YANG STYLE TAIJI SABER ACCORDING TO FU ZHONGWEN

Posted on J anuary 17, 2014

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TAIJI SABER

as demonstrated by Fu Zhongwen and written by Cai Longyun
[published by The Peoples Physical Education Press, June, 1959]
[translation by Paul Brennan, Jan, 2014]
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CONTENTS

Preface

Taiji Saber Training Principles

Taiji Saber Poem

Taiji Saber Movement Descriptions

List of Taiji Saber Applications

Pretend Combat Drills for Taiji Saber

Postscript
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PREFACE

19589
Chinese martial arts exercises consist of a great variety of boxing systems, of which Taiji Boxing is but one. Within
Taiji Boxing, there are the exercises of the boxing set, sword, saber, spear, pushing hands, and large rollback.
Although these things are distinct in terms of posture, they nevertheless share common characteristics, such as
hardness within softness or like a needle wrapped in cotton and continuity without interruption or flowing
on and on ceaselessly.
Brennan Translation
In this century, the masses have endorsed such characteristics by combining health care requirements with a
transcendence of mere martial ways to move in the direction of therapeutic fitness. It has since been scientifically
verified that Taiji Boxing exercises are very effective therapeutic fitness, which explains why Taiji Boxing has
developed in this direction.
Due to the Partys embracing and promoting of martial arts in the last few years, there has been unprecedented
development of Taiji Boxing exercises, and the masses are now participating in it more and more every day. In
response to public demand for Taiji Boxing reference materials, we have written this book.
I learned from uncle Yang Chengfu since I was child, and therefore received a more systematic training in the
various exercises of Taiji Boxing, but on the other hand I have consequently suffered from a lack of writing ability,
and so I had hitherto not been able to contribute anything. I have recently met Cai Longyun, who is an instructor
like me for the Shanghai Martial Arts Team, and who has given me help with the writing in order to complete this
book. I hope that readers who notice inaccuracies within the book will offer corrections in order to further
improve it.
written by Fu Zhongwen in Shanghai, Sep, 1958
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TAIJI SABER TRAINING PRINCIPLES

When practicing Taiji Saber:

1. Your head must not lean forward, back or sideways. You must tuck in your chin and straighten your headtop, as
though there is something on your head, your headtop bracing upward. But by all means avoid the error of
stiffening your neck when pressing up your headtop and pulling in your chin. Therefore when your head presses
up, you should pay that much more attention to loosening the muscles of your neck, as in forcelessly press up
your headtop. Your eyes should look straight ahead and should not appear to wander during the movements.
Your mouth should be naturally closed. Your tongue should curl upward to touch the upper palate. Exhale with
your mouth and inhale with your nose, as is natural.

2. Your body must be upright rather than leaning, and your spine and tailbone must be straight and not askew
However, this does not at all mean your body is to be rigid or is even slightly without agility. As you transition
through the movements, there must be the adjustments of containing your chest and plucking up your back, and
of sinking your shoulders and turning your waist, as Yang Chengfu continues in On Practicing Taiji Boxing:
When alternating between opening and closing, there should be the lively use of containing your chest and
plucking up your back, and of sinking your shoulders and turning your waist. Right from the beginning of the
training, these concepts need to be given attention. Otherwise even after a long time it would be difficult to change
your habits and you would be stuck in a state of stiffness. No matter how deep your skill, it would then hardly be
beneficial or even applicable.

3. The joints and muscles of you arms must loosen. Your shoulders should be loose and sunk, and your elbows
should hang down and be constantly bent. The palm should be slightly spread, and the fingers should be extended
but slightly bent.

4. You must distinguish between emptiness and fullness in your legs. When your body weight is shifted onto your
left leg, your left leg is full and your right foot thus touches the ground emptily. The reverse would of course be
right full and left empty. Emptiness does not mean an intention of nothingness, for the posture does not go all the
way to that point but maintains room to alternate between expanding and contracting. Fullness does not mean a
fierce effort or an excessive exertion, simply substantiality. When you bend a knee into a squat, a slight squat is all
that is required. If you bend a knee all the way into a half squat, there will be some excessive exertion, and you
may also easily end up leaning forward and losing your balance, violating the requirement of neither lean nor
incline.

5. The advance and retreat of your feet should lift and lower like the steps of a cat, lifting nimbly and coming down
lightly. When kicking, the top of the foot should flatten, toes pointing forward, but the foot should be loose rather
than stiff, and the kick should come out slowly.

6. You should be in a state of tranquility, causing your mind to gather within. Your spirit should be present
throughout the intricacies of every movement and should not fixate over any particular aspect. The exercise will
thereby be lively and the training will be valuable.

7. You must maintain naturalness of breathing and should not allow the movements to influence or impede
normal breathing. Although the breathing is the same for the saber set as it is for the boxing set the deep
breathing of energy sinks to your elixir field you should not be at all restrictive in the beginning, for it will only
work if you do ordinary belly breathing, and you should not fixate on the rise and fall of your diaphragm.
Otherwise your breathing will be unnatural, your movement will be unnatural, and it will be harder to coordinate
breath and movement.

8. You must move with a rounded and lively power rather than a stiff and awkward strength. A rounded and lively
power is the natural condition of your body and limbs, allowing your tendons and joints to be fully relaxed. This
complete relaxation is not the same as the slackening that comes from exhaustion, rather it is the lowest amount
of strength produced by the movements and lowest amount of tension supported by the skeletal structure.

9. The movements must be a continuous process, flowing without pause. Your body and limbs should be
coordinated above and below, operating as one and then the more integrated your saber techniques, hand actions,
and footwork will be, as in: When one part moves, every part moves. By all means avoid the errors of moving the
hands without there being any action in your legs or moving the saber without there being any action in your
arms. Additionally, you have to link every movement as they precede and follow each other so that the entire saber
set from beginning to end becomes as though a single movement without pause or discontinuity. Even though
there are some places that demand a slight pause, it is merely a way of describing an intention of deceleration,
not at all an intention of actually coming to a brief halt.

10. It should be slow rather than fast. However, slow does not mean pausing or stiffening. Because of this issue of
the speed, you must avoid an appearance of stiffness or coming to a halt. Maintain a constant speed throughout,
neither suddenly speeding up nor suddenly slowing down.
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TAIJI SABER POEM

BIG DIPPER and SITTING TIGER are followed by EXCHANGING THE SABER.
ALWAYS AT THE READY, SUDDENLY EXPAND, rousing mind and energy.
LOOK LEFT & RIGHT, then SPREAD APART TO BOTH SIDES.
WHITE CRANE SPREADS ITS WINGS with a five-element palm.
WIND ROLLS UP THE LOTUS LEAVES, then store inward.
MAIDEN WORKS THE SHUTTLE deals with all directions.
THREE STARS POSTURE, then open and close, and TAKE CHARGE OF THE SITUATION.
DOUBLE KICK, then perform FIGHTING TIGER POSTURE.
DRAPE THE BODY, hanging at an angle, then perform MANDARIN DUCK KICK.
GOING WITH THE CURRENT TO PUSH THE BOAT, use your iron staff like a punting-pole.
LOWERING, ENGAGE THREE TIMES, moving with fluency.
SWIM TO THE LEFT & RIGHT, then LEAP THE DRAGON GATE.
BIAN HE CARRIES THE STONE, then the PHOENIX RETURNS TO ITS NEST.
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TAIJI SABER MOVEMENT DESCRIPTIONS

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

Movements:

1
1. Facing south, your feet stand shoulder width apart. Your left hand holds the saber handle, the tigers mouth
facing downward, thumb to the outside, fingers to the inside. With the back of the saber touching your forearm,
the edge facing forward, the tip pointing upward, it is held at the left side of your body. With the fingers naturally
relaxed and the thumb angled forward, your right hand hangs at the right side of your body. With your gaze
straight ahead, you are standing properly in the posture of holding the saber. See photo 1:

2
2. Your left hand circles the saber to the left, upward, and in front of your chest, elbow bent, and once in front of
your chest, the center of the hand is inward. Your torso goes along with the movement by slightly turning to the
left, your gaze now to the east. At the same time, your right knee bends into a slight squat and your left foot shifts
a half step to the east, knee bent, ball of the foot lightly touching down. The weight is on your right leg, making an
empty stance of left foot empty, right foot full. As your left foot steps out, your right hand becomes a fist, elbow
bending, and draws back to the right side of your waist, the center of the fist toward your body, the fist eye facing
upward. See photo 2:

3
3. Without pausing in the previous movement, your torso turns fully to be squared to the east. Your left foot fills,
the knee bending into a light squat, and your right foot steps forward, knee bent, ball of the foot lightly touching
down. The weight is on your left leg, making an empty stance of right foot empty, left foot full. As your right foot
steps forward, your right fist extends forward under your left hand, the fist eye facing upward, elbow slightly bent,
with your left hand continuing to hold the saber handle as before [and appearing to move somewhat forward with
your right hand due to the leftward turn of your body]. The saber handle and your right fist are crossed with each
other above and below [with the handle on top]. Your gaze is still to the east. [You are now in the Big Dipper
posture.] See photo 3:
4
4. The previous movement comes to a slight pause. (This is a pause-without-pausing kind of pause, and this will
be the case in all cases of pause below.) Your right foot steps back, the knee bends into a slight squat, your right
fist at the same time becoming a palm and sinking down in front of your body [as your torso slightly turns to the
right]. See photo 4:

5
5. Without pausing in the previous movement, your torso shifts back so the weight is on your right leg, your left
foot at the same time lifting up and touching down lightly with the ball of the foot, making an empty stance of
right foot full, left foot empty. Your right palm continues downward and circles to the right and upward, elbow
and wrist bending into a semicircle, until raised in front of your head, palm upward. At the same time, your left
forearm, pivoting at the elbow, arcs upward and forward so the center of the saber-holding hand is facing to the
right, tigers mouth facing forward, elbow slightly bent, the saber tip pointing to the rear, edge facing upward.
Your gaze is still straight ahead. [You are now in the sitting tiger posture.] See photo 5:

6
6. The previous movement comes to a slight pause, then your torso turns to the right, your left hand going along
with it by bending at the elbow and swinging across until beside your right ribs, the center of the hand facing
upward, tigers mouth facing outward, the saber tip pointing to your left, edge facing forward. Your right hand at
the same time lowers until beside your right ribs and grabs the saber in your left hand, your left hand sending it to
your right hand. Your gaze is to your hands. [You are now in the exchanging the saber moment.] See photo 6:

Important points:

1. When you are standing straight holding the saber, your whole body should be naturally relaxed, and you should
not be sticking your chest out or sucking your belly in. Your spirit should seek quietude, your thoughts should be
focused, and you should be prepared for movement. Keep the saber edge here from facing inward or outward, just
forward.
2. When moving into the left and right empty stances, you must clearly distinguish between empty and full. When
stepping forward and back, strive to step both nimbly and stably, and keep your body from swaying.
3. During the circling movements, the elbow should be slightly bent rather than straight, but not overly bent.
4. When the saber handle and your right fist cross each other in the third movement, their height should be
neither too high nor too low, for the blade should be at chest level.

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

Movements:

7
1. Without pausing in the previous movement, your torso turns to the left to be squared to the east, while with
your right hand holding the saber, tigers mouth near the hilt, and your left hand still facing upward and touching
the saber handle, the back of the saber still touching your left forearm as before, your hands swing across to the
left until your left forearm is pointing to the east, both elbows slightly bent, the saber edge facing upward, tip
pointing to the rear. At the same time, your left foot advances a half step, the knee bending into a slight squat,
your right knee straightening behind, the weight now between your legs, making a left bow & arrow stance. Your
gaze is straight ahead. See photo 7:

8
2. Without pausing in the previous movement, your right hand sweeps the saber across, the center of the hand
facing downward, and once to the right side, the tip is pointing forward, edge facing to the right, handle level with
the right side of your waist. At the same time, your left hand, now a palm, the palm facing downward, swings
across to the left, and once at your left side, the fingers are pointing forward and are level with the left side of your
waist, both elbows slightly bent. Your right foot has now left the ground and lifted in front of your body, knee
bent, toes hanging down naturally. Your left foot stays where it is, but the leg remains slightly bent. Your gaze is
still straight ahead. [This would appear to be a moment of readiness.] See photo 8:

9
3. Without pausing in the previous movement, your right foot comes down forward to the southeast corner and
the knee bends into a slight squat, your left knee straightening behind, making a diagonal right bow & arrow
stance. At the same time, your right hand raises the saber upward, parallel with the ground, then once at shoulder
level, stabs forward and downward to the northeast corner, the edge diagonally facing upward, right forearm level
in front of your body. Your left hand at the same time reaches out to touch your right wrist, fingers upward. Your
face is turned to the left, your gaze to the saber tip. [This would appear to be a moment of expand.] See photo 9:

10
4. The previous movement comes to a slight pause, then your right toes turn outward, your right hand wipes the
saber across to the right, the center of the hand facing downward, then upon arriving at the right side, the forearm
twists outward so the center of the hand is turned inward then upward while the elbow bends to draw back the
saber to the right side of your waist, the back of the saber facing outward, the tip pointing forward. Your left palm
goes along with your right hand as it swings across to the right, and once at the right side of your waist, the palm is
facing downward, fingers pointing to the rear. At the same time, your left foot steps forward, knee bent, ball of the
foot touching down, as your torso turns to the right, and the weight is now on your right leg, making a left empty
stance. Your gaze is to the east. [This would be another readiness moment.] See photo 10:

11
5. Without pausing in the previous movement, your left foot advances a half step to the northeast corner and the
knee bends into a slight squat, your right knee straightening behind, making a diagonal left bow & arrow stance.
At the same time, your left forearm twists inward so the thumb is angled downward, and the hand brushes across
forward and to the left, until to your left side, palm facing to the left, fingers pointing forward, elbow slightly bent.
Your right hand is sending the saber directly forward with a stab, the center of the palm facing upward, the saber
edge facing to the left. Your gaze is to the saber tip. [This would be another expand moment.] See photo 11:

12
6. The previous movement comes to a slight pause, then your right forearm twists outward so the saber edge is
facing upward, and the hand circles the saber upward and to your left rear, edge facing downward, tip pointing to
the rear. Your left palm is now facing downward and pushing down on the back of the saber. As the saber circles,
your left toes turn outward and your right foot steps forward to the southeast corner, knee bent, the sole of the
foot touching down, making a right empty stance, your torso turning slightly to the left. Your gaze is to the saber
body. [Another readiness moment.] See photo 12:

13
7. Without pausing in the previous movement, your right shifts slightly forward, coming down full as the knee
bends into a slight squat, your left knee straightening, making a diagonal right bow & arrow stance. At the same
time, your torso turns to the right, your right hand sending the saber downward, forward, and upward in a raising
action, the hand turning over, elbow slightly bent, the center of the hand facing to the right, the saber edge facing
upward, the tip pointing forward. Your left hand goes along with the movement of the saber by touching the outer
side of the saber body [which is now inward], palm facing to the right, fingers upward. Your gaze is to the saber
tip. [Another expand moment.] See photo 13:

14
8. The previous movement comes to a slight pause, then your right foot takes a step back, the toes turned outward,
the knee bends into a slight squat, your torso turning to the right to be squared to the south. At the same time,
both hands circle downward, to the right, and upward, elbows bent, your right hand raised beside your right ear,
your left hand raised to the outside of your left shoulder. The body of the saber goes along with the circling of your
hands, with the tip pointing to the east throughout. As your hands circle, your left leg lifts at your left side, knee
bent, toes hanging down naturally. Your gaze is to the east. [Another readiness moment.] See photo 14:

15
9. Without pausing in the previous movement, your torso turns slightly to the left as your left foot comes down
forward to the east and the knee bends into a slight squat, your right knee straightening, making a diagonal left
bow & arrow stance. At the same time, both hands send the saber forward, your left fingers pointing upward, the
forearm at shoulder level, your right forearm raised forward and upward above your headtop, elbow bent, the
saber edge still facing upward, the tip still pointing to the east, Your gaze is to the saber tip. [Another expand
moment.] See photo 15:

Important points:

1. During the four times above when you draw back the saber to your right side [movements 2, 4, 6, 8], keep the
edge from touching you, for you should keep the edge away from your body [especially in movement 4 in the
which the edge is even facing your body].
2. When turning your hand over to do the raising cut in movement 7 and sending the saber forward in movement
9, the saber should be angled so the handle is higher than the tip rather than tip and handle level with each other.
3. When you lift a knee [movements 2 and 8], your torso should stay straight. Stand stably and keep your torso
from leaning back or to the sides.

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

Movements:
16
1. The previous movement comes to a slight pause, then your left toes hook inward, your torso going along with
them by turning slightly to the right, and your right foot lifts off the ground. [You are now in the moment of
looking left.] See photo 16:

17
2. Without pausing in the previous movement, your right foot now comes down to the right side and your left knee
bends and lifts in front of your body, toes hanging down naturally, making a one-legged stance. At the same time,
your right hand sends the saber to the right with a level chop, the edge facing downward, tip pointing to the right,
as your left palm raises up to be level to the left side, fingers upward. Your face has turned to the right, your gaze
to the saber tip. [You are now looking right and in the action of spreading apart.] See photo 17:

Important points:

Your right leg must straighten and your left knee should bend until the thigh is raised to be parallel with the
ground, the lower leg gathered slightly inward. Your torso maintaining its uprightness, your shoulders are
loosened and sunk, arms raised level. The saber tip is on a horizontal line with your shoulder. Strive to be settled
in your stance rather than swaying unstably.

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

Movements:

18
1. The previous movement comes to a slight pause, then your left foot comes down to your left side and the knee
bends into a slight squat to make a left bow & arrow stance. Your right hand at the same time brings the saber in
front of your body, wrist bent and sinking down, your torso turning slightly to the left, your left palm remaining
raised level to your left. Your gaze is to the south. See photo 18:

19
2. Without pausing in the previous movement, your right foot steps forward to the southeast corner and the knee
bends into a slight squat, your left knee straightening, making a right bow & arrow stance. As your right foot steps
forward, your right hand raises the saber forward until level, the wrist straight, the saber edge facing upward, tip
pointing forward, while your left elbow bends, the palm raised to the left, palm facing to the left, fingers upward.
Your gaze is to the saber tip. See photo 19:

20
3. The previous movement comes to a slight pause, then your torso shifts to the rear, your left knee bending into a
slight squat, your right leg straightening with its toes turning outward. As your torso shifts back, your right hand
circles the saber upward, to the rear beside your left shoulder, then downward, elbow bent, your left palm now
touching your right wrist area. Your gaze is to the east. See photo 20:

21
4. Without pausing in the previous movement, your left foot steps forward to the east, the knee bends into a slight
squat, your right leg straightening behind, making a diagonal left bow & arrow stance. As your left leg steps
forward, your right hand turns over and raises the saber up, edge facing upward, tip pointing forward, your left
hand remaining at your right wrist area throughout. Both elbows are bent, both hands raised up in front of your
forehead. Your gaze is to the saber tip. See photo 21:

22
5. Without pausing in the previous movement, your right sends the saber propping upward parallel with the
ground, drawing it to the rear, the hand raised higher than your headtop, elbow bent. Your left palm at the same
time pushes out straight ahead, fingers upward, elbow slightly bent. Your gaze is to your left palm. Your stance has
not changed. [Your arms are here performing the action of spreading wings.] See photo 22:

Important points:

1. When raising the saber on both sides, the saber must be coordinated with the steps and should not move faster
or slower, or arrive earlier or later.
2. For the propping saber and pushing palm [which as a five element palm is perhaps intended to resemble the
chopping technique in Xingyi, associated with the element of metal and thus corresponding to the saber], the
saber body must be level and the left fingertips should be at eyebrow height. Your shoulders should loosen and
sink rather than rise up. Your torso should be upright and the weight should be between your legs, not inclining to
one or the other.

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

Movements:

23
1. The previous movement comes to a slight pause, then your left toes hook inward, your right heel turns inward,
and your torso goes along with them by turning to the right rear. As your body turns, your right hand keeps the
saber tip pointing to the east and does not change its direction. Once your torso is squared to the west, your elbow
has lowered to bring the saber down beside your shoulder, edge still facing upward, tip now pointing to the
northeast. Your left palm goes along with the turning of your body, your gaze turning to the right. [You are now in
the midst of the action of wind rolling.] See photo 23:

24
2. Without pausing in the previous movement, your torso continues to turn to the rear, your right foot retreating a
step to the northeast corner, while your left elbow bends, bringing your left palm into contact with the saber
pommel, fingers upward. Your gaze is toward the saber tip. [You are now in a posture of storing inward.] See
photo 24:

25
3. Without pausing in the previous movement, your right leg straightens, your left foot leaves the ground, the knee
bending, and lifts to your left, toes hanging down naturally. Your right arm at the same time twists inward and
sends the saber in a level stab to the northeast, edge facing downward, tip pointing to the northeast corner. Your
left palm is now in front of your right shoulder, palm facing to the right, fingers upward. Your gaze is to the saber
tip. See photo 25:

Important points:

1. When turning to the rear, the saber tip must maintain its direction without changing, your body turning without
the saber turning.
2. When lifting the knee and stabbing, your right leg must straighten, your left knee should bend so that the thigh
is raised to be level, your torso should be upright, and your stance should be stable. The back of the saber must be
in a horizontal line with your right arm and shoulder. Your left elbow stays close to your chest and belly, and it
should not be allowed to rise up.

SIX: MAIDEN WORKS THE SHUTTLE deals with all directions.

Movements:

26
1. The previous movement comes to a slight pause, your left foot comes down to the southwest corner, your torso
turning to the left to be squared to the southwest [northwest], and your left knee bends into a slight squat, your
right leg straightening behind, making a left bow & arrow stance. Your right hand stays in its position, but your
left palm goes along with the turning of your body by extending a level push forward to the southwest corner,
elbow slightly bent, fingers upward. Your gaze is to your left palm. See photo 26:

27
2. Without pausing in the previous movement, your right foot steps forward and the knee slightly bends, your left
leg straightening. With your left elbow bending to withdraw the palm in front of your right shoulder, your right
forearm twists inward to turn the hand over and hang the saber tip downward, then the back of the saber goes
along the outside of your left arm and circles behind you, and once behind you, your left palm is pushing outward,
elbow bent to make a semicircle. See photo 27:

28
3. Without pausing in the previous movement, your left foot steps forward to the southwest corner and the knee
bends into a slight squat, your right knee straightening behind, making a left bow & arrow stance. At the same
time, your left palm raises upward in front of your headtop as a sideways palm, elbow bent, thumb angled
downward, fingers pointing to the right, as your right hand sends the saber upward and chopping down forward
to the southwest, the tip slightly raised upward. Your gaze is to the saber tip. See photo 28:

29
4. The previous movement comes to a slight pause, then your left palm lowers in front of your body, elbow bent,
palm facing inward toward your body. At the same time, your right forearm twists inward so the center of the
hand is facing downward, wrist bent, and the saber is withdrawn horizontal in front of your body, the edge facing
forward, the back of the saber touching your left forearm, the tip pointing sideways to the left, as your left leg lifts
in front, knee bent, toes hanging down naturally, and your right knee bends into a slight squat, torso shifting back,
the weight on your right leg. See photo 29:

30
5. Without pausing in the previous movement, your left foot again comes down in front, making a left bow &
arrow stance, as your right hand and left forearm in unison push the saber forward, the edge still facing forward,
the tip still pointing to the left. See photo 30:

31
6. Without pausing in the previous movement, your left toes hook inward, your torso turning to the right rear, the
saber going along with the turn, as your right leg lifts, knee bent, and your left elbow bends, bringing the palm in
front of your chest, thumb angled inward, palm facing downward. See photo 31:

32
7. Without pausing in the previous movement, your right foot comes down to the southeast corner and the knee
bends into a slight squat, your left knee straightening behind, making a right bow & arrow stance. At the same
time, your right hand sends the saber sinking down and pulling back to the right rear, the edge facing downward,
tip pointing forward, as your left palm does a level push forward, fingers upward, elbow slightly bent. Your gaze is
to the east. See photo 32:

33
8. The previous movement comes to a slight pause, then your right foot lifts off the ground as your right hand
makes the back of the saber face inward toward your body, the tip pointing sideways to the left, your left elbow
wrapping in for the palm to protect in front of your chest. Then your right foot comes down again to the southeast,
toes turned outward, as your right hand sends the saber forward, wiping across to the right, and drawing to the
rear, wrist bent. Your gaze is forward to the northeast corner. See photo 33:

34
9. Without pausing in the previous movement, your left foot steps forward to the northeast corner and the knee
bends into a slight squat, your right knee straightening, making a left bow & arrow stance. At the same time, your
left palm raises upward in front of your headtop as a sideways palm, elbow bent, wrist bent, thumb angled
downward, fingers pointing to the right, as your right forearm twists outward so the center of the hand is upward
and sends the saber stabbing forward, the edge facing to the left, the tip slightly raised upward. Your gaze is to the
saber tip. See photo 34:

35
10. The previous movement comes to a slight pause, then your left palm lowers in front of your body, elbow bent,
palm facing inward toward your body. At the same time, your right forearm twists inward so the center of the
hand is facing downward, wrist bent, and the saber is withdrawn horizontal in front of your body, the edge facing
forward, the back of the saber touching your left forearm, the tip pointing sideways to the left, as your left leg lifts
in front, knee bent, toes hanging down naturally, and your right knee bends into a slight squat, torso shifting back,
the weight on your right leg. See photo 35:

36
11. Without pausing in the previous movement, your left foot again comes down in front, making a left bow &
arrow stance, as your right hand and left forearm in unison push the saber forward, the edge still facing forward,
the tip still pointing to the left. See photo 36:

37
12. Without pausing in the previous movement, your left toes hook inward, your torso turning to the right rear,
the saber going along with the turn, as your right leg lifts, knee bent, and your left elbow bends, bringing the palm
in front of your chest, thumb angled inward, palm facing downward. See photo 37:

38
13. Without pausing in the previous movement, your right foot comes down to the northwest corner and the knee
bends into a slight squat, your left knee straightening behind, making a right bow & arrow stance. At the same
time, your right hand sends the saber sinking down and pulling back to the right rear, the edge facing downward,
tip pointing forward, as your left palm does a level push forward, elbow slightly bent, fingers upward. Your gaze is
to the west. See photo 38:

39
14. The previous movement comes to a slight pause, then your right foot lifts off the ground as your right hand
makes the back of the saber face inward toward your body, the tip pointing sideways to the left, your left elbow
wrapping in for the palm to protect in front of your chest. Then your right foot comes down again to the
northwest, toes turned outward, as your right hand sends the saber forward, wiping across to the right, and
drawing to the rear, wrist bent. Your gaze is forward to the southwest corner. See photo 39:

40
15. Without pausing in the previous movement, your left foot steps forward to the southwest corner and the knee
bends into a slight squat, your right knee straightening, making a left bow & arrow stance. At the same time, your
left palm raises upward in front of your headtop as a sideways palm, elbow bent, wrist bent, thumb angled
downward, fingers pointing to the right. As your right forearm twists outward so the center of the hand is upward
and sends the saber stabbing forward, the edge facing to the left, the tip slightly raising upward. Your gaze is to
the saber tip. See photo 40:

41
16. The previous movement comes to a slight pause, then your left palm lowers in front of your body, elbow bent,
palm facing inward toward your body. At the same time, your right forearm twists inward so the center of the
hand is facing downward, wrist bent, and the saber is withdrawn horizontal in front of your body, the edge facing
forward, the back of the saber touching your left forearm, the tip pointing sideways to the left. As your left leg lifts
in front, knee bent, toes hanging down naturally, and your right knee bends into a slight squat, torso shifting back,
the weight on your right leg. See photo 41:

42
17. Without pausing in the previous movement, your left foot again comes down in front, making a left bow &
arrow stance, as your right hand and left forearm in unison push the saber forward, the edge still facing forward,
the tip still pointing to the left. See photo 42:

43
18. Without pausing in the previous movement, your left toes hook inward, your torso turning to the right rear,
the saber going along with the turn, as your right leg lifts, knee bent, and your left elbow bends, bringing the palm
in front of your chest, thumb angled inward, palm facing downward. See photo 43:

44
19. Without pausing in the previous movement, your right foot comes down to the southeast corner and the knee
bends into a slight squat, your left knee straightening behind, making a right bow & arrow stance. At the same
time, your right hand sends the saber sinking down and pulling back to the right rear, the edge facing downward,
tip pointing forward. As your left palm does a level push forward, elbow slightly bent, fingers upward. Your gaze is
to the east. See photo 44:

Important points:

1. In movement 2, when the saber circles behind you, you must get the tip to hang down and bring the back of the
saber along your shoulder and back rather than simply waving it in a level circle over your head.
2. When you pull back the saber as you go forward into a bow stance [movements 7, 13, and 19], you must get the
saber body to be close beside your body, the tip slightly raised upward, and your left palm should be at chest level.
3. When stabbing in a bow stance [movements 9 and 15], your left elbow should be bent so the arm is making a
semicircle and the palm is in a posture of guarding your head. Your right elbow must also be slightly bent and the
saber tip should be at head height as if you are stabbing to an opponents head.
4. During the transitional movements of MAIDEN WORKS THE SHUTTLE [which resembles the version in the
boxing set mostly by way of moving toward the four corners], the footwork, hand actions, and saber techniques
must cooperate and coordinate with each other. Every part of your body should be loosened rather than tense. The
directions you face as you transition must be precise, and you should not allow bow & arrow stances that are
meant to be toward the southeast or northwest, northeast, or southwest to change to bow & arrow stances that go
directly east or west, north, or south.

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

Movements:

45
1. The previous movement comes to a slight pause, then your left foot shifts a step back sideways to the north and
the knee slightly bends, your torso shifting to the left, the weight moving to your left leg. At the same time, your
left palm waves across to the left to be raised to the left, elbow bent, palm facing to the left, fingers upward, while
your right forearm twists outward so the center of the hand is facing upward and sends the saber raising up in
front of your body, the edge facing upward, tip pointing forward. Your gaze is to the east. [This is presumably a
three stars posture. After your left foot and left hand have spread you out sideways, you are now if viewed from
the front exhibiting a vertically diagonal line of three points right foot, saber tip, left hand equivalent to the
image of Orions belt.] See photo 45:

46
2. Without pausing in the previous movement, your left leg straightens and stands as your right leg lifts in front,
knee bent, toes hanging down naturally, making a one-legged stance. At the same time, your right hand draws in
the saber in front of your chest, your left palm pushing out to touch the pommel. Your gaze is to the saber tip.
[This would be the action of close.] See photo 46:

47
3. Without pausing in the previous movement, your right hand sends the saber stabbing directly forward, the edge
still facing upward, as your left palm raises to your left, elbow bent, fingers upward. Your gaze is to the saber tip.
Your stance has not changed. [This would be the action of open.] See photo 47:
48
4. The previous movement comes to a slight pause, then bending your right elbow and using the wrist as a pivot,
circle the saber downward, to the right, and to the rear. See photo 48:

49
5. Without pausing in the previous movement, your right foot comes down to the inside of your left foot. As your
right foot is about to touch down, your left foot slightly springs off the ground, and as your right foot becomes full,
your left foot comes down forward to the northeast corner. With your right knee bending into a slight squat, the
weight on your right leg, the ball of your left foot touching down, knee bent, you are making an empty stance. At
the same time, your right hand circles the saber upward, forward to the northeast, and slicing downward, the edge
facing downward, handle at the right side of your waist, as your left palm raises upward and pushes down
forward, elbow bent, palm facing downward, pushing down on the forward section of the saber body. Your gaze is
forward to the northeast corner. [The twirling saber, hopping footwork, and decisive poise would seem to
constitute taking charge.] See photo 49:

Important points:

1. When the saber is circled toward your shoulder, the wrist must be loose and lively.
2. In the one-legged stance, you should be standing stably. With the empty stance, there should be a clear
distinguishing between empty and full.

EIGHT: DOUBLE KICK, then perform FIGHTING TIGER POSTURE.

Movements:

50
1. The previous movement comes to a slight pause, then your left foot shifts a step to the north and becomes full,
the knee bending into a slight squat, your right knee straightening. At the same time, your left forearm twists
outward so the palm is facing upward, as your right hand sends the saber tip to your left and poking behind, the
handle switching to your left palm, the edge facing upward, the back of the saber touching your left forearm, your
left hand now holding the saber as it is was in the initial posture. Your gaze is to the east. See photo 50:
51
2. Without pausing in the previous movement, your left leg straightens and stands as your right leg lifts in front,
knee bent, your torso slightly turning to the left. See photo 51:

52
3. Without pausing in the previous movement, your left hand arcs upward and lowers to be level to the left. At the
same time, your right foot kicks forward and upward, the top of the foot stretched flat, as your right hand arcs
upward and lowers to be level to the right, palm facing downward, slapping the top of your right foot. Your gaze is
to your right foot. [This is the kick moment, although the name double kick usually indicates two kicks in
quick succession, hopping from one kick into another, meaning the initial shifting of the left foot to the north was
probably originally a kick.] See photo 52:

53
4. Without pausing in the previous movement, your right foot comes down to the inside of your left foot, both legs
slightly bent, your torso squaring to the northeast. At the same time, your right hand waves across to the right,
palm still facing downward, as your left hand swings the saber across to the right until by your right elbow area,
the edge still facing upward. Your face has turned to the right, your gaze to the east [southeast]. See photo 53:

54
5. Without pausing in the previous movement, your left foot steps to the northwest corner and the knee bends into
a slight squat, your right knee straightening, making a left bow & arrow stance. At the same time, your left hand
circles downward, to the left, and upward, raising until in front of your head, tigers mouth facing upward, palm
inward, as your right hand becomes a fist and extends in front of your belly, the fist eye facing inward, the center
of the fist facing downward, arm bent to make a semicircle. [You are now in a left fighting tiger posture.] See
photo 54:

55
6. The previous movement comes to a slight pause, your left toes hook inward as your torso turns to the right rear
to be squared to the southeast and your right leg lifts, knee bent, toes hanging down naturally. As your foot leaves
the ground, your right forearm turns outward so the fist eye is facing upward and sinks down to the outside of
your right leg, your left hand sinking down to the outside of your left leg. See photo 55:

56
7. Without pausing in the previous movement, your right foot comes down forward, knee bent, making a right bow
& arrow stance. At the same time, your right fist circles downward, to the right, and upward, raising up to protect
your head, elbow bent, the fist eye facing downward, as your left hand circles downward, to the left, and forward,
to guard your body, elbow rounded, the center of the hand facing inward, tigers mouth upward, the saber placed
at your elbow area. Your gaze is forward to the southeast corner. [You are now in a right fighting tiger posture.]
See photo 56:

Important points:

1. When kicking out and slapping your foot, you must stand stably and the slap should be accurate. Keep your
torso from leaning back due to the kick or leaning forward due to the slap, instead staying upright.
2. When performing the FIGHTING TIGER POSTURE to the left and right, your elbows should maintain
semicircles and your shoulders should not be rising.

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

Movements:

57
1. The previous movement comes to a slight pause, then your torso shifts back, your left knee bending, right leg
straightening, and your right fist changes to a palm, and circles forward, downward, toward your body, and to the
left, scooping under your left forearm, palm and forearm crossing, the palm facing upward. [This is the action of
draping.] At the same time, your left leg straightens to be standing, your right leg lifts in front, knee bent, toes
hanging down naturally, your torso turning to be squared to the northeast, making a one-legged stance. Your gaze
is to the east. [Standing on one leg hangs up your body and squaring to the corner means you are hanging at an
angle.] See photo 57:

58
2. Without pausing in the previous movement, your right foot kicks out to the east, the top of the foot stretched
flat. With your left hand unchanging, your right palm goes from below and to the outside of your left forearm by
arcing upward, to the right, and downward, lowering until level, palm facing downward. [You are now in the
posture of the kick, but no slap is mentioned this time, making this kicking technique distinct from the double
kick.] See photo 58:
59
3. Without pausing in the previous movement, your right knee bends to withdraw the foot while your right elbow
bends to withdraw the palm in front of your chest, your left hand sending the saber handle to your right hand. See
photo 59:

60
4. Without pausing in the previous movement, your right hand upon taking the saber raises it upward and sends it
forward to the east in a level chop, the edge facing downward, tip pointing forward. At the same time, your left
hand, now a palm, is raised level to your left, elbow bent, palm facing to the left, fingers upward. Your gaze is to
the saber tip. See photo 60:

Important points:

Standing should be stable. Your left leg must be straight. Your right thigh must be level. Your torso should stay
straight. Your arms should loosen and sink. The back of the saber and your right arm should be making a straight
line.

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

Movements:

61
1. The previous movement comes to a slight pause, then your right forearm twists outward so the center of the
hand is facing upward and the saber tip is pointing downward. The elbow bends and the saber circles back beside
your right shoulder and then behind your shoulder and back. Your torso goes along with the movement by turning
to the right to be squared to the southeast. Your right foot at the same time comes down in front of your body, toes
swung outward, knee bent. Your left hand is still raised to your left. See photo 61:

62
2. Without pausing in the previous movement, your left foot steps forward from behind you into a sitting stance,
the toes hooked inward, knee bent. Your right hand continues to circle the saber around your body, moving it over
to the left, as your left elbow bends and the palm withdraws beside your left ribs. See photo 62:

63
3. Without pausing in the previous movement, your right leg lifts, knee bent, as your body turns to the right to be
squared to the northwest, your right hand circling the saber to the outside of your left shoulder and then sinking it
downward to the right side of your body. Your left hand has now shifted to be in front of your body. See photo 63:

64
4. Without pausing in the previous movement, your right foot comes down in front, the knee bends into a slight
squat, your left knee straightening behind, making a right bow & arrow stance. Your right hand at the same time
pulls the saber to the rear, edge facing downward, tip pointing forward, as your left palm goes along with the
forward movement of your body by pushing out straight ahead, elbow slightly bent, palm facing forward, fingers
upward. Your gaze is to your left palm. [If your saber was a pole and your left hand was holding the top end of it,
the joint action of your hands in this movement would resemble that of pushing a boat through the water with a
punting pole (in this case pushing the pole behind you and facing the front of the boat, whereas in the posture of
the same name in Chen Weimings 1928 sword manual, he would be pushing the pole forward, thus facing the
river behind the boat).] See photo 64:

Important points:

While your saber circles from the right to the rear to the left, you must make the tip hang down and bring the back
of the saber along your shoulders and back rather than waving it in a level circle over your head. When you move
forward into a bow stance and pull back the saber, the tip should be slightly lifted, your shoulders must loosen and
sink, and your torso should be upright.

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

Movements:

65
1. The previous movement comes to a slight pause, then your torso shifts back and slightly turns to the left to be
squared to the west, your left knee bending, the weight shifting onto your left leg. Your right leg then lifts in front
of your body, knee bent, toes hanging down naturally, while your left elbow bends and draws back your left palm,
and your right hand brings the saber across in front of your body, elbow bending, the saber edge facing forward,
tip pointing to the left. Your gaze is forward to the east [west]. [You are now effectively in the midst of a
lowering, grounding yourself to push forward. Judging by the name, this posture may have originally been a full
squat with the right leg outstretched.] See photo 65:

66
2. Without pausing in the previous movement, your right foot steps forward to the northwest corner, the knee
bending into a slight squat, your left knee straightening, making a diagonal right bow & arrow stance. Your right
hand and left palm push the saber out straight ahead, the edge still facing outward, tip still pointing to the left.
Your gaze is still forward to the east [west]. [This appears to be the first engaging, dealing with an opponent in
front.] See photo 66:

67
3. The previous movement comes to a slight pause, then your left foot steps forward to the southwest corner while
your right hand sends the saber wiping across to the right rear, the center of the hand facing downward. At the
same time, your left elbow bends and draws in the palm until in front of your right ribs, fingers upward. Your
torso goes along with the movement by turning to the right, your face shifting to the right, your gaze now to the
saber body. [This would be the second engaging, dealing with an opponent behind.] See photo 67:

68
4. Without pausing in the previous movement, your right foot steps forward to the west and the knee bends, your
left leg straightening, to make a right bow & arrow stance. Your left palm goes along with the movement by
sweeping across forward and to the left, fingers still upward. As your right foot steps forward, your right arm
twists outward so the center of the hand is upward and sends the saber slashing across forward to the right [left],
the edge facing to the left, tip pointing forward. Your gaze is forward to west. [This would be the third engaging,
dealing again with the opponent in front.] See photo 68:

Important points:

The saber actions of pushing, wiping, and slashing must be coordinated with your right foot coming down, your
left foot stepping forward, then your right foot stepping forward. Pushing, wiping, and slashing are at slightly
different heights. When pushing, the saber is level with your chest, and when wiping or slashing, the saber is level
with your waist.

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

Movements:

69
1. The previous movement comes to a slight pause, your right forearm twists outward so the saber edge faces
upward, elbow bending, and circles the saber upward, to the outside of your left shoulder, and cutting downward
to your left side, the edge facing downward, tip pointing to the rear. At the same time, your left palm comes near
to your right wrist, elbow bent, palm facing downward, fingers forward, and with your left foot staying where it is,
your torso shifts back, your left knee bending, right leg lifting up in front, knee bent, while the saber is cutting
downward. [This is halfway through the to the left.] See photo 69:

70
2. Without pausing in the previous movement, your right foot comes down in front and your right hand continues
to circle the saber downward, forward, upward, and chopping down behind, as your left foot steps forward and the
knee bends, your right leg straightening. At the same time, your left palm extends with a level push forward, your
torso turning to the right. Your gaze is to the saber tip. [This is halfway through the to the right.] See photo 70:

71
3. The previous movement comes to a slight pause, then your torso slightly turns to the left to be squared to the
northwest as your right hand sends the saber downward then raising forward until level in front of your body,
elbow bent, the saber edge facing upward, the tip pointing forward. At the same time, your right leg lifts in front,
knee bent, toes hanging down naturally, your left foot staying where it is, while your left elbow bends,
withdrawing the palm in front of your chest, fingers upward. Your gaze is to the saber tip. See photo 71:

72
4. The previous movement comes to a slight pause, then your right hands circles the saber downward, to your
right rear, and raising upward, the edge facing upward, the tip pointing to the rear, as your left knee slightly bends
and your right foot starts to come down. See photo 72:

73
5. Without pausing in the previous movement, your right foot comes down to the inside of your left foot and the
knee bends into a slight squat, but just before the foot has landed, your left foot slightly springs off the ground,
and then as your right foot comes down fully, your left foot comes down forward to the northwest corner, touching
down with only the ball of the foot, the weight on your right leg, making an empty stance. At the same time, your
right hand arcs the saber upward, forward to the northwest, and slicing downward, the edge facing downward, tip
pointing forward, handle at the right side of your waist, as your left palm pushes down forward, palm facing
diagonally downward, fingers diagonally upward. Your gaze is forward to the northwest corner. [At face value, it is
this little hopping maneuver which constitutes the leap, though it could have been intended to refer more to the
reverse twirl of the saber in this and the previous movement.] See photo 73:

Important points:

The saber actions and footwork must be coordinated. Your left foot should not jump too high, just a slight
springing up. Once in the empty stance, empty and full must be clearly distinguished, the saber tip should be
slightly raised, and your left palm should be at chest level and in line with the saber.

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

Movements:
74
1. The previous movement comes to a slight pause, then your right hand makes the saber tip hang down, brings
the back of the saber to the outside of your left shoulder, and circles it behind you along your shoulders and back,
while your left leg lifts in front of you, knee bent. See photo 74:

75
2. Without pausing in the previous movement, your left foot comes down in front and the knee bends into a slight
squat, your right leg straightening behind, making a left bow & arrow stance. At the same time, your right hand
sends the saber raising upward then chopping down forward, the edge facing downward, tip lifted, as your left
palm raises upward to be in front of your headtop, elbow bent, wrist bent, palm sideways and facing forward,
thumb angled downward. Your gaze is forward to the northwest corner. See photo 75:

76
3. The previous movement comes to a slight pause, then your right forearm twists outward so the center of the
hand is facing upward, then using the wrist as a pivot, circle the saber tip to the right, upward, and to the left so
that the center of the hand is now facing downward. Your left hand is now in front of you taking hold of the saber
handle, the edge facing upward, the back of the saber touching your left forearm. At the same time, your left toes
hook inward, your torso turning to the right rear. [This and the next movement would seem to represent the
carrying.] See photo 76:

77
4. Without pausing in the previous movement, your right foot steps back and the knee bends into a slight squat,
your torso shifting back, the weight moving onto your right leg, your left heel leaving the ground so that only the
ball of the foot is touching down, making an empty stance of left foot empty, right foot full. At the same time, your
right hand becomes a fist and withdraws to the right side of your waist, the center of the fist toward your body, the
fist eye facing upward. As your left elbow bends so the saber is raised level in front of your chest. Your gaze is
straight ahead to the east. See photo 77:
78
5. Without pausing in the previous movement, your left hand sends the saber sinking down to your left as your
right fist extends directly forward, elbow slightly bent, the fist eye facing upward. [The phoenix returning to its
nest is possibly this punch launching out with a repetition of the beginning, and it is similar in action to the
enters its nest movement in Chen Weimings 1928 sword manual.] See photo 78:

79
6. The previous movement comes to a slight pause, then your left toes hook inward as your torso turns to the right
to squared to the south. Both legs straighten as your right fist becomes a palm hanging down at your right side
and your left hand holds the saber, hanging it up at your left side. It is the same as the initial posture of holding
the saber. See photo 79:

Important points:

1. When performing the chop, you must make the edge face diagonally downward, the tip raised up to be level
with your head.
2. When switching the saber into the other hand, your right hand should not make an overly large circle with the
tip, just a simple stirring action. Your left hand receives the saber with its palm upward and your right hand gives
the saber with its palm downward. Once your left hand receives the saber, it grasps it firmly, and your right hand
touches on top of the handle.
3. Once in the closing posture, you must stand still for a while rather than moving on from the exercise right away.
-

LIST OF TAIJI SABER APPLICATIONS

1. CHOP TO THE SHOULDER

2. INWARD HACK TO THE WRIST

3. STAB TO THE BELLY

4. OUTWARD CHECK TO THE WRIST

5. THRUST TO THE WAIST

6. OUTWARD HACK TO THE WRIST

7. CUT TO THE THROAT

8. UPWARD CHECK TO THE WRIST

9. CLEAVE TO THE LEG

10. DOWNWARD CHECK TO THE WRIST

-

PRETEND COMBAT DRILLS FOR TAIJI SABER

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

80
Both of you, Person A and Person B, are facing each other, standing straight, feet together, saber in right hand.
You are about two or three steps away from each other, A facing east, B facing west [continuing the same
orientation of the photos for the solo set]. The saber edges are facing downward, tips pointing forward. Your gaze
is toward each other. See photo 80:

FIRST SERIES OF MOVEMENTS [applications 1 & 2]: A advances with a chop toward Bs shoulder. B evades and
hacks inward toward As wrist.

81
1. A [Fu Zhongwen in the photos], raise your saber up, advancing with your right foot, then chop down toward Bs
left shoulder with the front section of your saber as your right knee slightly bends, left fingers slightly extending so
the palm is hanging diagonally at your left side, palm facing downward. Your gaze is toward the body of your
saber. See photo 81:

82
2. B, as As saber chops toward your shoulder, raise your saber up, your right foot advancing to the northwest
corner, torso turning to the left. Your right knee bending, your saber hacking down toward As wrist with the rear
section of your saber, tip slightly raised upward, left fingers slightly extending so the palm is hanging diagonally at
your left side. Your gaze is toward As right wrist. See photo 82:
83
3. A, as Bs saber hacks toward your wrist, retreat two steps, right then left, your gaze toward B. See photo 83:

SECOND SERIES OF MOVEMENTS [applications 3 & 4]: B steps forward with a stab toward As belly. A lifts his
saber and does an outward check toward Bs wrist.

84
1. B, as A retreats, take a step forward with your left foot, then your right foot follows, the knee bending to make a
right bow & arrow stance, your right arm twisting outward, wrist turned over so your saber edge is facing upward,
and do a level stab toward As belly, left palm still hanging diagonally at your left side. Your gaze is toward As
belly. See photo 84:

85
2. A, as B stabs forward, evasively shrink back your belly and lift your saber upward, your right arm twisting
inward to do a reverse check toward Bs right wrist with the front section of your saber. At the same time, [retreat
your left foot and then] your right foot pulls away, left palm still at your left side. Your gaze is toward Bs right
wrist. See photo 85:
86
3. B, as A checks toward your wrist, your right foot steps to the east in front of your left foot, your torso turning to
the left and shifting to the rear, evading As saber. See photo 86:

THIRD SERIES OF MOVEMENTS [applications 5 & 6]: A advances with a stab toward Bs waist. B rolls his saber
and hacks outward toward As wrist.

87
1. A, as B steps away, your right foot advances, the knee slightly bending to make a bow & arrow stance, your right
hand stabbing your saber tip straight ahead toward Bs waist, edge facing downward. Your gaze is toward your
saber tip. See photo 87:

88
2. B, immediately circle your saber downward, to the left, and upward, while stepping your left foot from behind
your body forward to the southwest corner, left knee slightly bending to make a left bow & arrow stance. Your
right hand is now hacking down toward As right wrist. Your gaze is toward the body of your saber. See photo 88:
89
3. A, while B is hacking toward your wrist, sit your body back, left knee bending into a slight squat, your right
hand leading your saber away downward and back. See photo 89:

FOURTH SERIES OF MOVEMENTS [applications 7 & 8]: B advances with a cut toward As throat. A pushes with
his saber and does an upward check toward Bs wrist.

90
1. B, as A sinks his saber away, advance your right foot to the outside of As right foot, and slightly bend your right
knee to make a right bow & arrow stance. Your right forearm at the same time twists outward so the center of the
hand is upward and pushes out your saber horizontally with a severing cut toward As throat using the rear section
of your saber. Your gaze is toward As throat. See photo 90:

91
2. A, as B cuts toward your throat, gather your saber in front of your body, then push out with a horizontal check
toward As right wrist, your left palm touching the back of your saber to assist the pushing of your right hand.
Your gaze is toward Bs right wrist. See photo 91:

FIFTH SERIES OF MOVEMENTS [applications 9 & 10]: B covers his body and cleaves toward As leg. A goes into
a lifted stance and does a downward check toward Bs wrist.

92
1. B, as A is cutting toward your wrist, swing your left toes outward, the knee slightly bending, and lean away your
torso to the left, your right leg straightening. Your right forearm at the same time twists inward, the wrist turning
over, and your saber cleaves diagonally to the outside of As right leg with the front section of the blade, your left
palm raising until level to your left. Your gaze is toward A. See photo 92:

93
2. A, immediately shift your torso back, turning to the left, and lift your right leg in front of your body, knee bent,
to evade the attack. Your right hand at the same time sends your saber in a diagonal check toward the outside of
Bs right wrist, your left palm hanging diagonally to your left. Your gaze is toward Bs right wrist. See photo 93:

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

94
1. B, as A checks toward your wrist, bend your right elbow and draw in your saber to hold it in front of your chest,
the edge facing to the left, tip pointing upward, your saber standing vertical in front of your body. Your left elbow
bends at the same time, bringing your left palm to touch the top of your right wrist, palm downward, your left leg
immediately straightening to stand upright, your right leg lifting in front of your body, knee bent, toes hanging
down naturally. Your gaze is toward A. A, at the same time, draw in and embrace your saber, your knee lifting,
your gaze toward B. See photo 94:

2. A & B, you now each bring your right foot down to your right, then your left foot goes to stand next to your right
foot, both legs standing straight. Your right hand at the same time sinks your saber down to your right side, edge
facing downward, tip pointing forward, your left palm hanging down on your right [left] side, returning you both
to the PREPARATION POSTURE of holding your sabers while standing straight and facing each other.
Then switch to B advancing with a chop toward As shoulder, B taking As role and A taking Bs role, switching
from east attacking west to west attacking east. Perform the movements with the roles reversed until returning to
the PREPARATION POSTURE, then the full exercise ends. Of course if you do not want to stop, A then returns to
the A role by advancing with the chop toward Bs shoulder and it all repeats.
-

POSTSCRIPT

1958.12.15.
I know that within the Taiji Boxing system there is a Taiji Thirteen Saber, which goes from PUSHING DOWN
WITH THE SABER to BLUE DRAGON LEAVES THE WATER, WIND SWEEPS AWAY THE WITHERED
FLOWERS, WHITE CLOUDS COVER THE HEADTOP, SHOULDERING THE SABER, ROLLING TO EVADE
THE WIND, STOMP THE FOOT AND LIFT THE SABER, SPREADING THE CLOUDS TO SEE THE MOON,
CHOPPING SABER, EMPEROR LIFTS THE CALDRON, HOLDING UP A STICK OF INCENSE, PULLING IN
THE SABER TO FEIGN DEFEAT, and PLAY THE LUTE, thirteen movements which combine to make up the
routine for single saber. When Fu Zhongwen asked me to write this book in his stead, I still only knew of the Taiji
Thirteen Saber. I was surprised in the course of the writing to find that although this Taiji Saber set has thirteen
movements, it was not the same in content as that Taiji Thirteen Saber routine and does not resemble it in the way
I imagined it would.
When I mention the Taiji Thirteen Saber here, it is not because I think the Taiji Saber set evolved from the Taiji
Thirteen Saber, or vice versa, it is to explain that within the Taiji Boxing system there are two distinct saber sets.
The one written of here is Taiji Saber rather than the other one I knew of.
Taiji Saber and the saber routines of other boxing systems have similarly absorbed the techniques of ancient
short swords, such as chopping, cleaving, hacking, checking, carrying, raising, pushing, stabbing, propping,
slicing, wiping, slashing, hanging, leading, blocking, and sweeping, which were then combined with other martial
arts components, such as stance, footwork, and body maneuvering to make training routines for short weapons.
Since writing the section above on the combat drills, I can again see that it has the same elements of attack and
defense as the saber sets of other boxing systems. However, as per the progressive development of the Taiji Boxing
system, the characteristics of this particular saber set are suppleness, flexibility, and fluidity, and these
characteristics make it the same kind of therapeutic fitness as the boxing set.
As the training methodology for the saber set is the same as for the boxing set, it consequently has the same
beneficial influence upon the nervous system, cardiovascular system, respiratory system, digestive system, and
metabolism. At the same time, this saber dance trains the mood and will imperceptibly produce increasing
delight.
Fu Zhongwen asked me three months ago to write this book for him. Seeing as I had come to Beijing to
participate in the work of organizing and researching martial arts, I have had difficulty finding time. At last it is
finished, and I am sorry you could not be reading it sooner. Also, because I am not adequately familiar with this
Taiji Saber set, there are bound to be a few errors in the movement descriptions above. I hope our comrades will
point them out and so make the revising for a second edition that much easier.
written by Cai Longyun in Beijing, Dec 15, 1958
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Brennan Translation
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