Intro

Wing Chun Kuen Kuit are “Words of Wisdom” which capture in poetic terms the finer attributes of

Wing Chun Kung Fu. “Kuen Kuit” is Cantonese for “Martial sayings” , “Fist poetry” or “Fighting songs.”

Chinese martial arts employ Kuen Kuit as concise, rhythmic verses which present a method or

philosophy of a style. Even among competing Wing Chun traditions, many sayings are recognized and

shared. One significant proverb cites, “Loy Lau Hoi Sung, Lut Sau Jik Chung.” This means: “Retain

what’s coming in; Send off what’s retreating; Rush in upon loss of hand contact.” Regardless of the

Wing Chun tradition, this advice bridges many differences and defines one of the most important

strategies of the art.

The original Wing Chun Kuen Kuit are believed to descended from an ancient, oral tradition, and

reportedly were connected to southern Chinese secret societies of the nineteenth century. Moy Yat

wrote, “It was during the ching dynasty that many of the proverbs were part of secret codes and

rituals developed by the rebels dedicated to overthrowing the Manchus.” Over the passing years,

unrelated or inapplicable sayings were eventually discarded, the remaining few are described as being

“truly intrinsic” to Wing Chun Kung Fu.

“Wing Chun Chuen Jing Tung” is an important proverb usually displayed in the traditional Wing Chun

school. This refers to the genuineness of the martial art and reads, “Wing Chun authentically passing

down.” This means passing on the true system of Wing Chun “unchanged by your own ideas.” Other

well known proverbs cite: Kuen Yau Sum Faat (The punch starts from the heart); Ying Da Juck Da, But

Ying Da, But Ho Da … (Strike when you should, Do not strike when you should not …); Chew Ying Joi

Ying (Face toward and chase the opponent); Chum Jong Sau Jone (Sink the elbow, protect the

center)4; Guan Mo Leung Heung (The staff doesn’t make two sounds), etc.

Wing Chun’s Traditional Rules of Conduct and the popular sayings above may be easily recognized.

Others have been preserved based upon the discretion of Augustine Fong, and these originally

appears in Randy William 6 book set. There are maxims, training proverbs and sayings for all Wing

Chun forms. The majority of these are genuine, artistic commentaries on Wing Chun boxing. It may be

noticed some verses are similar to training proverbs presented in the Chinese Internal Arts. Thus,

“People do not know the extent of my skills, but I know their abilities,” has been attributed to Yang

Lew-Shan: “The theory of Tai-Chi is that nobody knows you, only you know them.” This is a popular

saying, as are those which mention invisible techniques such as the famed Mo Ying Gerk (No Shadow

kick).

While masters of self-defense declare that real experience is the best teacher, Wing Chun proverbs do

excel as wonderful reminders and clues to the mastery of the martial art. These poetic stanzas

preserve a secret Kung Fu tradition, a legacy which can be rendered in beautiful Chinese calligraphy.

Wing Chun Kuen Kuit are treasures waiting to be discovered; they remain an outstanding contribution

to the world of Chinese martial arts.

Traditional Wing Chun Rules of Conduct

1. Remain disciplined - Conduct yourself ethically as a martial artist.

2. Practice courtesy and righteousness - Serve the society and respect your elders.

3. Love your fellow students - Be united and avoid conflicts.

4. Limit your desires and pursuit of bodily pleasures - Preserve the proper spirit.

5. Train diligently - Maintain your skills.

6. Learn to develop spiritual tranquility - Abstain from arguments and fights.

7. Participate in society - Be moderate and gentle in your manners.

8. Help the weak and the very young - Use martial skills for the good of humanity.

9. Pass on the tradition - Preserve this Chinese art and rules of conduct.

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Maxims of Wing Chun

1. Retain what comes in, send off what retreats. Rush in on loss of hand contact.

2. Do not be lax when your opponent is not advancing.

3. Once your opponent moves, his center of gravity changes.

4. Make the first move to have control. Attack according to timing.

5. Timing is achieved through practice.

6. A strong attitude and posture gives an advantage over your opponent.

7. Being alert and adapting to the situation allows maximum results for minimum effort.

8. The body follows the movement of the hands. The waist and the stance move together.

9. Complement the hands with posture to make good use of the centerline.

10. The eyes and the mind travel together, paying attention to leading edge of attack.

11. Charge into the opponent. Execute three moves together.

12. Strike any presented posture if it is there. Otherwise strike where you see motion. Beware of

sneak attacks, leakage attacks and invisible centerline attacks.

13. Soft and relaxed strength will put your opponent in jeopardy.

14. Coordinate the hands and feet. Movement is together.

15. Do not take risks and you will always connect to the target.

16. Have confidence and your calmness will dominate the situation.

17. Occupy the inner gate to strike deep into the defense.

18. To win in an instant is a superior achievement.

19. The Yin Yang principle should be thoroughly understood.

20. The theory of Wing Chun has no limit in it applications.

21. Be humble to request your teacher for guidance.

22. Understand the principles for your training.

23. Upon achieving the highest level of proficiency, the application of techniques will vary

according to the opponent.

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Wing Chun Training Proverbs

1. There are not many sets of training exercises in Wing Chun. They are easy to learn but to

master them requires determination.

2. Learning the usual ways will allow later variations.

3. Short arm bridges and fast steps requires practicing the stance first.

4. Siu Lim Tau mainly trains internal power.

5. Lon Sau in Chum Kiu is a forceful technique.

6. Bui Jee contains life saving emergency techniques.

7. The Wooden Man develops use of power.

8. Fancy techniques should not be used in sticky hand practice.

9. Sticky leg practice is inseparable from the single leg stance.

10. The steps follow turning of the body like a cat.

11. The posture complements the hands to eject the opponent.

12. The Six and a Half Point Staff does not make more than one sound.

13. The Eight Cut Sword techniques have no match.

14. The thrusting and fast attacks are well suited for closing in.

15. Eyes beaming with courage can neutralize the situation.

16. Unknown techniques are not suitable for training practice.

17. Those who completely master the system are among the very few.

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Seventeen Keys to Wing Chun

1. Be ferocious when clashing.

2. Be fast with your fist.

3. Be forceful when applying power.

4. Be accurate with timing.

5. Be continuous when applying Fan Sau.

6. Do not use all your strength.

7. Protect your own posture.

8. Be alert with your eyes.

9. Unite your waist and stance.

10. Coordinate your hands and feet.

11. Movements must be agile.

12. Comprehend the principles of Yin and Yang.

13. Remain calm.

14. Be steady with your breathing and strength.

15. Sink your inner chi.

16. Be commanding with your fighting demeanor.

17. Be quick to end the fight.

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Sup Yee Fatt of Yuen Kay Shan More Info

1. Dap (Da) derives from ‘the hand joined like many mouths in agreement’ and means ‘to join to

bridges’

2. Jeet (Jie) derives from ‘a lance hitting a sparrow’ and means ‘to intercept, cut off, or sever’

3. Chum (Chen) derives from ‘a stool submerged beneath the water’ and means ‘to sink’

4. Biu (Biao) derives from ‘metal pointed like flame’ and means ‘to dart’.

5. Chi (Chi) derives from ‘glutinous millet ground by a horned animal (yak)’ and means ‘to stick’

6. Mo (Mo) derives from ‘hand like the sun dispearing behind the foliage’ and means ‘to touch or

feel’

7. Tong (Yun) derives from ‘a hand using a hot iron’, and means ‘to press or iron clothes’

8. Dong (Dang) derives from ‘soup swaying in the saucer’ and means ‘to swing or sway’

9. Tun (Tun) derives from ‘mouth enlarged as heaven’ and means ‘to swallow’

10. Chit (Qie) derives from ‘to cross with a knife’, and means ‘to cut or slice into’.

11. Tao (Tou) derives from ‘a person assembling a boat (to cross a river)’ and means ‘to steal’

12. Lao (Lou) derives from ‘rain water leaking through the roof and into the house’ and means ‘to

leak.’

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Sup Look Fatt of Cheung Bo More Info

1. Biu - Thrust

2. Tau - Sneak in

3. Tong - Rubbing

4. Ja - Grasping

5. Chum - Sinking

6. Lau - Leak or Sliding-in

7. Dong - Swinging

8. Nar - Throwing force off

9. Chih - Cuttting

10. Chi - Sticking

11. Kam - Grappling

12. Wah - Clawing

13. Jeet - Intercept

14. Mo - Touch or Clinging

15. Na - Seizing

16. Da - Hitting or Striking

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Sup Bot Fatt of Lo Kwai More Info

Sup Bot Fatt (18 Methods) / Sup Bot Ging (18 Energies):

1. Tao - spit

2. Tun - swallow

3. Fao - raise

4. Chum - sink

5. Mo - touch

6. Dong - swing

7. Na - adhere

8. Kum - grasp

9. Lao - leak

10. Tong - press

11. Biu - thrust

12. Zhan - vibrate,

13. Huai - spiral

14. Juan - roll

15. Shuai - throw

16. Zhi - straight

17. Darp - join

18. Jui - follow.

Yee Jee Kim Yeung Ma

1. Pull in the chest, push out the upper back, and bring in the tail bone.

2. Fill the Tan Tien with chi and distribute the strength to all parts of the body.

3. Point the knees and toes inward.

4. Form a pyramid with the center of gravity in the center.

5. Fists are placed by the side of the ribs but not touching the body.

6. Sink the elbows, the shoulders, and the waist.

7. Hold the head and neck straight and keep the spirit alert.

8. Eyes are level, looking straight ahead, and watching all directions.

9. The mind is free of distractions and the mood is bright.

10. There is no fear when facing the opponent.

11. Yee Jee Kim Yeung Ma is the main stance.

12. Develop a good foundation for advanced techniques.

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Siu Lien Tau

1. Siu Lien Tau comes first; Do not force progress in training.

2. A weak body must start with strength improvement.

3. Do not keep any bad habit.

4. Yee Jee Kim Yeung Ma - Train the chi by controlling the Tan Tien.

5. To maintain good balance of strength, grip the ground with the toes.

6. To release chi from the Tan Tien, will enable proper release of power.

7. Sink the elbow and drop the shoulders; Guarding the centerline to protect both flanks.

8. There are one hundred and eight moves, all practical and real; Thousands of variations can be

used, aiming for practical use and not beauty.

9. Internally develop the chi; externally train the tendons, bones and muscles.

10. Taun Sau, Bong Sau, Fok Sau, Wu Sau, and Huen Sau; their wonder grows with practice.

11. Each movement must be clear and crisp. Timing must be observed.

12. Practice once a day, more will cause no harm.

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Chum Kiu

1. Chum Kiu trains the stance and the waist; the arm bridge is short and the step is narrow.

2. Eyes are trained to be alert; the chi flows in a perpetual motion.

3. Strive to remain calm in the midst of motion; loosen up the muscles and relax the mind.

4. Turning the stance with a circular movement, will allow superior generation of power.

5. When the opponent’s arm bridge enters my arm bridge, use the escaping hand to turn around

the situation.

6. Pass by the opponent’s incoming arm bridge from above, without stopping when the

countering move has started.

7. Lon Sau and Jip Sau put an opponent in danger.

8. Do not collide with a strong opponent; with a weak opponent use a direct frontal assault.

9. A quick fight should be ended quickly; no delay can be allowed.

10. Use the three joints of the arm to prevent entry by the opponent’s bridge; jam the opponent’s

bridge to restrict his movement.

11. Create a bridge if the opponent’s bridge is not present; nullify the bridge according to how it is

presented.

12. The arm bridge tracks the movement of the opponent’s body; when the hands cannot prevail,

use body position to save the situation.

13. Using short range power to jam the opponent’s bridge, the three joints are nicely controlled.

14. Where is the opponent’s bridge to be found? Chum Kiu guides the way.

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Biu Jee

1. The Biu Jee hand contains emergency techniques.

2. Iron fingers can strike a vital point at once.

3. The stepping in elbow strike has sufficient threatening power.

4. The phoenix eye punch has no compassion.

5. Fak Sau, Ginger Fist, and Guide Bridge; their movements are closely coordinated and hard to

defend and nullify.

6. Springy power and the extended arm are applied to close range.

7. The situation is different when preventing from defeat in an emergency.

8. The Biu Jee is not taught to outsiders.

9. How many Sifu pass on the proper heritage?

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The Wooden Man

1. There are 108 movements for the Wooden Man; repeated practice brings proper use of power.

2. Steps vary and always maintain close contact with the Wooden Man.

3. Power starts from the heart and shoots towards the centerline of the Mok Yan Jong.

4. Up, down, back and forth, the movements are continuous.

5. Power improvement cannot be predicted.

6. The arm bridge sticks to the hands of the Wooden Man while moving; adhesion power when

achieved will be a threatening force.

7. Power can be released in the intended manner; use of the line and position will be proper and

hard to defeat.

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General Sayings

1. There is no difference in who started to study first; the one who achieves accomplishment is

first.

2. Students from the same teacher will differ in their skills.

3. Touching the opponent’s arm bridge makes the situation more favorable.

4. When facing multiple opponents, it is easy to manage the situation.

5. When chasing the opponent’s arm bridge, beware of being led.

6. When pushing the opponent’s elbow, beware of being pulled.

7. Learning the techniques without developing the skills will never bring any accomplishment.

8. The ideal in Martial Arts is humanitarianism. Accomplishment uses diligence as a goal.

9. When the opponent passes your arm bridge, avert the danger by turning the stance and facing

with the appropriate posture.

10. Strike when you should. Do not strike when you should not.

11. Do not be too eager to strike. Do not be afraid to strike. One who is afraid of getting hit will

finally be hit.

12. Persistent attacks will surely gain you entry. Staying on the defensive too long will surely get

you into trouble.

13. The punch starts from the heart. The staff does not make two sounds. A kick does not miss.

14. Power is generated from the joints. Strength originates from the heels.

15. Store mental energy with the mind. Move chi with mental energy. Exert strength with chi.

Generate power with strength.

16. No harm will come if chi is nurtured naturally. Power can be stored but with enough to spare.

17. chi comes out of the Tan Tien, and travels along the waist, the thighs, and the back.

18. Know yourself and your opponent, and you will always win.

19. People do not know the extent of my skills, but I know their abilities.

20. Go along with your opponent’s failing posture in order to take advantage of it.

21. Glass-like head, cotton-like belly, and iron-like arm bridge.

22. You can strike anywhere when your arm bridge has passed beyond your opponent’s three

joints.

23. Pass by the opponent’s incoming arm bridge from above. Jam the opponent’s bridge to restrict

his movement.

24. Create a bridge if the opponent’s bridge is not present. Nullify the bridge according to how it is

presented.

25. Know the difference between Yin and Yang, real and feigned. Take advantage of any available

opportunity.

26. Sticking to the opponent while shifting hand position shows good control of the situation.

27. Being stuck to by the opponent while attempting to shift your own hand position cannot

produce the intended result.

28. Bong Sau must not remain. Faan Sau should be closely paced.

29. Know your own limit in the use of power. Releasing all out is 90% of the way to defeat.

30. The knees lead the stance. The waist links the body. Where the mind goes, the eyes go, and

the hands and feet follow.

31. Strive to remain calm in the midst of motion. Loosen up the muscles and relax the mind.

32. The three terrors of Wing Chun are Taun Sau, Bong Sau, and Fok Sau.

33. Feet and hands work together, and the threat comes to an end.

34. Beware of brute strength when facing someone from the same style. Beware of the situation

in a confrontation.

35. In uniting the waist with the stance, power can be generated.

36. In a match do not expect any compassion.

37. Grasping the throat is a ruthless technique. Once commenced, it cannot be stopped.

38. Storing energy resembles pulling a bow. Releasing power is like shooting an arrow.

39. Circular and straight accompany each other. Bent and straight complement one another.

40. Extreme softness enables one to be hard. Being extremely natural enables one to be agile.

41. Direct the mind to store spirit, not chi, in the body. Otherwise it leads to sluggishness. No

power is obtained when occupied with chi.

42. Use alterations in stepping forward and backward. Hands and feet should be closely

coordinated.

43. Invisible posture. Invisible kick.

44. As long as you are sticking to your opponent, you are unlikely to lose. A well trained waist can

prevent loss of balance.

45. Hand techniques must follow the Yin Yang principle. Strength must be applied with inner

power. There is a counteraction to every attack.

46. Rapid moves are hard to guard against. Go in when the opponent slows down.

47. Kicks lose nine times out of ten.

48. The feet are like wheels, and the hands like arrows.

49. A hand used for attack serves also to parry.

50. Do not collide with a strong arm bridge. Get out of the way and take initiative to attack.

51. During sticky hand practice, the hand which has entered beyond the elbow will win nine times

out of ten.

52. Do not follow, force, or butt against the opponent’s hands.

53. Destroying the opponent’s center line will control his bridge.

54. In Bong Sau the forearm inclines, the wrist is on the center line, and the fingers droop. A

raised elbow weakens the force.

55. The elbow must be strong. Then you can take on any attack.

56. If the opponent grasps your arm bridge, do not oppose him with brute force. Go with the

opponent’s force and change into rolling hands. Turn around the situation to control him.

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Pan Nam Kuen Kuit

1. Gaun, Lan, Tan, Bong - (Splitting, Barring, Dispersing,F lanking)

2. Chi, Mo, Dong, Lip - (Sticking, Touching, Swinging, Rubbing)

3. Cuk-sau Lau-chung - (Arm Bent - Force is Centred)

4. Kam-tau Gut-mai, Kam-mai Gut Tau - (When the head is pressed down, Turn up the end;

When the end is pressed turn up the head)

5. Loy-lau Hui-sung, Nut-sau Jik-chung - (Force comes, keep it; Force retreats, escort it; Arm

free, thrust Forward)

6. Bo-Fat:Au, Jum, Taan, Tac - (Footwork Method: Hooking, Stabing, Flicking, Kicking)

7. Gerk-Fat: Chuen, Gwaai, Liu, Shat, Chai - (Gerk Method: Piercing, Slant, Wiping, Cutting,

Stamping)

8. Sau Chi Sau, Mo Dai Jau - (When arm sticks to arm, touching isnt easily evaded by the

opponent)

9. Dai Sim Jark, Siu Fu Yang; Siu Sim Jark, Dai Fu Yang - (Large dodging movements make an

insuficiant bowing of the body(For Fa jing); Small Dodging movements make a suficiant

bowing(For Fa jing))

10. Yee Kiu Shang Sai, Lui Lim Bit Tsang - (When 2 bridges are touching, be on top and occupy(or

sickle) the inner gate

11. Ming Tung-ching, Gee Gwai Hui; Gee Yau Mo, Gee Jun Tui - (Be clear in understanding the

opponents movements, when to retreat, Knowing real movement and fake, knowing when the

opponent is moving in or retreating)

12. Yat-kuen Yat-chang, Yat Mah Yat bo, Bot Yiu Hing-ling May Yiu Wan - (1 fist, 1 palm, 1 step, 1

horse stepping is light and the horse is stable)

13. Yiu-gwa Tung Kiu But-tung, Kiu Tung Yiu-gwa But-tung - ( What the stance moves, do not

move the bridges. When the bridges move, do not move your stance)

14. Chung-gan Piu-bong Hei, Sum-chong But Hin Lo, Jeuk Jeuk Jim Sin-Tau - (If the Centre of the

arm is pressed(or split)Thrust a flank motion, quickly counter without warning to your

opponent)

Yik Kam Kuen Kuit

First 5 Stanzas of Yik Kam Siu Lien Tau Kuen Kuit

“Collect the Yee - Union with the Shen - Equal shoulder stance

Both hands, while rising forward, break into duality (Yin Yang)

(or alternate translation)双手前起半(分)陰阳\\ Both hands raise upward seperate into the Yin and Yang

phases.\\ Left leg trip out consists of pros and cons

Right heel, coiling ging, reversed stores

Fuse the pre/post breath within the Dantien,

Du medirian, descending…..

Eyes track hand, Hand syncronized with heart Hand (punch) is issued from heart…

Every contraction and expandsion, Within Kang there is Rou Within Rou there is Kang.

紅船班中正旦易金小練頭拳訣微嘗 (Exerp from the Siu Lien Tau Kuen kuit according to Yik Kam - Cheng

Tan “Red boat” opera performer - passed down by Cho Hong Choi)

1. 拳礼 (salutation)

反清 復明 五湖四海 十指連心 遝我河山

2. 練法 (Training guide)

眼對手 手對心 手從心發 一絲不苟…..

訣云:斯為上乘法,通関開竅有奇功.

3. 拳普歌訣 ( first few stanza ofSLT Kuen Kuit)

集意会神平肩襠 双手前起半(分)陰阳 左脚跘出有善惡…. 右跟曲勁口口口…

口口口口單朝阳 吞吐如虹口口口….

Commentary:

若朔其源, 訣中諸如 “集意会神平肩襠 双手前起半(分)陰阳”之句, 仍出自峨嵋十二庄. 諸如單朝阳,

吞吐如虹之詞非白鶴门無他.

詠春以單昭陽,昭陽應六变固若金蕩.

吞吐浮沉君須記 揎蓋挑疊常要用

吞吐浮沉…揎蓋挑疊…升降開合….. 形,勢,气脉…

The emei Kuen kuit for reference:

气平正立平肩裆 两掌前起半阴阳 … 再将左右任分腿

White Crane Kuen Kuit for reference:

昭陽 (Facing Sun)

<白鶴仙師祖傳真法> 中的 <方七娘白鶴拳十五勢>，就載有 :

[跌 、砍拳…招陽、……]十五個勢法，並注明如何動作及攻防意義之所在。…….這十五個勢應為當時最早見之於拳譜

中的勢法，當是當時所傳教的。

比如十五勢拳譜中所寫： [招 (昭) 陽。白鶴拳法之五：凡拳起手，只要招

(昭)陽，無論他用何勢，可用此勢，大門放過，小門直入。蓋此勢兩手顧鼻面，短牙顧中攔切，戒分腳退後。]……。

On Inch Jing Join Power

………永春白鶴拳以 “ 寸勁節力 “

見稱，能集中全身之力，於一剎那間發出，達到最好的持擊效果。要求力從胸起如雷從地發，蓄於身腰，發於臂手。…

…..

……..雙手沉肩、墜肘、坐腕成昭陽手，分成三節，肩至肘為內節，肘關節為中節，腕關節為尾節，要做到內節如鐵一

般堅實，與肩身成一整體；………

圈手入側門，坐節沉肘，肩墮；成昭陽手，手入即身入；不用僵力。

三)

兩手昭陽、吞吐節力：雙手沉肩、墜肘、坐腕成「昭陽手」，分成三節，肩至肘為內節(根節)，肘關節為中節，腕關節

為尾節，要做到內節如鐵一般堅實，與肩身成一整體；中節吞墜，尾節如膠如漆，靈活多變。雙手來去出力發勁，出手

時吐氣(吐)，收手時吸氣(吞)，一吞一吐互相配合無間，堅持「中門不讓，子午不離」。練習時與肩、頭、背、胯、膝

要貫串一氣，互相呼應，如有橡筋互相牽引、拉扯，吞肩坐節(墜肘)，發胛力，勁達指尖。出手時節中隨身與胯同向，

不可縮入開出，手節對膝，承接全身各處之力。

4. 收拳礼 (closing Salutation)

揎蓋挑疊常要用 (福建發音) 劍指膀肘逞英雄

訣曰 (kuit said)

劍指膀肘逞英雄 半点子午定太平

Comentary:

反清復明之礼,劍指膀肘之收式出自紅船之時.

太平 (Taiping heavenly kingdom)

Sources: Hendrik Santos

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Yuen Kay Shan Kuen Kuit

1. Hok Ying San, Long Ying Kiu -Body like a crane, arms like swimming dragons)

2. Step like wheels of a cart - legs like scissors

3. Bong Baat Ting Lao - (Bong never stays)

4. Dik Yaat Yee Dong - Jung Sum Yim Hong - (An enemy moving, has already lost their balance)

5. Sau/Kuen Yao Sum Fat - (Hand/Fist issues from the center)

6. Lien Siu Dai Da - (Join canceling to bring hitting)

Sources: Rene Ritchie

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Yuen Kay Shan Faat Moon- (Methodology)

1. Lui Lao Hui Soong - (Recieve what comes, accompany what leaves)

2. Fung Lut Jik Jong - (Charge straight when free)

3. Yee Yao Jai Gong - (Use soft to overcome hard)

4. Gong Yao Ping Yung - (Hard and soft combine in use)

5. Yee Ching Jai Dong - (Use stillness to overcome Movement)

6. Yee Yat Toi Lo - (Use rest to overcome fatigue)

Sources: Rene Ritchie

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Yuen Kay Shan Yiu Dim - (Important Points)

The Yiu Dim include the Sup Yee Fatt More Info

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Yuen Kay Shan Yiu Jee - (Important Ideas)

1. Fa Chuk Dui Sao Chi - (Explore changes by sticking with a partner)

2. Dui Gan Yiu Jong Tao - (Use a Mirror and Dummy to aid in this pursuit)

3. Lik Chui Jee Gok Chuen - (Strength is aware, it follows and changes with feeling)

4. Lien Juk Bot Ting lao - (Continue without stopping or staying)

5. Sien Faat Jai Yan - (Move first to gain the initiative)

6. Yan Si Yee Gong - (Attack according to timing)

Sources: Rene Ritchie

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Yuen Kay Shan Yiu Ku - (Important formula)

1. As force comes, it should be recieved and kept. It is never resisted or knocked away, but

accepted and adhered to.

2. As force goes, its acommpanied and added to.

3. When loss of contact occurs, or the body is crossed, charge straight down the meridian line.

4. If the root is stable, the fight will be stable.

5. When turning, the hands and body act together.

6. When an opponent moves, they have already lost their center of balance and may be

disrupted with ease.

7. When faced with an overly active opponent, you must remain calm and centered, physicaly

and mentaly.

8. Energy is conserved while the opponent hops around like a tiger, wasting their energy, until

the moment of engagement.

9. Do not plan ahead of time and stubbornly enact plans regardless to circumstance.

10. Attack according to current conditions, being alive and always changing.

11. Every offence is a defence, and each defene is an offence.

12. When changes are done skillfully, one can achieve twice the results with only half the effort.

13. The eyes are directed where the intent and mind are directed, the gaze is attentive.

14. When reacting to peripheal motion, if something is encountered it should be recieved and

kept.

15. If nothing is encountered, the motion may have been a deception and one should cleave the

center to intercept any true attackes.

16. Wing Chun Boxers must learn to apply their power in the most advantageous way, moving

with the wind, rather than against it.

17. Power is soft, calm, and quiet.

18. One must have faith in the Wing Chun Kuen system and themselves to use it.

19. Soft is employed to overcome hard.

20. Hard and soft combine in use.

21. Enemies are fought fiercely and attacks may be initiated in order to gain control.

22. Once an initial attack is made, it is followed in succession until the target is no more.

Sources: Rene Ritchie

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Kulo Leung Jan Kuen Kuit

1. Lik Yu Noi Gung - (Power must be internal)

2. Bok Gai Bok Jee - (1000 questions −1000 answers)

3. Skills depart from where they originate

4. Use quite to overcome the active

5. Biu to the center, Tang to the sides

6. WCK horse is narrow, the bridge small and the feet move like wheels of a cart

7. Kicking is from the side body position

8. Shiu da yat liong - chut da qin ken - (to disperse force with one ‘liang’ and to attack with

power of 1000 qin)

9. Geu you sheng gong - (long trained softness may turn into steel hardness)

10. Jeek you sheng gong - (accumulated softness may turn into steel hardness)

11. Qek you sheng gong - (extreme softness may turn into steel hardness)

12. Sam Dim Boon Gwun inclues Huen, Dim, Gwot, Doi, Bil, the 5 elements.

13. Wingchun forms are few - Easy to learn, hard to master

14. The mind has to be determined

15. First practice the foundations, than one can change later

16. Siu Lien, Dai Lien, Sam Bai Fut

17. Sam Jin crashs down, stopping the kicking leg

18. Butterfly palms, change to dragon, tiger tail, and hit

19. Biu Jee methods are cruel and vicious

20. Iron Finger Sinking Bridge, Crane Wing hit

21. Consecutive Biu Jee saves one from danger

22. Short bridge, spear methods use Tip San(close body)

23. Fok Fu(Subduing tiger) inate ability keep in gold bag(I think he means the good abilities are

kept as gold)

24. Those who are successful, how many are there?

25. Siu Lien Tau - practise it and it will change you

These ae general Wing Chun Kuen Kuit some times associated with Kulo Village.

1. Power in the middle - attack the sides, Weak middle - attack the center

2. Yin and Yang are the feelings of WCK

3. Lien Siu Dai Da - (Linked small and large / atack and defence)

4. Do not kick above the waist

5. Gerk Mo Hui Faat - (A kick never misses)

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Tang and Lo Family Kuen Kuit

These translation are from Grandmaster Tang Chung Pak

10 truth’s of Shaolin

18 kiu Sau of Shaolin:

Tiu (Pick up)

Buort (push aside)

Da (hit)

Pun (fold)

Juar (grasp)

Lai (Pull)

See (shear)

Tshai (quick pull)

Kam Na Fuong (prevent free movement)

Nghai (“Shut off”)

Bik (cornering someone)

Hup (“continuingly applying pressure”)

Tan (swallow)

To (spit)

Buot (taking chance)

Saat (stop/destroy)

Luk Dim Boon principles(Tai-Lan-Dim-Kit-Got-Wun-(Lau-50%))

Luk Dim Boon concepts (Tsin, Si, Tsau, Tan, Dik, Got, Cheung)

Search for: Bok, Fok, Yau, Lau

Avoid:Tam-Pa-Mong, Tien-Dei-Yan

Mo Kiu Mahn Yau Kiu

Kiu Loi Kiu Sheung Gwo

Lei Kiu Bin Jik Da

Tschoi Tschung Bei Chung Choy

Forward movement should be taken from avoidance (from the direct confrontation)

Hoi Tschung Sat Loi Chum

Always find weakness (of your opponent) from an apparent solid defence (meaning that there are

always weaknesses in your opponent, no matter how strong)

Ta Mo Yee Shun Shuok

Wether it is a forward jerk (attack,jump) or shift, such movement should be quick

Pien Cheng Mok Yan Chi

Don´t delay the choice (hesitate) on wether to take the side attack or direct forward attack

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Leung Jan Foshan Kuen Kuit

Wing Chun Bot Sau Lien Siu Dai Da

Biu

Huen

Fook

Ping

Kuen

Guat

Gan

Tan

Can Be Broken From Center

Kuan Sau- Horizontal Lan

Bong Has Faults

Faults are not True Faults

Push Snakes Head-the Tail Bites - Push the Snakes Tail-The Head Bites

Push the Center-Thrust out with Bong

Yip Man Hong Kong Kuen Kuit

Chow Tze Chuen - (Exerps from Willow in the wind: by Donald Mak)

1. Softness is the mind of a Willow which turns the force of the wind against itself

2. Yuk Yau But Yuk Keung - (Yield rather than resist the opponent with muscular force)

3. Yuk Shun But Yuk Yik - (Move in harmony with the opponents flow of force)

4. Yuk Ding But Yuk Luen - (Maintain a steady position, avoid eratic movement, as steady best

preserves the centerline)

5. Yuk Jui But Yuk San - (Use your body mass by converging rather than spreading out body

resources inefficiently)

6. Man Faat Gwai Chung - (10,000 methods originate from center)

7. Siu Da Tong Bo - (Simultaneous defence and attack)

8. Lin Siu Dai Da - (Simultaneous defence and attack)

9. Sheung Kiu Bing Hang - (Simultaneous defence and attack)

10. Ying Siu Bo Fa, Ying Fu Sung Yung - (Structure neutralizes, footwork dissolves, the opponents

can be handled with less effort spent)

Robert Chu - (Exerps from Complete Wing Chun: Ritchie, Chu and Wu)

1. Yao ying da ying; Mo ying da yieng - (When you see form, strike form; When there is no form,

strike shadow)

2. Lui lao hui soong; Lut sau jik Chung - (As my opponnet comes, I recieve him; As they leave, I

escort them; Upon loss of contact, I charge straight forward)

3. Lien siu dai da - (Linking defence to bring in offence)

4. Kuen yao sum faat - (Fist comes from the heart)

5. Sau lao jung sien - (Hand remains on the center line)

6. Da sau jik siu sau - (Striking hand also defends at the same time)

7. Mo keung da - (Dont force your striking)

8. Mo luen da - (Dont force your striking)

9. Bo lay tao, dao fu san, tiet kiu sau - (Glass head, bean-curd body, iron bridges)

10. Sau gerk seung siu, mo jit jiu - (Hands and feet defend accordingly, there are no secret

unstoppable maneuvers)

11. Gerk mo hui faat - (Kicks do not miss)

12. Chi sau mo lien fa sik - (There are no flowery hands found in sticking hands practise)

13. Dao mo seung faat - (Knives movements are never repeated)

14. Gwun mo leung heung - (The pole doesnt make 2 sounds)

15. Biu jee but chut mun - (Thrusting fingers do not go out the door)

Moy Yat Chops - (Kuen Kuit)

1. When you should hit - hit

2. When you shouldn’t hit - don’t

3. Don’t when you can’t and don’t when you mustn’t.

4. Others walk the bow - I walk the string.

5. The hand that hits - also blocks.

6. The punch comes from the heart.

7. Face your opponent with your centerline.

8. Hand against hand, foot against foot, there is no unstoppable technique.

9. When facing your opponent with your side, your shoulder becomes the centerline.

10. Whenever kicking, the heels face each other.

11. Beginners must not use strength.

12. Pak Sao (slap block), avoid the inner gate.

13. If you don’t train hard when you’re young, you will have nothing when you’re old.

14. When using the fist, don’t stand on ceremony.

15. When using the quan (pole), don’t expect two sounds

Augustine Fong

Note: Both Moy Yat and Augustine Fong first brought a large amount of Kuen Kuit, to the

general public. There work has been reused and rehashed more times than anyone would care

to count. Many of the general Kuen Kuit and sayings posted here, no doubt came from one of

or both of these masters. In the future, the WCpedia staff, hopes to collect the specific Kuen

Kuit that Fong Sifu and Moy Sigung, put into print, so the source of the water, may be

remembered. - WCpedia Staff

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Lo Kwai Kuen Kuit and Yiu Jee

1. As the opponent comes - receive

2. If he goes - escort

3. If contact is lost - move forward

4. Use soft to overcame hard

5. Hard and soft combine as needed

6. Stillness to overcome movement

7. Footwork is to be quick and nimble( teng nuo yee shun shuok)

8. Body angle must be changed quickly

9. Hands and feet defend as needed

10. Attack the center - control the center - destroy the center = Refers to attacking the centerline,

but also attacking the center of gravity, of the opponent by joining to and controlling the

center of gravity.

The Original Song of the Red Boat

The Original Red Boat Song of Wing Chun Kuen

The techniques of Wing Chun Kuen are unique;

The methods are impenetrable, changing them should be avoided!

Correct teaching, correct practice and the correct mindset are essential.

You must train your heart to be courageous.

Relaxing and smiling whilst defeating the opponent makes for great tales;

Seeking by the questioning hand to judge the foe’s situation.

It is like watching flowers when he is further away;

Striking when he is near.

Let him fly like a dragon and hop like a tiger, while I am at ease and entertained;

The hands strike like a falling star!

The kick is formless like a flying arrow!

Above, remain on the centerline;

Below, close the groin,

Ensuring the body is inaccessible.

The key is sticking to the bridge of the enemy!

Exalted awareness controls his advance;

The skill is to borrow force and strike forcefully.

Lead him into emptiness;

To strike first has its reasons;

In the encounter is embedded the mystery!

Do not stop at a single strike,

Pressuring the opponent continuously is essential.

Go on top of the incoming bridge,

Neutralize the incoming elbow with an elbow.

Close in to long range strikes

Move the stance forward to an incoming stance.

Keeping the incoming hand and send forward the outgoing hand,

A loose hand must be followed with a forward thrust.

Take the incoming straight thrust with a curve,

Encounter the cross hand with a straight thrust forward.

Forwarding, obstruction, blocking and twisting

Topping, stopping, sinking, thrusting,

Sticking, touching, ironing, swinging,

Swallowing and spitting contain stealing and slipping.

Each point in the theory must be very clear.

Each technique must be clear.

The difference of a line is like heaven and earth.

The slightest bit of slackness will bring defeat.

Commit all these to memory!

One day retrieve the mystery within.

Honour your teacher and respect the art, year after year,

Honestly and determination will generate greatness!

Clever methods will generate more clever methods;

Unusual training exercises will generate more unusual training exercises;

Wind and thunder generated within an inch -

How can you not be humbled?

The true words of the originator:

The true skill of Wing Chun is difficult to find,

There are many levels.

The true art will be found in the most unusual circumstances;

You must be intelligent and diligent over the years,

The unworthy practitioner will always be a lonesome boat in a big ocean.

The art protects the art!

Saturday, September 09, 2006 Copyright 2002–2006 Yun Hoi Wing Chun Kuen