 - xiān rén qu fà - Immortal Takes Hair

From a right Hill Climbing Stance, execute a right hook, a left seal and a right hair grab. Step the right foot to the rear and pull the opponent to the ground.

Note that 摟 is translated variously as: embrace, grapple and seal in the above examples.

[mooyingmantis]

Movement Eighteen

白 猿 偷 桃 - bái yuán tōu táo - White Ape Steals Peach

"From a right Cat stance/Tiger Riding stance, shift forward and execute a right hook hand. Step the left foot forward with a left grapple and right hair grab. Lift the right leg and pull both fists to the rear at shoulder level."

Since most societies, if any, no longer wear a queue or topknot and many wear their hair short or bald, I teach a modified version of this technique.

Both practitioners start with the right foot in a lead position.

1. I contact my opponent's lead right wrist with my right hook hand.

2. Then, I contact my opponent's right lead elbow with my left palm to press his elbow against his body.

3. Next, the palmar surface of my right hand slaps against the opponent's right ear in preparation for grabbing his ear. This action can rupture the opponent's eardrum.

4. I rotate my right fist clockwise so that my palm faces downward while still gripping my opponent's ear. His head should rotate so that the right side of his face is pointing toward the sky due to the pain.

5. I jerk my right hand to my right side at shoulder height while raising my right knee to intercept his left lower ribs.

Of course, this must be practiced slowly and cautiously with a partner. Severe injury to the inner ear, outer ear, neck and ribs can result.

With practice this technique can be completed in less than a second against an attacker.

[mooyingmantis]

Here is a simple drill taken from Zhai Yao Yi Lu (and Meihua Lu) that we practice at Mantis Masters Academy:

http://www.youtube.com/watch?v=FMqmvY4xuyc

[MightyB]

pressure the foom sau and especially the bung choi just a skosh longer, then release the kick. Completely eliminates their ability to counter.

[mooyingmantis]

pressure the foom sau and especially the bung choi just a skosh longer, then release the kick. Completely eliminates their ability to counter.

Agreed!

They purposely did the moves very slowly, so others could see each move.

This drill allows the partner to practice leaking and gua tong chui. So both benefit. :)

[Mi Hou Tao]

We also have 6 zhai Yao forms in the Lin Bo Yan - Koh Kim Kok - Kai Uwe Pel line, although I have heard the last three referred to by different names.

[mooyingmantis]

We also have 6 zhai Yao forms in the Lin Bo Yan - Koh Kim Kok - Kai Uwe Pel line, although I have heard the last three referred to by different names.

Thank you for the information!

Six seems to be the "magic number" for this series. Though some have a seventh, while others now combine the seventh into the sixth section. Usually the "seventh" section involves ditangmen (ground fighting).

[xiao yao]

what do you mean the last three are known by other names? i have never heard any other names except zhai yao

[mooyingmantis]

White Ape Steals the peach demonstration and application:

http://www.youtube.com/watch?v=DmS2ufUUQEs&feature=youtu.be

[mooyingmantis]

Climb Mountain Hand, Steal Underneath with Lower Leak & Circle demonstration:

http://www.youtube.com/watch?v=L-_8Taf1teQ&feature=youtu.be

[iunojupiter]

I like to add a slight pull shuffle to the right when I do the hook punch. Gives you the opportunity to sweep through to the opposite leg if they lift the leg you've got hooked. Gives me a little more bang for my buck.

Cheers

[18elders]

seen this in ba fan shou, it is an old chinese martial arts style, many moves from mantis are in it. i think it originated in shandong and pre dates mantis.

[mooyingmantis]

Interesting info guys!

Here is a video of drills we do for moves 9 - 11:

http://www.youtube.com/watch?v=gZLBlE1LGRc&feature=youtu.be

[18elders]

on defense 1- try hooking second punch with right hand, gwa block incoming hook as you punch opponents face with right hand.

the defender is leaning his head into the incoming hook, not a good idea imho.

just my thoughts.

[mooyingmantis]

on defense 1- try hooking second punch with right hand, gwa block incoming hook as you punch opponents face with right hand.

Sounds like a plan! Thanks!


the defender is leaning his head into the incoming hook, not a good idea imho.

Yes, we practice the techniques up close and personal. I want the bob to just be low enough to pass under the hook and I want the defender to be close when striking the opponent's ribs with Peach Hidden Under the Leaf.

Thanks for your feedback! :)

[iunojupiter]

Maybe I'm not seeing it, but the movements 9-11 you showed in the video do not look familiar. Are you doing them in a different manner?

Cheers

[mooyingmantis]

Maybe I'm not seeing it, but the movements 9-11 you showed in the video do not look familiar. Are you doing them in a different manner?

Cheers

Good eye!

Yes, we are doing the movements in a little different manner than the Taiji Meihua Tanglangquan version of the form you may be familiar with via Zhang Bingdou. The Hong Kong Qixing Tanglangquan version of the form uses a right Hill Climbing Stance for movements 9 - 11. We also omit the stepping forward of the right leg with the right punch in the drill.

The movements that we are drilling can be seen at 00:13 - 00:14 here:

http://www.youtube.com/watch?v=SxNS1xBhHnI

Later, my students will also drill the form in the Taiji Meihua Tanglangquan manner.

[iunojupiter]

Ah. I see it now. It looked similar, but with a different focus on the technique. My ignorance of other mantis styles comes out in situations such as this :(

Looks good. I think I like the TJMH method better, but then again, I'm biased :D

Your son is looking good. He's shaping up to be a fine young Mantis Boxer


Cheers,
Josh

[mooyingmantis]

Ah. I see it now. It looked similar, but with a different focus on the technique. My ignorance of other mantis styles comes out in situations such as this :(

Looks good. I think I like the TJMH method better, but then again, I'm biased :D

Your son is looking good. He's shaping up to be a fine young Mantis Boxer


Cheers,
Josh

The TJMHTLQ method rocks too! It just has a different strategy than the HK QXTLQ version. The HK QXTLQ uses a continual pressure on the enemy, while the TJMHTLQ version has a "give and take" pressure.

Thanks for the comment on my son! The video of him was from over a year ago. He is much bigger and stronger now. :)