By Mason Tong
I had the honor of showcasing this form using a miaodao (苗刀) at Tiger Claw’s Masters’ Demo on March 7, 2023. The Xingyi Lin Wan Wu Shing Dao “Form-Intention Five Elements Linked saber” was the last form taught by Wong Jack Man (黃澤民, 1941 - December 26, 2018) before his retirement on December 28, 2005. My hope is to fulfill a charge given by Sigung Wong to his students: to pass along his lessons and the traditions. These are my teachers to whom I owe my deepest gratitude.
Sifu William Dere, my first official teacher in Taijiquan (太極拳, Tai Chi Chuan, “supreme polarity fist”), and Sifu Frank Lum, my Neigong (內功, “Internal energy development”) and Tuishou coach (推手, “push hands”), were among those who returned with others from the original “880” group when answering Sigung Wong’s invitation back to Fort Mason, San Francisco.
Although not the only time he had shown it to his students, Sigung Wong emphasized the importance of sharing all his lessons to future generations while teaching the form during those last few days. My martial uncle, Sibak Robert Louie, recounts how Sigung Wong was like a father to them; this form among many others and his teachings, were very precious and they all took the call to teach very seriously. He helped connect my Xingyiquan practice (形意拳, Hsing I Chuan, “form-intention fist”) back to the sword form and his extensive research on the form contributes heavily to this article. I would get further influence and direction from Sifu Bryant Fong, who accepted me as a sixth generation disciple in Liang Style Baguazhang (八卦掌, “eight trigram palm”) in April 2019.
The coaching, mentorship, and the teaching of all those who came before me underscores Sigung Wong’s legacy. Although I missed the chance to meet him myself, with their tutelage, I am able to have a small part in preserving this form and its history.
The Form-Intention Five Elements Linked Saber
I learned the Xingyi Lin Wan Wu Shing Dao first in UC Berkeley where Sifu Dere was teaching Cal Taiji in the Spring Semester of 2015. By this point, I had already started learning Taijiquan with him in 2011. Notably, this was the first sword set I ever learned, even before the jian (劍, straight sword) or dao (刀, saber) which were typical of most Taiji practices. When asked about its origins, all my teachers shared how Sigung Wong explained it came from General Qi Jiguang (戚繼光, November 12, 1528 – January 17, 1588) of the Ming Dynasty (大明, 1368–1644).
Note that the form as taught by Sigung Wong was not with a miaodao. I was told at the time, Sigung Wong would use a bokken, the Japanese wooden sword identified with kendo. I was recommended to try the form with the large miaodao by both Sifu Dere and Sifu Fong. This is where the first mystery of the form and sword arise: what was the original practice sword?
General Qi Jiguang’s Treatise
Although there does not exist a written manual, General Qi’s known instructional documents, the Jixiao Xinshu (“New Treatise on Military Efficiency” 練兵實紀) written in 1560 and Lianbing Shiji (“Record of Military Training” 練兵實紀) from 1571, offer some clues with some points of discernment. General Qi’s manuscripts focus on troop deployments, notably the Mandarin Duck formation and various tactics employed against wokou pirates (倭寇). There are depictions and references to martial arts and the use of long sabers, or changdao (长刀) of the Ming Dynasty. It should be remembered that the miaodao is the Republican era (1912) iteration on the Chinese long saber and should not be confused with weapons on hand for General Qi. Furthermore, others theorize that General Qi employed tactics based on the Japanese nodachi, studying a Kage-ryu manual, and that he instructed his troops by observing the wokou pirates, whose ranks included katana-wielding raiders among other cultural groups and not solely Japanese. Regardless, term for the wodao (倭刀), or “Japanese sword,” owes its namesake for swords developed in China and based on Japanese influences. Some legends take this stance that General Qi’s practices were adapted from watching the wokou pirates.
Regardless, the changdao is found in the section Quanjing Jieyao Pian, “Fist Cannon and the Essentials of Nimbleness.” General Qi mentions “The Golden Rooster: stand on one leg and cock the head askew;” “The Ambush Crouch posture: it is like using the hunting bow to lie in wait for a tiger;” and “Change to a lower position and momentarily take the single whip stance,” which show up in the form.
Some may cite these as Taijiquan movements, but General Qi predates 17th Century Taijiquan, so it is unlikely his reference. Secondly, those movements are not mutually exclusive as Taijiquan overlaps with Xingyiquan, both being classified as “internal” martial arts. The assertion here from my teachers is to understand the past to inform the present: Stances and moves could be similar, but we must look to their context to understand their use.
Some legends credit another famous general as Xingyi’s originator: Yue Fei (岳飛, March 24, 1103 - January 28, 1142) of the Song Dynasty (960–1279). This could substantiate a Xingyi influence on the form, possibly even hinting at adaptations of a zhanmadao (斬馬刀), the known long saber of the Song Dynasty. However, we must acknowledge Xingyi’s earliest manuscripts date to Ji Jike (姬際可, 1588–1662) and 18th century writings by Dai Longbang (戴龍邦, 1732–1801). Do these complicate the transmission?
No, as General Qi is the commonality in each of these situations. Even if the form was not transmitted directly through Xingyi, we know that General Qi employed the use of the sword and made it his own.
The Xingyi Graft
Whether or not the form predates 17th Century Xingyi, there is no problem with the form being grafted into Xingyi after the fact. The assertion here from my teachers is to understand the past to inform the present: Stances and moves could be similar, but we must look to their context to understand their use. Weapons and techniques can be grafted into the use of existing systems and become a part of the style methodology.
General Qi’s contemporaries would have been alive for the known origins of Xingyi if we observe its earliest known manuscripts. Chinese martial arts have a long history of weapons and techniques that cross-pollinate with other styles across dynasties, as evidenced with the aforementioned dao and jian in nearly every known Chinese martial art. These swords were adopted and had principles of their respective styles applied to them. Lastly, whether the form came from Japanese influence or not is irrelevant. As a military tactician, General Qi would not have tried to beat the wokou pirates at their own game. He would seek to understand his opponent, learn from them, and then incorporate countermeasures, which is exactly what his manuals depict. My teachers assert that we could trust that the current form is meant to be efficient and pragmatic, by design of General Qi’s changdao deployments.
Regarding transmission to Sigung Wong himself, one should consider his Xingyiquan lineage. Grandmaster Wong studied with Yan Shang Wu/Yim Sheung Mo (嚴尚武 1882 - 1971), the famous “Iron Head,” who learned from “Iron Palm,” Gu Ruzhang (顾汝章, 1894–1952). Both practiced Xingyiquan in addition to Northern Shaolin. Their practice traces back to Sun Lutang (孫祿堂, 1860-1933) who studied at the Kuoshu Military Academy and was very familiar with General Qi’s tactics, writings, and legacy. This is not to assert that Sun was a direct holder of the form but rather give credence that he and others in Xingyi would have been in the perfect environment for the form to be examined, analyzed, and shared. The Xingyi Five Element Saber (Wu Shing Dao) of the Republican era offers additional context. Also known as the two-handed Yang Style Taiji cavalry saber, Sigung Wong said the form can also be performed with this weapon. By this reasoning, General Qi’s techniques with the changdao likely underwent iteration or at least rediscovery here. It is also the prime location for the miaodao to be adopted by the form as well as the transmission of its Xingyi practice into the modern era.
Xingyi of Wong Jack Man
Sigung Wong learned from Yan Shang Wu/Yim Sheung Mo (嚴尚武, 1882 - 1971) “Iron Head.” His teacher was Gu Ruzhang (顾汝章; Gù Rǔzhāng 1894–1952) “Iron Palm.” Sun Lu-tʻang/Sun Lutang (孫祿堂, 1860-1933) taught Gu Ruzhang. Guo Yunshen (simplified Chinese: 郭云深; traditional Chinese: 郭雲深; pinyin: Guō Yúnshēn) (1829 - 1898) is accredited as Sun Lutang’s Xingyi teacher. Guo Yunshen learned from Li Luoneng (李洛能, 1807–1888)
Transitioning into legend and speculation, Li Luoneng learned the internal martial art of Xinyiquan (心意拳 Heart and Intention Boxing) from Dai Wenxiong, son of Dai Long Bang (戴龍邦, 1732?–1801) from Hebei to make known Xingyiquan. Following legend, whether they were father and son or brothers, the Dai family says their teacher was Cao Ji Wu (曹繼武, 1662-1722), a Chinese master of the internal martial art of Xinyi (Heart and Intention Boxing), the precursor of Xingyi (Form and Intention Boxing) and student of Ji Jike. Ji Jike (姬際可, 1588–1662) was a highly accomplished martial artist from Yongji, Shanxi Province. He was also known as Ji Longfeng (姬龍峰). According to accepted theory, he is widely considered to be the originator of the internal martial art of Xinyiquan and effectively Xingyiquan.
Regarding practice today, the form has all five of the classical Xingyi elements (Wu Shing a.k.a. Wu Xing 五行). The forward thrust emphasizes wood; the rending and splitting cuts are metal; the twisting and coiling are water; the upward and outward strikes are fire; and the winding, sideways parries hidden between the thrusts are earth. In addition, several of the Xingyi Twelve Animals (such as turtle or water lizard, horse, rooster, and dragon) serve as transitions which link the form together.
A practitioner should develop said internal power by way of open palm training first. From there, one would learn the five separate elements with the sword individually as drills (of note, a wooden bokken is a suitable learning tool before a metal weapon for safety). Following that, linking the standalone five elements into a continuous set (Lin Wan a.k.a. Lian Huan 連環) builds the transitions and mobility. Finally, the form itself can be practiced: the movements are long, covering about 20 feet or more, which matches the intent to advance on spears and other long weapons. The form is guided by whole body movement and demonstrates principles of internal practice to make a concise, effective, and thorough set of battle-ready movements.
Tracing the roots of the Xingyi Lin Wan Wu Shing Changdao, I sought to understand it and to faithfully reproduce what Sigung Wong had left behind. What I found was validation of a wonderful truth: Chinese martial arts are much more than sports or exercise; they are our culture and legacy. The changdao form’s origins and purpose were just as important as learning the movements themselves. It is my hope that these words convey even a small part of what Sigung Wong imparted to my teachers. To them, I humbly dedicate these efforts. So the charge carries on: Share our traditions, history, and lessons for future generations.
The Xingyi Lin Wan Wu Shing Miao Dao “5 Elements Linked Miao Dao form” was the last form taught by Grandmaster Wong Jack Man 黃澤民 (1941 - December 26, 2018) before his retirement in December 28, 2005 and closing his practice at Fort Mason, San Francisco. Sifu William Dere and Sifu Frank Lum were among those present who returned in the early 2000’s with others of the original “880” group to attend. I learned this first in UC Berkeley through Cal Taiji, where Sifu Dere was teaching in 2015, and continue to receive coaching with him, Sifu Bryant Fong, Sifu Frank Lum, and my martial uncle, Sibak Robert Louie to faithfully showcase this precious heritage piece.
This form has all 5 of the elements (fire, earth, water, metal, and wood) in it with some of the 12 animal movements (such as turtle, horse, and dragon) as transitions to link them together. The Miao Dao is used as an implement with whole body coordination and principles of internal practice to make a concise, effective, and thorough practice.
Proper practice in open palm Xingyi (“Mind Intention Fist” Xingyiquan) is important first to develop power not from external but internal principles. From there, learning the 5 separate elements (Wu Shing) individually are required practicing with the weapon itself (often using a wooden bokken to substitute first the full, metal weapon). Following that, linking the standalone 5 elements into a continuous practice (Lin Wan) builds the transitions and mobility. Finally, the form itself (the Lin Wan Wu Shing Miao Dao), which can be seen here covering a huge space (easily over 20 feet), can be pursued.
References
Jixiao Xinshu “New Treatise on Military Efficiency” (練兵實紀), Qi Jiguang, 1560.
Lianbing Shiji “Record of Military Training” (練兵實紀), Qi Jiguang, 1571.
“Xingyi Fist and Weapon Instruction” Huang Bo Nien, 1928
“The Xingyi Quan of the Chinese Army” Dennis Rovere, 2008
Author:
In 2010, Mason began formal instruction with Sifu William Dere at Cal Berkeley in taijiquan (taiji/tai chi) and is currently on staff as an instructor for the UC Martial Arts Program. Mason developed under his Neigong coach, Frank Lum, deepening his understanding of soft energy work. In April 2019, Mason Tong was accepted as a disciple of Sifu Bryant Fong becoming a 6th generation legacy holder of Li Ziming Baguazhang. Today, Mason pursues Taiji, Bagua, and Xingyi with a keen interest in health, wellness, and tradition. He has found a focus in sharing these treasures with the larger community and through the UC Berkeley Martial Arts Program.
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