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Posted on June 27, 2018 NIMBLENESS BOXING
(JIE QUAN)
– PLUM BLOSSOM SABER (MEI
HUA DAO)
SUNDIAL SWORD (ZIWU JIAN)
TAIJI BOXING ACCORDING TO
WHITE APE STEALS A PEACH XU ZHIYI
WHITE APE STEALS A PEACH

by Huang Hanxun [Wong Honfan] of Shunde Recent Comments

as taught by Luo Guangyu of Penglai, Shandong Archives

October 2018
September 2018
photographed by Huang Ziying August 2018
July 2018
June 2018
text proofread by Huang Xiang May 2018
[published 35th year of the cycle, 10th month, 10th day (Nov 20, 1958)] April 2018
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[translation by Paul Brennan, June, 2018] January 2018
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 June 2014
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White Ape Steals a Peach January 2014
December 2013
– calligraphy by Huang Dianming November 2013
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– July 2013
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CONTENTS March 2013
February 2013
January 2013
December 2012
Posture 1: STANDING STABLY, BOTH FISTS STORING POWER November 2012
October 2012
September 2012
Posture 2: KNEELING STANCE, SINGLE CLAW-ARM August 2012
May 2012
Posture 3: LIFTING LEG, RIGHT SUBDUING PUNCH March 2012
January 2012
November 2011
Posture 4: THREADING HAND, RIGHT THRUST PUNCH July 2011
March 2011
February 2011
Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH
Categories
Posture 8: TWISTING STANCE, LEFT STICKY ELBOW Complete Works of Sun Lutang
Complete Works of Yin Qianhe
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Posture 7: CHOPPING SWING, RIGHT PRESSING FOREARM Taiji
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Posture 8: TURN AROUND, HOOKING HAND, SNAPPING KICK
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Posture 11: WITHDRAWING STEP, HANG & THRUST PUNCH

Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP

Posture 13: LEAPING STEP, SENDING THE SHUTTLE THROUGH

Posture 14: SEALING HANDS, FLYING DOUBLE KICK

Posture 15: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

Posture 16: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP

Posture 17: SWINGING PUNCH, LARGE SWINGING LOTUS KICK

Posture 18: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

Posture 19: JUMPING STEP, SEALING, THRUST PUNCH

Posture 20: MOUNTAIN-CLIMBING STANCE, ROLLING PUNCH

Posture 21: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

Posture 22: SEALING HANDS, RIGHT BRACING KICK

Posture 23: WITHDRAWING BODY, HANG & THRUST PUNCH

Posture 24: SITTING-TIGER STANCE, CARRY & THRUST PUNCH

–

SPEECH FROM THE 11TH GRADUATION CEREMONY OF THE MANTIS MARTIAL

ARTS ACADEMY

by director Huang Hanxun (recorded by your student, Huang Hanchao):

On Oct 23, 1957, the 11th Graduation Ceremony for the Mantis Martial Arts Institute was
held in the assembly hall of the Far East Athletic Club. On that evening, there were more
than forty students graduating, from the beginner, intermediate, and advanced levels, as
well as the special instructor level. At the close of the event, students old and new joined
in camaraderie to give a demonstration. At the beginning of the event, the director of the
school gave a speech to encourage all the students, in which he particularly discussed the
problems currently facing the martial arts community, pointing out the causes of the
decline of martial arts and putting forward methods of rescuing them. His important words
should serve as a reference for how to improve the state of martial arts. Below is an
excerpt from his speech:

Causes for the decline of martial arts:

1. There is a problem of students trying to be teachers, resulting in real teachers no longer

being respected.

Young people typically lack proper martial arts knowledge, and yet before they have even
begun training in a boxing art, they already have it their heads that they want to teach it to
others. I am not saying that students should not become teachers. What I am saying is
that they should not be using the art just to have something to teach.
Practicing boxing arts requires a long time for skill to deepen, hence the expression
“three years will give you a small achievement, ten years a large achievement”. This is not
an unreasonable plan, but in the time between the small achievement and the large
achievement, if you cannot fight your way through it (i.e. endure bitter training), your skill
will most assuredly not progress the rest of the way. Or if you are without a close mentor,
your skill would again stagnate and cease to move forward.
It is the way of any boxing art that the longer you swim in it, the more refined your skill
will become. Those who have practiced a boxing art for three to five years think highly of
themselves and believe that they can function for others as a model teacher. But actually
they still do not understand the boxing theory and are not experienced in the ups and
downs of martial arts. Even though the methods of the art are not yet fully understood,
they are nevertheless steeped in their happy plans of teaching these methods to others.
With this kind of frivolous attitude, how could our martial arts not be in decline?

2. Magazines, newspapers, films, and martial arts novels do a lot of exaggerating.

All of these forms of media have the potential to rejuvenate our martial arts. When the
Jingwu Athletic Association made use of these kinds of media to make martial arts
fashionable throughout the nation, they did so in order to show the reality of these arts
and were not seeking to make a profit. Unfortunately what we see and hear nowadays is
usually the flaunting of bizarre skills and the glorifying of crazy stunts. Depictions of
individuals are exaggerated caricatures, and the writing is pushed to be as exciting as
possible in order to attract audiences.
Spectators do not understand and mistakenly think that people with such strange abilities
exist. They are then inspired to learn those skills in the belief that they themselves can
achieve them. Once they join a school, they discover that what they are being personally
taught is average and unremarkable, vastly different from what they had heard about, and
so they seek out other teachers to learn from in the hopes that it will be more like what
they had expected. Then in their disappointment, they will consequently start to have
contempt for martial arts, going from being mesmerized by the thought of the training to
realizing it was all a hoax. Because of this, the martial arts world has lost many talented
people.
To have such “lofty dreams on an empty stomach” and not be able to make any of it
come true, how could our martial arts not be in decline?

3. There is an unwillingness to publicly share unique boxing arts.

Those who practice boxing arts know that these arts are easy to learn but difficult to
master. Students have to go through a great deal of hard training in order to make any
gains. Once practitioners start teaching, they constantly fret over how difficult it is to
achieve skill, and so they sour to the idea of teaching just anyone. Indeed if a student
does not care about the degree of craftsmanship involved and looks upon boxing arts as
easy things, it seems natural that he should not be given instruction in advanced theories.
But it’s a numbers game: among a hundred people, there is bound to be one who
appreciates knowledge. Therefore while it is reasonable not to teach unique skills to those
who are indifferent or impatient, it is a mistake not to teach these skills to those who love
learning and contemplating. There is a common saying: “It’s hard to find the right teacher,
but even harder to find the right student.” However, if everyone decided to keep their art to
themselves and hold onto it until they die, it would also die with them.
With this kind of selfishness, how could our martial arts not be in decline?

Director Huang then put forth these suggestions for rescuing our martial arts:

1. Teachers should set an example by actually going through the training process and
mastering a boxing art.

It means nothing to just fill up teaching positions. There are “famous teachers” giving
instruction. If an instructor considers himself to be a famous teacher and looks down on
other people, disdaining to be in the presence of the students, the instruction he gives will
be barely mediocre. He has not been able to achieve the condition of [quoting from the
Lun Yu, 7.2:] “learn insatiably, teach tirelessly”. Students will be influenced by this and
instead only learn how to behave like that teacher. Such a teacher ultimately cannot set an
example and ceases to be a good model for the students.
Therefore to be considered a teacher, one should have the mindset of “learn insatiably,
teach tirelessly”, which will have the effect of subtly influencing the students. On the other
hand, he should also have actually gone through the experience of mastering a boxing
art, and then he will be able to shoulder the responsibility of being a teacher in the first
place.
Thus rescuing our martial arts has to start with teachers setting an example.

2. Students should tread the boring path, not the exciting one.
A boxing arts practitioner is not allowed to have an impetuous mind and distracted
temperament. That kind of thing is an even bigger hindrance to making progress than
wanting to hurry up and be a teacher.
Often when we see beginners watching their older classmates practicing, we hear them
express their envy. But they do not understand how much determination and time was
required to attain such a level. Therefore they tend to make the error of skipping steps.
Before they have developed even a single skill, they see something different and their
attention shifts, always in pursuit of exciting material, never willing to put in the hard
training, which involves wading through the boring stuff.
Boxing arts methods are easy to obtain and easy to lose. Unless you go through the
experience, you will have no idea of the ordeals within the training. [from the Books of
Han, bio of Dong Zhongshu:] “To stare at the water and wish for a fish is not as good as
stepping back and making a net.”
Only when the student has learned how to learn will he then be of use in rescuing our
martial arts.

3. We should not shy away from the hard work of expressing boxing arts knowledge that
previous generations did not.

If we wish for martial arts to become a field of learning, we cannot do it unless we find out
what the keys are to such knowledge. It then depends on the hard work of our colleagues
in the martial arts community to carry out the crucial task of putting all that knowledge into
specialized books.
However, learning martial arts always requires some personal instruction, for books
themselves are insufficient. In recent years, martial arts books have been getting
systematically compiled, but they are usually just the copying of arcane texts. To be able
to actually go through the training that those texts describe and then write books that are
also based on one’s own experience of that training is something that is rarely seen. If we
wish to fix this current trend, it cannot be done without a great deal of effort.
To express what earlier generations did not is a duty of the martial arts community, and
is also a major guiding principle in rescuing our martial arts.

PREFACE

Since starting to publish the “Mantis Boxing Art Book Series”, I have given it more than a
decade of effort, and there are now twenty-three volumes in it. Regardless of boxing set or
weapon set, all of the sets contain a large number of postures, except the boxing set in
this book, which has only twenty-four. If this seems too short, I can only say that this is the
way the set was originally designed, and so I have no right to lengthen it.
Mantis Boxing is consistently regarded as being comprised of boxing sets that are long
and have many movements. Practitioners take it for granted that working on such sets will
increase energy and strength, and they then think that one should not bother with boxing
sets that are short and have few movements, dismissively assuming that they must be of
little use for the training of energy and strength. But if we can wholeheartedly exert
ourselves and express power in all of the sets, we will gain enormously in the
development of spirit.
 This set and White Ape Leaves the Cave are as intimately connected as a peony tree
and its leaves, benefiting each other wondrously, which is likewise true of Mantis Leaves
the Cave and Mantis Steals a Peach, and for this reason the publication of this book
follows close upon the publication of White Ape Leaves the Cave [although it actually
ended up getting published before it], in hopes that this will more easily produce the effect
of the two sets developing and fulfilling each other.
I will continue to put effort into writing about Mantis Boxing, ignoring all thoughts of
success or failure, for my hope is only to provide material that will serve as a guide for my
fellow practitioners both within the nation and overseas.
- Huang Hanxun at the Mantis School, 35th year of the cycle, Double Ninth Festival,
[Oct 21, 1958]

Posture 1: STANDING STABLY, BOTH FISTS STORING POWER

Explanation:

If you begin in the eastern part of the practice space, then the east should be to your right,
the west to your left, north in front of you, south behind you. With your feet together, stand
straight, your fists pulled up to chest level in order to store a balanced power. Your gaze is
to the left, and you are ready to begin the boxing postures. See photo 1:

Application:

The boxing sets in the Mantis system usually begin with this posture of “standing stably”,
but sometimes there is the “four-level posture” and also the “back-turning posture”. They
are different in terms of the direction they are facing, though they are the same in that the
fists are storing power. When beginning in the posture of standing stably, I am showing
that there is an opponent who is about to attack from the left, and thus I should be looking
to the left. In the four-level posture, an opponent is attacking from in front of me, and thus
in that case I should be looking forward. In the back-turning posture, an opponent is
attacking from my right, and thus in that case I should be looking to the right. These are
the distinctions of these three postures. Take note of them.

Posture 2: KNEELING STANCE, SINGLE CLAW-ARM

Explanation:

Continuing from the previous posture, your left foot steps out to the west and your right
foot follows it forward, the leg bending, to make a kneeling stance, as your right fist
changes to a hooking hand and your left hand becomes a palm, your hands going along
with your feet by going across diagonally from below. See photo 2:

Application:

An opponent attacks my middle area with a punch, so I deflect his incoming hand while my
right hand goes out as a reverse claw [i.e. using the back of the wrist] to attack his groin.
This technique is very cruel and so you must not use it rashly. Some people wonder why
this posture requires a claw-hand rather than using a fist, but this is in fact the key to the
technique. The area below the crotch is wider below and narrower at the top. Using a fist
will not work as well going from the previous posture into this posture, but a claw-hand
coming upward from below will fit just right into that particular place, and this is why it is
key to the posture.

Posture 3: LIFTED LEG, RIGHT SUBDUING PUNCH

Explanation:

Continuing from the previous posture, your right foot lifts to make a one-legged stance as
your left palm goes forward, sealing downward from above, and your right fist threads out
from the inside with a subduing punch. See photo 3:
Application:

The opponent takes advantage of my low stance and low hands attacking to his lower
body by immediately changing to attack my upper area, so I lift a leg to make my stance
taller while sealing off his incoming hand, then counter by sending a subduing punch
upward from below to strike to his chin. A subduing punch in a mountain-climbing stance
is a very common technique in Mantis Boxing, but a subduing punch with a lifted leg
happens just this once. In the moment that I firmly seal off his hand to then do a subduing
punch, the opponent does an emergency crushing kick to my leg to try to keep me from
reaching him, so when I grab his incoming hand to make it difficult for him to get away, I
also lift my leg to avoid his incoming foot and can then powerfully apply the punch.

Posture 4: THREADING HAND, RIGHT THRUST PUNCH

Explanation:

Continuing from the previous posture, your left fist threads out from below, and once it is
to the outside of your right knuckles, your right fist can then withdraw to your waist. Then
your right foot comes down to make a horse-riding stance as your right fist thrusts out
from your waist, your left palm touching at your right shoulder. See photo 4:
Application:

The opponent blocks my subduing punch, so I first use my left hand to thread out and take
it aside, then come down into a horse-riding stance to attack his middle area. This posture
resembles BLACK TIGER STEALS THE HEART or HORSE-RIDING STANCE, FILLING
PUNCH. When practicing it, it is not at all necessary for your right fist to scrape past your
left palm as it goes out, and thus this posture can be a better means of increasing your
power than with the ordinary thrust punches. Due to the lifted leg coming down darting into
a horse-riding stance, this technique has the elegance of descending from a height and
also has the quality of rolling forward like an unstoppable wave.

Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT SUBDUING PUNCH

Explanation:

Continuing from the previous posture, your left leg presses straight to make a right
mountain-climbing stance, your left hand going forward, sealing downward from above, as
your right fist withdraws almost to your waist and then goes out upward from below with
the fist turned over. See photo 5:

Application:

The opponent deflects my thrust punch, then sends his other hand to strike, so I use my
left hand to seal off his incoming hand, and my right fist turns over and thrusts upward
from below, striking to his chin. The application is the same as in Posture Three, in which
it is performed with a lifted leg, but the advantage of performing this technique in a
mountain-climbing stance is that within the nimbleness of advance or retreat there is also
more firmness, and furthermore, the switch from horse-riding stance into mountain-
climbing stance darts you forward to make this thrusting strike overwhelmingly powerful.

Posture 6: TWISTING STANCE, LEFT STICKY ELBOW

Explanation:
Continuing from the previous posture, your feet twist to the right to make a twisted stance
as your right fist changes to a hooking hand and pulls to the rear, your left fist going
upward from below with the elbow bent, the same as in Posture 22 of the Avalanche Steps
set. See photo 6:

Application:

The opponent tries to send out a hand to carry my subduing punch upward, so I receive
his hooking hand and pull it to the rear, and my left forearm goes upward from below,
elbow bent, to break his arm. This is a method of both hands working together to apply
force upward and downward [i.e. your right hand bracing downward as your left elbow
props upward], against a single arm, thus putting you in the superior position. If the
opponent notices an opportunity, you will not have time for your hands to apply force
together to make this technique, and you will instead have to pull your elbow back to keep
yourself out of a dangerous situation. (It is the same technique as in the Avalanche Steps
set.)

Posture 7: CHOPPING SWING, RIGHT PRESSING FOREARM

Explanation:

Continuing from the previous posture, first your left foot advances as your right fist chops
forward and downward from the rear [your left hand now touching the elbow area]. See
photo 7a:
Then your right foot advances to make a kneeling stance as your [right] hand arcs to the
left and then turns over from inside to push out forward, the center of your right fist facing
inward, elbow bent, your left fist now touching below your right wrist. See photo 7b:

Application:

The opponent sinks his elbow to evade my sticky elbow and then slips the hand through to
attack under my elbow, so I first chop away his incoming attack, then advance while using
a pressing forearm technique to crowd him and make him topple.

Posture 8: TURN AROUND, HOOKING HAND, SNAPPING KICK

Explanation:

Continuing from the previous posture, your body turns around to the left, your right hand
withdrawing to your waist, as your left hooking hand and left foot go out in unison to the
east behind you. See photo 8:

Application:

The opponent dodges around behind me and attacks with a chopping punch toward my
head. If I wait until I have turned around to block it, then I will have missed the moment, so
I use a technique of sending out a hand and a foot in unison to defeat it, using a hooking
hand to connect to his incoming hand while sending a foot to attack his lower area.

Posture 9: SWINGING PUNCH, CONTINUOUS KICK

Explanation:

Continuing from the previous posture, without waiting for your left foot to come down, your
whole body leaps into the air and your right foot kicks out, your right fist at the same time
going from your waist and swinging across to the left [to strike against your left palm]. See
photo 9:

Application:
Before the opponent has a chance to deflect or evade my kick, I immediately continue into
sending out my right foot, causing him to have no time to deal with it. The power of this
kick may be insufficient, so I add a right swinging punch at the same time into order to
threaten his upper area. A training partner on the receiving end of this technique will
consider it to be very dangerous, and the one performing it will also feel that it is too risky
to apply. Therefore when it is not necessary to actually use this technique, it may be better
to avoid doing so.

Posture 10: KNEELING STANCE, RIGHT PRESSING FOREARM

Explanation:

Continuing from the previous posture, your right foot comes down and your left foot pulls
forward to make a kneeling stance, your hands staying in their swinging-punch position as
they arc inward and turn over to push outward. See photo 10:

Application:

The opponent tries to send a hand to grab my foot, but I bring it down before he has the
chance and use a pressing-forearm technique to strongly push forward, thereby keeping
myself from falling into danger. The previous posture is very high, involving the whole
body leaping into the air while sending out an attack, whereas this posture is very low. The
two postures combined make an effect of a wave crashing down. Alternating between
very high and very low cannot be continued through many postures, or what you are doing
would become predictable to the opponent. The pressing forearm is a very powerful
technique as it involves the pushing power of both hands combined.

Posture 11: WITHDRAWING STEP, HANG & THRUST PUNCH

Explanation:

Continuing from the previous posture, without switching your feet, withdraw smoothly to
the rear and make a right mountain-climbing stance as your right fist blocks across higher
than your head and your left fist thrusts straight out. See photo 11:

Application:

The opponent evades my arm and then does a chopping punch toward my head, so I
withdraw a step to make a mountain-climbing stance as my right hand blocks his incoming
hand and my left hand attacks straight to his middle area. By suddenly advancing as I
suddenly retreat, I appear to be acting without any pattern, causing him to have difficulty
understanding what I am doing. This is a primary technique in the art, but if you attack
stiffly, it will be no technique at all. Seek forward while withdrawing to the rear, your feet
stepping evenly so that your offense and defense will leave no gap.

Posture 12: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP

Explanation:

Continuing from the previous posture, with your stance not changing, your whole body
shifts forward about a half step with your right hand going forward, chopping down from
above, your left hand striking against it with an audible crack just before it reaches its final
position. See photo 12:
Application:

The opponent sends out a hand to smash down onto my left hand, so I then use my upper
hand to chop down at his hand, an action that is fast and fierce. The previous technique
involved withdrawing and now this one involves shifting forward. The switch from
retreating to advancing depends entirely on skillful footwork in order for it to be effective. If
you wish for your advancing and retreating to be done swiftly, you must first understand
this principle, and then you will be able to succeed at performing these techniques with
vigor.

Posture 13: LEAPING STEP, SENDING THE SHUTTLE THROUGH

Explanation:

Continuing from the previous posture, hop forward to again make a mountain-climbing
stance as both hands, your left hand still behind your right hand, hook downward from
above. See photo 13a:

With your right hooking hand not moving, your left hand changes to a double finger
position and shoots out forward to do an eye attack. See photo 13b:
With your stance not changing, your left fingers than switch back to being a hooking hand,
which pulls to the rear as your right hooking hand strikes out [with the wrist area]. See
photo 13c:

Application:

The opponent tries to retreat, so I follow him, first using my hands to seal off his hand,
then doing a snatching attack to his eyes. He is sure to send out a hand to deflect my
dangerous technique, so I use my hands to hook onto it, then use a crashing claw-hand
maneuver to attack his ribs and thereby his lungs underneath them [although the photo
seems to show that the throat may be the target instead].

Posture 14: SEALING HANDS, FLYING DOUBLE KICK

Explanation:

Continuing from the previous posture, with your stance not changing, your right hand goes
to the rear as a sealing hand, the palm facing upward, while your left hand goes forward
and downward, also as a sealing hand, the palm facing downward. See photo 14a:
Then your whole body jumps forward [kicking out with your left foot] and your right foot
goes out with a bracing kick when the jump is reaching its peak of height, your hands
maintaining their position. See photo 14b:

Application:

The opponent tries to attack my middle or lower area, so I perform a sealing action with
the palm of one hand facing downward, the other facing upward. Realizing I will now have
control over his arm, he does his utmost to pull it back, trying to retreat away from me, so I
ride along with his retreating by jumping into the air and surprise him with a flying double
kick.

Posture 15: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

Explanation:

Continuing from the previous posture, your kicking leg comes back down to make a right
mountain-climbing stance as your right fist blocks across higher than your head, the elbow
bending, and your left fist thrusts out forward. See photo 15:

Application:

The opponent evades my arm [leg] and then does a chopping punch toward my head, so I
withdraw a step to make a mountain-climbing stance as my right hand blocks his incoming
hand and my left hand attacks straight to his middle area. By suddenly advancing as I
suddenly retreat, I appear to be acting without any pattern, causing him to have difficulty
understanding what I am doing. This is a primary technique in the art, but if you attack
stiffly, it will be no technique at all. Seek forward while withdrawing to the rear, your feet
stepping evenly so that your offense and defense will leave no gap.

Posture 16: MOUNTAIN-CLIMBING STANCE, RIGHT ROLLING CHOP

Explanation:

Continuing from the previous posture, with your stance not changing, your whole body
shifts forward about a half step with your right hand going forward, chopping down from
above, your left hand striking against it with an audible crack just before it reaches its final
position. See photo 16:
Application:

The opponent sends out a hand to smash down onto my left hand, so I then use my upper
hand to chop down at his hand, an action that is fast and fierce. The previous technique
involved withdrawing and now this one involves shifting forward. The switch from
retreating to advancing depends entirely on skillful footwork in order for it to be effective. If
you wish for your advancing and retreating to be done swiftly, you must first understand
this principle, and then you will be able to succeed at performing these techniques with
vigor.

Posture 17: SWINGING PUNCH, LARGE SWINGING LOTUS KICK

Explanation:

Continuing from the previous posture, with your right fist not moving, first your left palm
becomes a hooking hand and hooks away to the rear. See photo 17a:
Then your right foot lifts and sweeps across in front of you as your right hand goes forward
and across with a swinging punch. See photo 17b:

Application:

An opponent suddenly punches from behind, so without waiting to turn my body, I send a
hand to hook onto his attack, then spin my whole body around with the action of quickly
lifting my right foot into an [inward] swinging lotus kick to sweep across to his rib area.

Posture 18: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

[Explanation:]

Continuing from the previous posture, your swinging kick arcs all the way through to the
left and comes down behind you, your torso at the same time spinning around to the left,
and you make a left mountain-climbing stance, your left fist blocking across higher than
your head, the elbow bending, your right fist thrusting straight out. See photo 18:

Application:
Same as in Postures 11 and 15.

Posture 19: JUMPING STEP, SEALING, THRUST PUNCH

Explanation:

Continuing from the previous posture, your whole body goes forward with a hop to come
down into another left mountain-climbing stance, your hands at the same time sealing
downward from above. See photo 19a:

Then your right fist thrusts out. See photo 19b:

Application:

The opponent hops away to the rear and sends out a hand to attack me, so I follow him
while first sealing off his incoming hand and then use a thrust punch to attack him.
Posture 20: MOUNTAIN-CLIMBING STANCE, ROLLING PUNCH

Explanation:

Continuing from the previous posture, with your stance not changing, your right hand pulls
upward and your left fist goes out from in front of your face, the elbow bending. See photo
20:

Application:

The opponent deflects my incoming hand, so I cover his hand and then use my left fist to
strike to his face. (The rolling punch in the Avalanche Steps set is in a sitting-tiger stance.
The rolling punch in the Eighteen Elders set is in a big-dipper stance. These three sets
use the same hand technique in different stances. If you want to know which version is
best, I say that each is the best for its particular situation. A sitting-tiger stance is an empty
stance and is thus easy to kick from, a big-dipper stance is an easy position for switching
into another position, and the mountain-climbing stance is a stance of solidity.)

Posture 21: MOUNTAIN-CLIMBING STANCE, HANG & THRUST PUNCH

Explanation:

Continuing from the previous posture, with your stance not changing, your left fist arcs
upward to block across higher than your head, the elbow bending, as your right fist arcs to
your waist and then thrusts straight out. See photo 21:
Application:

Same as in Postures 11, 15, and 18.

Posture 22: SEALING HANDS, RIGHT BRACING KICK

Explanation:

Continuing from the previous posture, with your stance not changing, your hands both
switch to sealing, your right hand with its palm facing upward, left hand with its palm facing
downward, sealing away to the left. See photo 22a:

Then your right lifts and does a bracing kick. See photo 22b:
Application:

The opponent evades my hand and attacks my waist, so I use sealing hands to close off
his forearm, then attack him with a bracing kick.

Posture 23: WITHDRAWING BODY, HANG & THRUST PUNCH

Explanation:

Continuing from the previous posture, your kicking foot arcs to the left rear [with your body
spinning leftward], coming down to again make a left mountain-climbing stance, as your
left fist blocks across higher than your head and your right fist thrusts straight out. See
photo 23:

Application:

Same as in Postures 11, 15, 18, and 21.

Posture 24: SITTING-TIGER STANCE, CARRY & THRUST PUNCH

Explanation:

Continuing from the previous posture, your left foot pulls back to make a left sitting-tiger
stance as your right fist becomes a palm, swings down against your right thigh, then arcs
upward higher than your head to block away diagonally, and your left fist arcs to your hip
and then thrusts out. It is the same as in the closing posture of the Charging Punches set.
See photo 24:

Application:

The opponent does a raising kick toward my groin, so I first use my [right] palm to slap it
away, then bring it up to guard my head as my left fist attacks to his middle or upper area.
(This completes the entire set.)

Related
 WHITE APE LEAVES THE CAVE

SUNDIAL SWORD (ZIWU JIAN)

EIGHTEEN ELDERS

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