Hsing I Chuan – Theory

- by Allen Pittman

This writing was born of request: my friend Jerry Smith, a fellow Chinese boxer and researcher of arcane knowledge asked for an article on Hsing I Chuan theory. I began studying Hsing I (Xing Yi Quan) in 1975 with Robert W. Smith and later with others. A sketch of my teachers is available in the About Allen section.

Background – of the fists

Hsing I Chuan, also known as Xing Yi Quan, translates as “Form-Intent Fist or Boxing.” By boxing, I mean fighting without weapons. I do not mean gloved prize-fighting. This is chuan or quan.

The oral tradition of Hsing I theory (we will leave out “Chuan” for convenience) states the art was created by General Yueh Fei around the year 1200. It was a martial art taught to the infantry for the battlefield. Though there is no documented historical evidence for this theory – the martial art of Hsing I Chuan does bear the marks of a “battlefield art.”

Namely it is designed to invade and take ones territory. The practitioner advances directly or obliquely and takes the position of the antagonist; quite literally possessing the opponent’s direct space. The movements of the art are also easily adaptable to most weaponry. This makes the empty-handed art, or chuan, an excellent preparation for more advanced weaponry training. For example, in the 1940′s this martial art was used in conjunction with the bayonet. There are few defensive movements in hsing i chuan / xing yi quan,and the footwork provides most of the defense. Why block when a step is as good or better?

The current theory of Hsing I Chuan dates its origins to the 1700′s, in the Chung-nan mountain range, stretching from China to Tibet. It was there that the two brothers by the name of Dai made it popular.

From that point, the art and fists of Hsing I has descended to the present in three main schools: Hopei, Shansi and Honan, named after their mother Chinese province. The Hopei style has significant differences from the other two. One of the more popular teachers of this style of Hsing I Chuan at present is George Xu of San Francisco. The other two styles are much better known and feature five fisted movements as the initial foundation or introduction to Hsing I, and then the same fists are linked together into “linking” forms, and then a series of animal movements are learned.

I recall most of the Hsing I that has been passed on to me is from the Hopei / Chung-nan side. Some of the teachers from this lineage that I learned from were Robert Smith, who consolidated the work of many teachers (both orthodox and unorthodox), Hung I-mien, who carried the lineage of Chang Chuen-feng, and Chen Yun-ching and his brother Chen Yun-chao, both of whom studied with their father Chen Pan ling, who headed the Chinese Boxing Association in Taiwan in the 1960′s. Refer to the books of R.W. Smith for a more in-depth biography of these men.

Theory – Physical & Mental

Hsing I is deeply-rooted in the theory of the Five Elements, or Wu Hsing, thus the five fists. Some scholars trace this to the astrology of the five visible planets used in ancient times. But wherever it originated, the theory became a cornerstone for Chinese medicine as well. All medical and material phenomena could be classified according to the Five Elements (or five manifestations of energy) of Metal (or Air or Wind in Japan), Water, Wood, Fire and Earth. These are depicted in a pentangle (pentagram), which shows creative and destructive relationships between them. These same elements (or more accurately, catalysts) are assigned correlating references to various organs of the human body.

In Hsing I Chuan, the five fists are foundational tactics and are also assigned to the organs according to how the Chi moves in the body. Chi is translated as “air” but it includes phenomena we in the West do not normally associate with respiration. These phenomena include suction between connective tissue and hydraulic pressures between membranes. These phenomena also include feelings (or realities) of electric and magnetic currents moving in the body and on the surface of the skin. The “fists” are also named according to their targets. This makes Hsing I an exercise of health (Chi building and toning) and self-defense (targets).

Though the “fists” are classified according to the movement of Chi in the body, they are also directed by correct mechanics and geometry. The uprightness of the posture, the positions of the limbs during chuan, in respect to one another and the coordination of the body parts as a unit all count in the equation of correct technique.

The “Fists” also have a requisite symbol or mental aspect. The “Metal/Air” or Splitting fist is supposed to emulate the swing of an ax. The art of visualization aides the student as it provides the correct mental context for good technique. It also provides a specific mental state to emulate. The element of “Metal” is held in the mind and adds a specific feel to the technique in both it’s application and practice. This holds true for all five fists.

Applied Theory

When one concentrates on a ‘fist’ in this manner, and allows awareness into the matching body part (for example: Metal goes with the Lungs and Large Intestine), then these organs become “purified.” The purification is a result of both the physical movement and the fist-organ concentration. Obviously concentrated visualization is limited by the blood flow to the brain, which depends upon the activity level of the muscles. So if one does Hsing I like a sprinter, one becomes fully occupied with the movements themselves. On the other hand, if one simply stands in each position, one has less of a cardiovascular load and is able to work with more intricate visualizations. One can even move the Chi to the organs during sitting meditation, when there is little muscular involvement at all.

The art of Hsing I uses all these methods. One starts with standing and runs the attention through the body and becomes self aware through the musculature. Then with the movements one works on breath, rhythm and purification of the organs. Depending on the application of the mind, one can also train with fighting tactics in mind by visualizing an opponent.

Once the forms are learned and the correct body habits are acquired, then one can proceed to drills with a partner in order to learn timing, and then on to heavy-bag work to increase punching power. These latter two activities are carefully dependant on correct form. The forms contain the health aspects and provide a sound basis of balance and coordination. They also teach the practitioner to move the body in such a way as to make it more efficient and less vulnerable in combat. The forms have relaxed easy walking movements to warm up with, which some teachers articulate as short abrupt stomping actions.

With the variety of mental and physical applications the fists become extremely useful in both areas of health and self-defense.

Theory – Spiritual

Also found in the fists are philosophy and psychology, as they depict archetypal powers and give our psyches conduits to intuit life and witness ourselves. Hopefully, the process of study and training in Hsing I will tire us sufficiently of our ego to reach out to others and help them — or at least not to harm them! The contradiction of practicing Hsing I: As you realize the arts lethality, you realize how vulnerable you are! That is the nature of awareness. With a little luck, our training will maintain our mental, physical and emotional health sufficiently to allow us to help others with alacrity and understanding. That is part of the real goal and reason behind Hsing I.

There is also a spiritual function. The Taoists who created Hsing I believe that what we do – we become. They believed if the art of Hsing I was practiced correctly, with the right intent and mental outlook for decades, it would create a spiritual embryo in the practitioner. A ‘resonant body’ if you will; a sheath for the knife, which is the spirit. A structure for the soul so that it would be immortal – and not disperse at death. This was part of their teaching on human transmutation or “alchemy.” This idea has something in common with the Greeks – Plato once said, “Habit is virtue.” In other words as we do, we become. This should give reason for pause to all of us. This idea vastly simplifies the many doctrines and details found in texts ranging from martial arts to religion. And it is the ethical basis of martial arts in general, including Hsing I.

Conclusion

In sum, practice Hsing I in a variety of ways and with a variety of attitudes, but always with the caveat in mind “As you practice – So you become.”