' ,

. .
3
116 WING TSUN DUMMY TECHNIQUES
AI DEMONSTRATED BY GRANDMASTER YIP MAN

Written by:
MASTER YIP CHUN
Director of Yip Man Martial-Art Assocllltloll

Technical Adviser.
MASTER LEUNG TING
B.A .. Ph.D. ,
JOt/1 Level M.O.C. of I.W.T.L. T.M.A .A.

CHIIF TRANSLATOR
RICHARD LEE
I.A H ..u., /tf A . M.LL

.MiliTANT TRANSLATOR
liN LEE

CHIEF EDITOR
LIUNG liNG

EDITOR
UNG WAI BUN
Cepyrlght o 1981 by Leung's Publications, Hong Kong.
All rights reserved. Printed in Hong Kong.

fR
PIII\J.ICA TIONS
11080, Kin Central , Hong Kong.
11\l) 78004b8/ j8841SS. Fax: (85Z)-7808181.
 Prelace

M 116 Wtnx T:nm Dummy T~chniques is the name of a book

being planned for publication ever since the death of my father,
the late Grandmaster Yip Man. As the heir of the grandmaster
1 nyle of Chinese Kungfu, I feel it my responsibil ity to put into
the techniques of the wooden dummy, which form the essential
of Wing Tsun Kuen, and to allow readers and enthusiasts of martial
to undemand, through the aid of a set of photos passed to me by
flther, the ways of applying these techniques. However, publication
the book was delayed, because I was aware of the fact that many
- tu1tors of Wing Tsun Style were teaching the Wooden Dummy
r/llriq,rHs in ways quite different from those my father taught me. The
renee of the book might, as I thought earlier, make these tutors
lmben essed.
the past year, a tutor edited a book in my name, in which the
used as illustrations were part of my collection I obtained from
flther. I really didn't know how he got these photos. What makes me
II the disorderly arrangements of the materials, and the incorrect
Incomplete explanations and demonstrations. That book will surely
the image of my father, and lead readers into misbelief of wrong
IIIIIU8t. Thet is why I find it necessary to publish my own book.

to thank my kung-fu brother Dr. Leung Tlng for offering his

throughout the planning of this book. and helping me in every
when putting it into print.

my sinoere wish that readers will find this book helpful not only as
lfll'lnC:e book of martial arts, but also as an indispensable aid while
courses of Wing Tsun Kung-fu.

by Yip Chun

Director of Yip Man MarltoiArt Assoclotlon

5
 CONTENTS
PREFACE Yip Chun P. J

CONTENT I' 6

YIP CHUN THE AUTHOR P. 7

A DESCRIPTION OF THE ORIGIN &

DEVELOPMENT Of THE WING TSUN
DUMMY Leung Tlng P

ILLUSTRATIONS OF THE WOOD EN DUMMIES Yip Chun P. 14

THE 116 WING TSUN DUMMY TECHNIQUES Yip Man P. 16

APPLICATIONS & EXPLANATIONS OF THE

W. T. DUMMY TECHNIQUES Yip Chun P. 46

STORY OF MY FATHER - YIP MAN THE

GREAT GRANDMASTER OF WING TSUN
STYLE Yip Chun P. 47

TERMINOLOGY Leung Tlng P. ll 6

Print, feb 1981.

Print, Sep 1982.
Print, Feb 1988.
Print, Sep 1988.
Print, Nov 1990.
MASTER YIP CHUN THE AUTHOR
7
A DESCRIPTION OF THE ORIGIN
I DEVELOPMENT OF
THE WING TSUN DUMMY

THE SHAPE OF THE DUMMY

he trunk of the Wing Tsun wooden dummy is made of 1

cylindrical wooden stake of about five feet in length and null
inches in diameter. Other parts of the dummy include the two
upper arms, which are stuck into two chiseled mortises at the
- llciiht of the upper part of the trunk, the third arm, called the
11drldk 11m1, which is stuck into a chiseled mortise below the two for the
upper lmiS, md the dummy leg which is a short bent stake trucker than
the three arms, stuck at a chiseled mortise below that for the middle
IIIII. The above parts together form the body of the dummy, which II
ftud to the supporting frame by two crossbars, respectively paS,IJ11
lluaulb mortised holes at the upper and lower ends of the trunk. 1"111
two c:ro.-bars are fixed onto two perpendicular square pillars, called the
. .'I'CIItilll pillan. The supporting pillars are usually fumly fixed onto
wall or at the pound, so as to stand heavy strikes.
 RlfiiCE BETWEEN THE DUMMY STAKE AND THE PI LES

numerous styles of Chinese Jcung-fu in which wooden stakes

a a1ds for drilling m lcung-fu techniques. These stakes are
01lled Hthong .. in Chinese. Literally the word chong means any
stuck at the ground. It might therefore not
mean a stake used by a kung-fu driller.
the word chong may be prefixed with other words to form
terms to mean particular stakes used for individual purposes.
-pic, there is one kind of chong in Chinese kung-fu, called the
Olo~~C (Plum Blossom Piles), in which the word chong is trans-
"piles" instead of ''dummies", because they are not used as a
dummy, which is a meant to be a substitute for a partner or
JIIIIIIOIIC~nt. Another example is the ching chong of the Choi Lee
which is translated into Balance-dummy, and is not a pile.
r.trr~ce in terms is caused by the difference in the purposes of
aids. If tile aim of the aid is for offering practices as a partner
-::~~!~ it is called a "d11mmy : If the stakes (whether per-
Il< stuck at the ground or just placed on the ground) are used
Mllna, stepping, or jumping on them while practising punches or
lily RIVe as an aid for trainmg in body-balance and in streng-
llle stance and they are in this case caned ''piles': In short, one
Y of distinguishing the dummy and the piles is that the dummy
singular in number, being a wooden stake with other fiXtures
to be arms and legs of the opponent, while the piles are usually
In number, being two, three, five or as many as a hundred of
without any fixtures on them.
the Wing Tsun MUK YAN CHONG literally means "A Stake
A Dummy". In other words, it takes the place of an imagined
or opponent of the kung-fu driller.

~)dc~n dummy of Wing Tsun is constructed according to standar-

tPDCilricaltio,ns, so that the thickness of the trunk, the arms and the
lengths of the arms, the leg, the trunk, the cross-bars and the
lrtirll pillars are all pre-culculated to suit movements of the Wing
~::::~Such a wooden dummy will help rectifying the delivery
1 of the driller, in the same way, as a protractor will rectify
Jr a driller can make use of the wooden dummy to correct

9
his movements, he will be able to improve rapidly . It i& 1 plly thlt
many folloM'rs of Wing Tsun, (Wing Chun or Vlng Tsun.J fall to n
the Importance of the wooden dummy, and cannot rectify the tlln:ctlllll
and ansle of his movements and the relative positions of himself and
opponent through the help of the wooden dununy, thus losl11J
"''rotJKtor Effect" of it.
Nowadays, many kung-fu drillers make use of the wooden dummy
id for learning more kungfu movements, so that he can bo. l
his knowledge in martial arts. Some even go as far as addrng s~~~;:,=
I!OOd-lookmg variations to a simple practical wooden dummy m
so a to cheat their students. They fail to realize the fact that th
porta nee of Wing Tsun lies in its "simplicity and practicability: That
to say one effective movement that can be used in any occa&illll~ ~
defeatmg an opponent is better than several attractive but ineffectl~
ones. Besides, it is more successful to master ten movements in on< y
than to master a hundred movements in the same length of time_

ORIGIN & HISTORY OF THE WOODEN DUMMY OF WING TSUN

Whether the wooden dummy appeared before the creation of Wing'r

kung-fu or Wing Tsun kung-fu was created before the appearance of th
WOOllen dummy is a problem difficult to solve and needs laoorio
research However, judging from the hearsay within the Chinese kun~ (u
circle, we might assume the following possibilities.
It is so said that there was a "Wooden Dummy Alley" in the Siu l Jln
Monastery. If the wooden dummy alley did exist, it might have been 1
row of v.ooden dummies of different structures for intensive trainin
It is believed that the earliest form of the wooden dummy might h tv
been a simple erected wooden stake that takes the place of a traine~
opponent. uter, the early founders of Wing Tsun kung-fu graduaOy
1m proved the device, until it bears three arms and one leg as it looks
nowadays. Also exercises with the wooden dummy must have ""' n
simple at fust, being improved later on, and finally becomes a comr kt
l)'llomallc set of movements known today as the "Wooden Dummy
Trdtt~lqrm ".
It II 11kl that during the early years of Grandmaster Yip Man, whtn
Wlna TJun Sty!~ began to develop in Futshan, the Wooden Dummy
Tlchniqua cons1~ted of 140 movements, divided into ten sections for
~ilillJ pui'J'<)lleJ.
Qnndmaster Yip Man carne to Hong Kong to set up a gymnasium
. .ltteld ~ludcnts. {It must be pointed out here that before this
n.,,. blng-fu was a secret kung-fu style, and that Grandmaster
111111 the first to promote it alld to teach studtllls openly).
llat the movements of the Wooden Dummy Techniques were
aen~us and complicated, therefore he rearranged them into
IIIIIIICil ls. (The number 108 is particularly prefe"td by Chinese
ht~~~Ust it co"tspollds to the member of a special set of stars).
aa.qh h" experience of years, he found out that the I 08 move-
not mclude the most essential parts of the Wooden Dummy
Therefore he finally regrouped the techniques into the
16 movements.

MOVEMENTS OF THE WOODEN DUMMY TECHNIQUES

116 movements of the Wooden Dummy Techniques are

Into ei&hI sections, as explained below:
Ten movements beginning from the left Prefighting
Posture, mainly consisting of the Prefighting Posture,
the Neck-pulling Hand, the left and the right Tan-sau and
Lying Palm, and the Jaunsau. In this section stress is
placed on footwork.
Ten movements beginning from the right Prefighting
Posture.
Three: Ten movements beginning from the Slap-blocks move
ment. Stress is laid on the variation of the Slapblocks
both at the lnDoor and Outdoor Areas. The Section also
offers valuable palm exercises for both anacks and
defense.
Nine movements beginning from the Sideward Palm. The
importance of this section lies in the variation of the
Inquisitive-arms and their co-ordination with the Side
Thrusting Kick. Stress is placed on the application of the
skill of "Thrust forward while tht hand is freed", to
launch a counter attack with the arm or the leg 'Mlile
being hard-pressed by the opponent's powerful attacks.
Twenty-one movements beginning from the Double
Tsnsau. In this section the trainee learns how to sneak
into the opponent's defense line and anack his weak

11
 points with an aptly applied force, such as dulhnglrt
Circling-block and drilling to in skilful footwork
getting to the opponent's side and attack htm
Section SiJC: Fifteen movements beginning from the Fool. llMI
offers mainly training in the application of tho
Cheung (Double Palms) technique.
Slc:tlon S.W.n: Fifteen movements beginning from the left llo
Gsunsau. Stress is laid on th!! changing of thl' Bo.,.
to the Grappling-hand and its application in co orclinl1
with other palm attacks. The last part of thi IIICii
stresses drilling in the application of the movement
the Crossed Stamp-kick, the most tactical
technique in the Wing Tsun Kuen, and the ver~at1oft
the steps.
Section Eight: Twentysix movements, beginning from the left 11o
Lower Bongsau, and ending at the withdrawal m::::
Most the kicking techniques are included in this

Grandmaster Yip Man had made the shooting of this set of photOll ~
yea~ before he died, \loben he had just "closed his door" frorn
martial art career (to "close door" is Chinese kungfu term, which ,.,....
shutting the door of the gymasium 11nd stopping to admit disciples). He
meant to pass his Wooden Dummy Techniques to someone who ""'141
keep the complete set of it and pass it to further generations, be .m
even since he began admitting students, there were arguments amona
tutors about the correct form of the Wooden Dummy Technique~ 01
cour..e some one might have intentional changed some of the Wooden
Dummy movements, while others might have learnt only a few of th m
before ceasing their studies, and so had to create some movement- I
flU up the missing part that he had not learnt. Some other.. might have
received d1fferent coaching for the front and the latter part from Grand
muter Yip Man during the period when the Wooden Dummy Techmque
wre undert~oina a "Course of Change". Still others might have learnt
only a few separate movements of Wing Tsun Kuen , but decided to t
up a penonal gymnasium to teach students, only as an "unqualified
lrtltNCtor", who, in order to cheat their students and other laymen
found II ne~-essary to "create" some Wing Tsun Wooden Dummy move
111n11 That is \Iotty Grandmaster Yip Man had finally decided to film Jua
'lholo 111!1 of Wooden Dummy Techniques, to show the correct mon
 lllthough II the time had no intention of makin& these technique
to the pubhc.
lbe R t of photos of the Wooden Dummy Technjques are not yet
bKili<Je there are still some missing movements. The reason
II tlut at the time of making ihe film. both Grandmaster Yip
the one who took these photos had no intention of disclosing
........" to the public, but meant only to leave some proof to his
There were few among Grandmaster Yip Man's students who
ert of photos of the Wooden Dummy Techniques. The very
did receive a set included the one or two most favourite
(and of course his own sons!)
Gnndmaster Yip Man has been dead for years. Titose who own
. . of photos of the Wooden Dummy Techniques would be
1n1111. And therefore the Wooden Dummy Techniques are no longer

, for those who have not learnt the complete set of the Wooden
Techniques, this incomplete set of photos will make them feel
confused. For this reason. we feel that it is our duty to make the
111lc te. That is exactly the purpose of this book, which is a product
cooperation of Master Yip Cbun, one of my fellow-classmates, and

my hope that readers, especially those who are also followers of

TIUn System, will find the real outlook of the Wing Tsun Wooden
Techniques. That is also the primary aim of this passage .

....,., M O.C. of Int. Wing nun Leung Ting MarriaiArt A~~ticn.

NOVEMBER 1980.

13
116 WING TSUN DUMMY TECHNint
AS DEMONSTRATED BY GRANDMASTER YIP

Befort reading explanatory notes on the tllustrattons of th<!

Dummy Techniques that follow, readers are advised to hare a
look of the two d/Qgrams showing the parts of the dummy aml dt11N
regarding the use of the dummy. This will enable readers 10 urr(fiN
more clearly what is belrrg explained in the descriptions that fo/lriW

Bini'H'f8 View

I
I left side of dummy
right side of dummy
I
I
I
I
Front of dummy I
I
I
I
I
..~---~~.::::....... I
right side of Trainee
leh suit of Trelnee
 upper4evel

dummy trunk

mid-level

lower-level

sPICe behind the dummv leg

PLAN of the Wooden Dummy

15
 -f
(11/ustratjon 1) "REF IGHTING POS- (Ill 2) "NECK-PULLING HAND''
TURE" Yip 'l lolt hand - op-rdo ,.......,. ...
Grndutter Yip pleca to.II left hind In front two - - ""'" - liilfts 10 ...
of his right hand ""llo toeing tho - lolt - of tho ..."""Y. WhU. hll lolt ......
cb'nrny. .. holding tho right ...,..my ...... h~ .....
hand gt11 hold of tho "ooek" of tho_,.
Then bo"' of hll hondo oxott o ...-
fonwrd pull.
(Ill. 5) " HIGH 8o LOW GAUN-SAll'
Yip withdrewt hit: right leg. end tum& to (Ill. 6) "KWUN.SAll'
his rtgM v.tllle poclng hN: erma ln the High Ylp circlet botl'\ rmt upwwdl to p0111
a Low Gtun-..u Otttutt. Kwun410 mowm1n1.

16
 (Ill. 4} RIGHT HTAN.SAU" a. LEFT
HLOWER LYING ...ALM"
"" ~t "'"' to 1>011 the
.. - tho rieht - - Ylp ...... hlo ~ ... Into t h o - behind
tho '*"""'V lat. whfte P01in9 tho rieht T.,_
.., ond left ' - - Lylnfi'Polm to sttikt ..
1M rieht- of the dummy tNnk.

LYII*i"''ALM "
1111 loft lee Into the "*" behind (Ill. 8} "HIGH Ill LOW GAUN.SAlf'
Ylp withdraws htt left ttt to riiUmt its
.... ""II potlng the left Tan-
...,., ' - - Lylnfi'Polm to strike o.-loinel poaltl~. W1Ut potlng hit rme: in
of tho dummy trunk. the High lit low Goun-t~U gottura.

17
l

(Ill. 9) RIGHT "KAU.SAIJ" & LEFT (Ill. 10) LEFT "JUT.SAU" 6

" TOK.SAt.r' "ERECT-PALM"
Yip turns hb stance so to t.ce the c)Jmmy. Yip converts his rl"'t arm fnto thl
~He posing hls right lrm In me J<eu.au. Erect~. and quk:ldy throns it
end hilleharm 1n the TOI(-$M.I t~t~ture. while changlng his left etm to the
to ~ hWf'dy on the dummy arm,
the dJmtny trunk to dnk undtt h ..

13 14

18
 12

::.~"' tho ,_,;.u, _ , . , me. fonn 1 h o - Section of 1he Wcoden

: wtlld't are the movwnents 1nae1ed at the OQPOIIl tkM. t NiM mo.,.,.n~
Ot'PMI phott ol Gl'l!l'lctn..IIJit y;p~, demomrr.rlt:M4 now m.,. .,. tWPIl
rOoun.)

~6

19
 17 18

(Ill. 21) RIGHT INDOOR-AREA (Ill. 22) LEFT INDOOR-AREA ''PAtio

''PAK.SAU" SAU"
Yip slept hi rifilht palm It the right dummy Immediately af~r that Yip tltPI hlt lift
onn. palm et the left dummy arm.

20
 2.'

(Ill. lEFT "lOWER lYING

20)
PAlM" RIGHT " JUT-SAlT'
Yip Chun ttuvs1J his left ~mat tht dummy
tNnk from under his r5ght arm. while hls
(~ht arm PONS the Juto&au mov.ntf'lt to
thrust onto the left c:l.lmmv arm.

INOOORAREA "PAK
(Ill. 24) lEFT OUTOOORAREA
"PAK-SAU"
Ylp """' hit left polmat meriglll <Mnmy 1m1
from the outdoor ti'M.

21
(Ill. 26} LEFT "THROATCUTTING (Ill. 26} LEFT " JUT.SAU" & RIGHT
HAND" " LOWER THRUSTING PUNCH"
Yip then conYertS his left ann into the Throet Yip wtthdrawl his left ann .-w:t po. ..,..
cuttlno Hand. ~a,~, Mite thrvttine hi& right f 1 t011 ee '
ot the 1~001 of thedummv.

(Ill. 291 RIGHT "JUTSAU" & LEFT

"LOWER THRUSTING PUNCH" (Ill. 30} DOUBLE " TOKSAU"
YIP whhd111ws hl:s right 1rm 1.nd converts Yip's both InN timult..-wJOUttf tNU

,..,.,,.,,punch.
It into tM
''Jut~ '',wtll~ ....,nct.ing al~ u~rd puth 11 liMo -

"""'
port of liMo du"""'

22
 RIGHT OUTDOORAREA (Ill. 28) RIGHT " THROAT.CUTTING
HAND"
1\11 ~ hond 10 -' lho
,..._ ( .,.,. oripinol photo Yip's rigtl1 h.nd c:henett to the ..Throat
trom Grattdt'Nrrr.r Y~'l eol- cutting Hand"
- ~bytf>otof-

(Ill. 32) RIG HT "MANSA lY'

RIGHT " LOWER BONG
Yip lnsertt his right '-II Into tht tp1101 behind
10 hit ltll. ond pooes tho righ1 the OJmmy Ito: 1nd milk ''rt
sid...,..rd
10 toud'l the lower dummy slep It rM riGht dummy'"" whlle his right
.......... hll ltfl trm In tht WU-$8U arm. posing tht Min-tau. l'l\lk.a chopping
strike at the right side of tht dummy trunk .

23
(Ill. 33/ RIGHT "SIDEWARD (Ill. 34/ LEFT "LOWER BONG.sAU"
THRUSTI<ICK" Yip's rj.gt'H leg run oriQir* po~~t.._
v., rei- his right loa to l...,lldl o slcteword tt<.en turns to fec<t the right w11h hit 'eft
Thruttkick et the dummy trunk, !Nhlle posing arm posing the L.ower Bong.au tnd his ~
the right Bong..au . poslll$ t h o -

(Ill. 381 RIGHTS "KAUSA\1' & LEn

(Ill. 371 HIGH & LOW GAUN.SAU "TOK.SAU"
Yip withdraws his ltft leg, tnd. turning to Yip tumo to IOC<I tho front, ond cf>lneoo II
hb loft. ho - his """' in tho H;gh right .rm to the Kau~ and hit lth erm to
Low Gaun1tu gesture. tht Tokou.

24
 (Ill. 361 LEFT "SI DEWARD THRUST
hlt right arm 10 the Manau. KICK"
h et me lth skM of the dummy Yip raiNt hla left leg to launch a Sidtwwd
Thrust.O:k at the dU:tnmy tnmk.

RIGHT " ERECT PALM"

".IUT.SAlY'
..,._ tM1. Yip thruns out his (Ill. 40/ DOUBLE " TANSAlY '
......,...,, whUe tuddeniY I"NNking a Yip p'-s hi< "1)--aclna pelmr ot tho outdoor
.,.. of the two ~fT'WftV arw.

25
(Ill. 4 I) "HUEN.SAU" (Ill. 42) DOUBLE " LOWER LYING
Then 'V'lQ. by turning hia wnn:s citdt:S h1a PALMS"

-
pellft Into the indoor .,... of the dutntny Yip's tWitiiO palms tnter into the lodoor .,..
bet:Jeeu the dll.n'WY'IV InN and stnQ at the
mld-toMMevtl of the trunk of the dummv.

(Iff. 46) RIGHT "KAU-sAU" & LEFT

(Ill. 45) DOUBLE "JUT .SAU" " HIGH GAUNSAU"
Yip d1en lowers his erms. placing them on Yip shifts himMif to the right, whilt circling
the cklmmy arms, tnd exltfts a powerful h k right wrill Into rhe indoor ,,.. of the
- - d push ttwt ceu u.. d1M1'W"V du:nwny ~. end striking out ..., HiGh
tn.tntc to sMk. Geun.rcau.
(Ill. 43) DOUBLE "TANSAU" (Ill. 44) DOUBLE "UPPER LYING-
Y~ poses the Ooublt Tau-sau by llllllnQ PALM"
h .. palms to pass through the indoor area Ylp raKes hi1 palms through thl!l Indoor
btrween the dummy annt. area ttetw.en dummy 1rms to strike et the
front Pitt of the upper-level of tht dummy
trunk.

1111. 47) LEFT "KAU.SAU" & RIGHT

''HIGH GAUN.SAU"
vp tum$ to his left. and repeett the above (Ill. 48) RIGHT "KAU.SAU" & LEFT
rnowment by Interchanging the movement "HIGH GAUN.SAU"
for hi anns. Yip repeat1 the movement once more.

27
(Ill. 49) RIGHT "ERECTPALM" & (Ill. 50) RIGHT "BONG.SAU"
LEFT "JUTSAU" Ylp turns to his left tnd PQM: the right
h'nmldiatttv after that, Yip et\~ngn his 8-.
right arm 10 the Erect-palm end his left
to the Juteu.

(Ill. 53) LEFT "KAUSAU" & RIGHT (Ill. 54) RIGHT "KAU.SAU" & LEFT
"HIGH GAUN.sAU" "HIGH GAUN.SAU"
Y..p turns hk na.nct tO face lef1. while poting Yip turns to the right. NJI)eltl '"' abo't'l
his arm.s respectively IS Kau ....u and High mOYem&nt while interchanging tht movement
Oaun..au. fot his erms.

28
(Ill. 51/ RIGHT "KNEE-STAMPING (Ill. 521 "HIGH &. LOW GAUN.SAU"
KICK" FROM THE SIDE Yip withdraws hia r;gt\t leg lnd turns tO hl1
rigl1t, While pcnlng tht High & Low Goun-
Ylp thlhs him.telf tO the right tide Of the
~y. And, posing left Lower Lying- .....
~ end a right Ten-uu, he thNtts oot
IWt r'sJht leg in 1 t llnt'4ttlight forward line (Ill. 551 FACADE RIGHT "KAU.

...
stamp It tht knee Plf't of the dummy SAl!' 8r LEFT "LONER LYING-
PALM"
Yip turns to face the front of the dummy.
(Ill. 551 LEFT "KAUSAlf' &. RIGHT He poea the right Kau-sau, v.tlllt reltlng
"HIGH GAUN.SAU'' hit lflt ann from undk l'he r9'1t dUmmy
Yip ,...,..rs the KILl..., tnOY'Mlent. ..m to &trike at the ~"""V trunk.

29
(Ill. 57) LEFT BONG.SAlT' (Ill. 581 LEFT " KNEE-STAMPING
Yip turns to hls right tide, and poses hit KICK" FROM THE SIDE
Stft am II the 80ong"'$1U. Yip ltfiPI. his r~t foot p.ace fOtWerd to thlft
himMtf to 1M left 11d1 of the dummy. end
appllft the left Knee-stamping Klcl<.

(Ill. 62) fLIPPING-HAND" MOVE

(Ill. 61) RIGHT "ERECT.f>ALM" 8c MENT FROM THE RIGHT "FOOK
RI GHT "JUT.sAlT' SAlT'
v;p firtt - hit illh ..,., .,
me EI'KI Yip first 9a.1 his ritht arm .. the Fook
palm then rtrlk" it et the trunk of tht sau, then flip& his rloht pelm It the r1ght
<l.lmmv. dummy ann.

30
(Ill. 691 " HIGH & LOW GAUN.SAU" (Ill. 60} RIGHT " KAU.SAU" & LEFT
Ylp withdraws his lttft leg to r""'me IU " TOK.SAU"

....__
original positk)n. then ''""' to fece his ..ft
..,,.. pooing his ...,. 111e Higll a.~
Vip facts the front of the dunvny, ltld pa.s
hio ~~ ""' the
the Tol<-.
!Cal-. ond his loft..,..
(Ill. 63/ " FLIPPING-HAND" MOVE (Ill. 641 " FLIPPING-HAND" MOVE
MENT FROM THE RIGHT "FOOK MENT FROM THE RIGHT " FOOK
IAU" SAU"
A'* IN<, Yip ft lpo his ~~ polm 11 the Yip flips his riattt l)llm at the right dUrrwny
loft cilmmy ann. enn again.

31
(Ill. 65} RIGHT "KAU.SAU" & LEFT (1/1. 66} " KWUN.SAU"
" LOWER L YING.f'ALM" Yip apptyl"l the Kwun....., movement.
Y.p tums to h1s right, poits hlt right arm
11 the Kau..au. 'ltf1ile launchif"'Q left lower
Lylr.g1:1elm strike t the right tide of the
dummy trunk.
(1/1. 69} " f'O.PAI" DOUBLE.f'ALM
MOVEMENT FROM THE SIDE
Yip rnsens his left leg into tht space behind (/11. 70} " HIGH & LOW GAUN.SAU"
tht dummy leg end exeQIWS the Po-Pel Yip whhdrews hi$ left Ito to resume the
Double-calm moYWI"'III:nt wtth hit left palm originel pc:JIItl~ ..ttile potlng hi$ em. the
a
High Low G-.~-.
-~~ """'

32
(Ill. 67) FACADE " POPAI " DOUBLE (Ill. 68) LEFT " BONG.SAU"
PALM MOVEMENT Ylp turno to his right lido wllilo pooing his
Yip tumo his arms to fonn tho PcH'ai Oou.,.._ t.ft atm 81 I 8onQ IIU.
. . . - In which hb ri!lllt hone! Is
""""" 11 o E reot~. wllllo his left hond
.. potlng .. a Revent1)11m.

(Ill. 71) FACADE "POPAI " DOUBLE

PALM MOVEMENTS
"""' tho Hili~~ a Low a...n-. Yop oonwns (Ill. 72) RIGHT " BONO.SAU"
111o - to thoPcH'ai Oou~ ,....,.. , Yip - tho rislllt ll<>ng-. wiiWo turning
- hlo loft""' above hil right onn. to tht left.

33
(Ill. 73) HPO-PAI" DOUBLEPALM (Ill. 74) "HIGH & LOW GAUN.SAlf'
MOVEMENT FROM THE SIDE Yip turns to his right white posing the Higtl 1:
Yip inserts his right leg Into the spiC6 behind LowGaun ..-...
tht dummy leg. and. whh his 1.-ft pm
lbrow his rlQht plwn, he executes the Po-hi
Ooub1e-pelm movement.

(Ill. 78) "HIGH & LOW GAUN.SAll'

(Ill. 77) "HIGH & LOW GAUNSAll' Yip turns from his ttft to h1s right. POMI
Yip turns lO hls ltft vd'llle posing the High the Hlgl\ 6: Low Geun-sau in the revene
a Low Gaun..eu. direc:tlon.

34
(Ill. 75) LEFT "'KAU.SAlf' & RIGHT 76) LFET " LOWER LYING
(Ill.
"POOK-SAU" PALM" & RIGHT "JUT..SAlt'
Yip's loll pelm r._ from bolow ~~> right
Yip face' the front of the dummy end
- v enn oo 1ounc11 a left ' - - Lvlnst-
,__.
- the left Ka>- end ""' right petm ttrlkt at the dummv trunk.
(Ill. 80) RIGHT "GRAPPLINGHAND"
& LE FT "THROAT-CUTTING HAN D"
Yip su-ly ~ hit riel't tumiflll llollll
IOU to G._ling-llond to get ~old of ~~>
(Ill. 79) RIGHT "BONG.SAlf'
ripht clJmmy arm. turnlno to hit right wtlllt
Yip tums to hl1 left wt'llle chenglng his right applying a right Throat-cutting ~d to chop
from the Low Glun..au to the eo,.....,. ci.lmmy trvnk.

35
(Ill. 81) LEFT "PAK.SAll' 8t RIGHT (Ill. 82) LEFT "BONG.SAU"
sPAOEHAND" Yip tun>O to hla ,;gilt ""'"" ~"'I t:ht .. ,
Yip returns to the front of tN dUtrWny end 8Mgtau .

- hil loft ""' ...... Pok- end his ,;gilt

ann Spec;lt-Nnd.

(Ill. 861 LEFT "CROSSED STAMP

KICK"
Yip's right foot ttkft one nep foi"WWrd to
(Ill. 85) RIGHT "80NGSAU" form the CfOd-1-s! ttenoe. Then hot r1iM1
Yip then tums to ftct the left and poses his his 141ft leg to thnJit horltontal kick at me
right,, 11 e Bong41U . right side of tht tNnk of tht dummy.

36
(Ill 83) LEFT " GRAPPLING-HAND" (1/1. 84) RIGHT " PAK-SAU" & LEFT
a RIGtfT " THROAT-CUTTING "SPADE-HAND"
HAND" Yip rtturnt 10 the front of N O..nwny.
Yip cn-.o hllltft Bono- to o G,_ting- While ~ ing lth ~nd. ho .. ..,.
- to got hold of tho left G>mmy orm, his right Pok- ot tho left GJ"""V ..,_
...s - tho right Thrwt<uning Hand to
.._, at lht O..nwny trunk 111hlt tumk'le.
(Ill. 88) RIGHT "CROSSEO STAMP-
(Ill. 87) LEFT "BONG-SAU"
KICK"
Ylp"s loft loot 1111>1 down to fo"" tho Closs-
... s~. Then hit rlght foot resumes its
Yip' left toot takel one ttep f01'Wird to form
the Croll>-4eg Sttnct, ttltn ,..ises. his right leg
_..NI potltion. After thl't Yip turns to the
rlgllt sldo while poolng the left Bong...u. to launch a kick.

37
/Ill. 89) "HIGH & LOW GAUN.SAU" /Ill. 90) RIGHT "KAU.SAU" & LEFT
Both of Ylp'a: feet resume their original "TOK-SAU"
pocltions. Then he turns to his lh VIA\ile Y1p faces the front of th dummy and poses
-lng the Hii!l1 &. low GauOHOU. the right KIU--..Ir'KIItft To!(...,.

(Ill. 94) RIGHT "LOWER BONG-

/Ill. 93) LEFT "LOWER BONG.SAlf' SAlT'
Yip turns to face his rl.ght, and poMS the Yip turns egaln to his left and pollt the
loft Lower 8 - . rl9ht Lowe< a.,._.

38
(Ill. 9 1) RIGHT " ERECT- PALM" (Ill. 92) RIGHT " LOWER BDNG-
LEFT " JUT-SAU" SAu~~

Yip thrusts out his ngt,t E.-.ct-palm white Vlp turm to fece left. end 1)01111 the right
"""~ his ..ft arm as the .holt..., . Bono-..-

(Ill. 95) RIGHT " SPADE-HAND" 8t

LEFT " FACADE THRUST-KICK" (Ill. 96) FACADE HI(NEE.STAMPING
Vlp t'llstl right Sped..,end from below KICK"
through the indoor ,,... of the left ~mmv ammediately afWr that. Yip ~~ h i1 left
...., ""llo larndllng a loft ThNn-U:k., tha foot .. tha cl.lmmr tea whit . - " " hllatm~
"""' port of tha cl.lmmy 1Nn lt. ~.""Bong-.. Ol'dWu- .
{Ill. 97) "FOOT -sTAMPING" S. LEFT {II/, 98) RIGHT "LOWER BONG
"LOWER BONG.sAll' SAU"
Vip glidu his right fOOt along the length of Thn Yip turns to hit left end poses tN tight
lhe dommv log. lmmodl.,.ly ohor lhal ho l.oMr Bono-..
_ , . loti u..- Bono-.-

{Ill. 1071 RIGHT "FACADE KNEE (Ill. 102) "FOOT.STAMPING" a.

STAMPING KICK" RIGHT "GUM.SAIY'
Then Yip ttamps tt the knee ~)art of the Yip g11des his right foot elong the length of
dummy leg. while posing his amu rPectively the dummy leg. nd pins his right arm down
*'the 8~ and tN wu ..... ....dl Glwn1at.

40
(Ill. 99) LEFT " LOWER BONG ..SAl!' (Ill. TOO) LEFT "SPADE-HAND" &
V'P 10tln turns 10 hit right, and poses the left RIGHT "FACADE THRUSTKICK"
a.-rBongooau. Afttt t~at Ylp p- tho loft St>tdthond ond
la;nchH a right Fec:adl Thruttklck.
(Ill. 103) LEFT "SIDEWARD SLAP-
PALM" I< RIGHT " LOWER LYING-

.,. -v
PALM"
Yip lntttU his lght log In the ..,... behind
log, ond .._ his left !lMn at tho (Ill. 104) lEFT "G lJM.SAU"
""'t du'""'V "'"' wllle lounclllng 1 right Yip's right foot returm to iu orig1MI C)Of.ition.
LoMr Lyint-c*m sttika at the mid-tO'Wiet wll~o his left ann pins down ot tho du'""'V
llwel of the dummy trunk. orrn.
 -

(Ill. 105) RIGHT ''SIDEWARD SLAP

(Ill. 106) RIGHT "GUM-sAU''
PALM' & LEi!T "LOWER LYING
Yip's left foot ruume Ita original position.
PALM' .
Vii> m.,, his I.H leg lolo tho ...,_ bollonc:l Then Yip "''"' to tus left white pinning
tlit tight palm onto tht dummy ann.
1ht dummy leg; ht-1 right ann poses the
Sideward Slep-.p~fm while his ltft PO. the
l...otwr l v int'l)l.-n.
(Ill. 109) RIGHT "PAK.SAU" & LEFT
"OFF-BODY LOWER THRUST-KICK" (Ill. 1 10) RIGHT ''BONG.SAlT'
Yip's right foot wku one uep forward, turns
to fi!Ct lht loll tide of lho dummy INnk, Yip's loft leg """""' Itt origlnel pooltlon.
_.les right ,........, ""'lie l.,nchlng lett
LoMr ThNttkick at the dummy tf\lnk.
lmmediMoly oltor 1111t YIP -
Bonfti'IU.
tho righl

2
{Ill. 107) LEFT " PAK.sAI!' 6 RIGHT
(Ill. 1081 LEFT "GUM.sAlf'

- ...... 10-me
"'FF-800Y LOWER THRUST-KICK"
right siclt of IIIe-y.
Ill loft pofm slops at the right dummy orm
Ylp'o right foot ...umos n. orielnol pooltlor
H11 turns to hl1 r'slht to PQie the Nft Gum-sat
- hlo right leg !lUnches a ThNitklck ot
. . du.....,ylog.
l/1. 111) NGRAPPLING-HAND" 6
IOHT " SWEEP-KICK" WHILE
RNING

--<1,.,u... ,.,
Yip chW90 hit right Bong-sou to tho G -
turns to t.unch right s-
hit loft orm , _ . tilt Grti>Pil119
(Ill. 112) LEFT " BONG.SAIT '
Y"op.. right log rttumo to its origintl pooltloo
Mile hil left ann ls po&ing the B~.
to get hold of the same cllmmy erm.

_ _ _ 43
(Ill. "G RAPPLING-HAND" &
f13J (Ill. f 14) " HIGI & LOW GAUN-SAU"
LEFT "SWEEP KICK" WHILE
Yip w~fthdraw~ til ''ltu leo to ils origjnlt
TURNING
Yip r e
his t.f1 ltg to &lunch Sweep-kic:k
the Wn>mv lee. ""lie both of his arms.
the H"' a
pooit01"' and .,.. to hlo leh ""' poo;nt
Low Ga~tt...., mo~o~e~nnt.

POSing .. a._nne"'- '"' aenine hold

of t:ht lett dummy arm.
(Ill. 1 17) FINAL WITHDRAWAL
MOVEMENT
Yip's both peknl tlmulttneously make a
Ooubt.e Tok-wu movtmtnt 11 the Final
Withdrawal.

44
(Ill. I 15) RIGHT "KAU.SAU" & LEFT /Ill. 116) RIGHT "ERECTPALM" &
"TOK.SAU" LEFT " JUTSAU"
Y i p - the front o l the <brmy, - - Y.p thtn COfWilfU hN: lf"mm 'tiiC*!tiwfv to
._ '""' K.,...., end a.ft Tok._, .... rigllt erwot.palm and loh Jut-.

45
 APPl/CA TIONS 6 EXPLANATIONS

OF THE

WING TSUN WOODEN DUMMY

TECHNIQUES

I
I
I

46
 DIAGRAM OF THE TERMS OF POSITIONS IN CHINESE KUNG FU
This diagram shows the terms of positions in Chinese kung ju and is
ltelpful co readers before reading the illustrations of the application of
tlte techniques.

mecMnl . .

r----
__,I
INDOOR AREA OUTDOOR AREA

I
'
I
I
I
I
I I
U,.,.ERlEVEl I I
I

L ft"'f.Ji,.
I I
I I
I I
I I
MID-lEVEl I I
I
'I
I
I
I
L I
r-
I
I I
I
I
I
I
lOWER lEVR I I
I I
I I
I
I
L
tr\ Chlftl!'te ~nologv the twO attN of tht body ~t o JWO ......_ ot door. When both IM'mt .,,
ewt tt,.tched, t~ erea embraced by both ""' or betwi41R the inntr ~of both arm1 ill Cl!lt ltw lndoot ....

. ,.,-----'01"'-'..,,.. ,_....... wtW;I! --1#1--

While thtarea beyond t he outer pate of both arms is celltd the ~tdoor area.

47
A (loft/ putting himself in the Wing Tsun Prefighting Posture in front of B (righC/.
B launches a straightline punch at A, with his fist coming over A's right arm. A stretches
his right arm to make contact With B. while making a slight tum to evado B's punch,
and placing his loft hand at the beck of B's neck. A then makes a pull with both his
hands at B's neck, causing 8 to lose his balance. While 8 is falling forward,A launches a
thrusting punch at B's face.

1 2

5 6

48
PREFIGHTING POSTURE -NECKPULLING HAND

TI1e Prefoghting Posture uf Wing Tstmls formed by plac111g one hand Jn lrt>nt ul the
Olher ,.ith both at mif.levd height. The front hnd, wh.kh a~ms at drtechng the
opponent's motive. ll called the lnquisithe-ann, while the htnd one. whicl1 Jlms at<>lfer
Ins pi'Otectlon to the body, is called the Protective..rm. Uut in relity. both hanJt
can be applied for launchm~ attacks if snuation needs so.

The Neck-pulling Hand is apphed by stretching the arm forward until it reachel
lhe back of the opponent. Then it makes a sudden pull at the haek of the opponent's
leek so as to make hun lo<l balance and fall forward.

49
 BONGSAU - TANSAU

LOWER l YINGPALM

50
 The Bon&au is used to nullofy powerful stratgluline attacks from the opponent.
lbving taken its defenstvc effect, the Bong-sau can then be coverted into Other move-
~~~ents foo launching counter-atl3cks. From this it is clear that the Bong-sau Is an impor-
tuH muvement in the techniques of t he wtxoden dummy. as explained below .

fhe Tan-sao, which is formed by flattening the palm to face upwards and keeping
dlt elbow low while using the forearm to make contact with the opponent. is a move-
IMnl lhll follows the Bong-au It becomes an auackmg movement tf 11 co-ordinatet
With the Lower Lying-palm movement.

A (left) posing the W.T. Prefigllting Posture while facing 8 (right). As 8 launches a
powerful straightline punch at A, A changes hiS Inquisitive-arm into the 8ongsau,
thus nullifying 8 's attack. When B's punch reaches its furthett point. A makes an
oounter-attack before B withdraws his punching ann. by changing hos 8ong-iall into
lhe Tan~au and Lower Lying Palm to strike at B's tlank.

51
I

KWUN.SAU - TANSAU & lOWER l VINGPALM

52
 TI1e Kwun...au in co-orduwl ion successively whh lhe Tan ..au and Ihe Lower Lyin&
J111m will form 3 series of ouacking movements which will very oflen lake 1he oriMIIl<nl
by ""Prise . In application. the Wing nun practilioner, having dls<olved lhe upponent"s
llla<k , suddenly retreau from I he opponent's reach, and, before the oppnnent ~now
wha1 chlnges have taken place. the praclilloner ad"ances again to launch a surr-
llla<k 11 his opponenr' UJiiUarded part!

A mgle "raighrhne punch can be dissolved with the Bong-eau. llowever, to dissolve
llnvy double mai)1hthne punch"' aiming respectively al lhe upprr-level and the lower
lrrtl, one has to apply the Kwun~au .

A 1/efr) POSing rho W. T. Prefighting Posture while facing B (rl{lhtl B initiates the dOuble
punches at A. A turns while applying the Kwun..au movement to evade the opponent's
llbck. Immediately after thot, A intrudes into the unguordtd of B's left side ond
llunches the Ton..,u & Lower Ly~ng.palm attack ot hos opponent.

53
 The Hiab &. Low Gaun~u is the best tactical movement to deal with the
opponent'$ round house kick.

When the praC1itioner is being attacked by the opponent's two punches.

one from the front and the other from the back, he can turn to his side and
dioolve the opponent's attacks by applying the Kau-au and the Tok-$3u move-
ments at the same time. Immediately after that, he can apply the Kau-sau to in-
trude from the opponent's ou1door area into his i~rdoor area. and to launch
an atlack at him whUe changing it to the Erect-palm. Besides, he can also change his
Tok ....u to the J ut-cau, so as to control the movement of the opponent's arm and
stop him from defending himself.

54
HIGH & LOW GAUN.SAU - KAUSAU & TOKSAU- JUTSAU & ERECTPALM

A f'-hJ posing the W.T. Prefighting Posture while facing B (right). B suddenly
!lUnches the right roundhouse kick at A. A takes the Sidelong Stance and applies
the High & Low Gaun~au to deal with B's attack. Having railed in his first attack,
8 withdraws hi right leg and launches 8 second attack With I left strloghdino punch
It A. A turns and applies the right Kau ..au to dissolve B's left straightline punch,
while his left arm 11Piies the Tok~au movement to control B's roght arm to stop
hom from launching further attacks. After that, A's right Ktu-uu ontrudes from
B's ovtdoor 3rea into his indoor area, and change to the Erectpalm to launch an
anack at B. 1nd at the same time A's left arm applies the Jut-$0U to press down
B's right arm, causing B to tumble forward and lose his power of defense.

55
 1 2

9 10

56
3 4

11

57
 b

:l1
. I I
. i 4

ali
- .

INDOOR-AREA PAKSAU

The IDdoor<UU Pak-eau is a movm~ent applied to dissolve the opponent's strai&ht

line punch which comes In from below the practitioner's br!dgwrms. As the opponent's
punch comes in, the practitioner can apply his left and right alternate Pak-sau
to dissolve it, and immediately after that, he should launch a counter-attack with his
W.T. Strai8J!tline Thnl3tina Punch!

58
 c

A (ltfO posing the W.T. Prefi~ting

Posture while facing B (right). B sudden
ly launches a right stralghtllne punch
II A. A deflects B's punching arm with
tlil riltlt Pak-sau. Having failed with
tlil riltlt punch, B again 1nacks with his
left otrailtltline punch, whieh is then
..,.;n deflected by A's left Pak1au. f
After that A offers a counter-attack by
pr1Sslng down B's arm with his left
Plk11U and launching a Strai~tline
ThMting Punch at B's face with his
...,tarm.

59
 1 4

3 6

60
OUTDOOR-AR EA PAKSAU- THROAT-CUTTING HAND- JUHAU &LOWER
THRUSTING PUNCH

The OutdDDrarea Pak.au Is a slapping movement applied from the opponent's

fllltdoor ar~a for dbsolving !tis slnliglltline punch. HaVing applied the Outdoor-area
Pak-uu, the practitioner can then change it to the Throat-cullina Hand to aim at
the opponent's throat as a counter-attack, which Is very uften a fatal one

The JuHau and the Lower ThruUing Punch 11e two mo..,ments app~d at the
movement while the opponent's arms are below Lhe practitioner's arms, in such a
way that the practltloner firstly UICS one arm to launch the Jut ...uto preu down the
opponent's arms, and the other arm to launch a heavy Thnlsting Puncb gomg
forward~ownwards over the opponent's arm to alm at his lower abdomen.

A (klft) posing me W.T. Prefightlng Postu-. whlla facing B (right). B launches a

right straightline punch at A. A applin tho right Pak-sau to slap from tile opponent's
ourr:loor ares at his punching arm to stop tile punch. Immediately after that, A's
11ft arm changes to the Throat-cutting Hand, launching at B's throat.
Hilling effectuated the throat-cutting attack, A continues with his attack by pressing
down B's right arm with his left arm while launching the right Thrutting Punch 11
his lower abdomen.

-~- 61
 A (lefr) posing me W. T. Prefiflhting
Posture while facing B. B suddenly
launches a right straightline punch at
A's abdomen. A at once turns and
applies his leh Lower Bon~t-QU to
evade B's punch.
After that, 8 again launches a left
straightline punch at A's upper-level.
A at once applies a right Sideward
Slap-palm to deflect B's punch, while
tuming his left arm up to apply a
Man-sau attack at the left arm-pit
of B, which is a part of weakness.

62
LOWER BONG.SAU - SIDEWARD SLAP-PALM & MAN-SAU

The Lower Bona-au Is a movement

to dissolve the opponent's
otrlevtl malghtline punch. For a
result , the Bong-uu Is effec-
in co-ordination with turning
the body so u to maximize its
-..,<1.1/ve effect :

The Man~18U Is n movement derived

from the Lower Bona.au. When the
attacking ann of the opponent Is
weakening 1ft force or is about to
retreat, the practitioner' arm, whlch iJ
bending down In the fonn or l Boog-
sau, now tumJ up to form the Mtn-$8u,
thus conformina to the Wmg Tsun
motto "Stay with wh4t comn, [oUow
through m It rt~llts, and thnw [or-
wtud as our Nlnd is [reed:

I>

63
 SIDEWARD THRUST-KICK

The Sideward Thrust-kick uf W 1 <an >OIIlCllmos be

apphed "ngl). but in co-ordrnallun wnh the "P' One ul the
charac1errsth:s of a k.t<k of W.l "' i" co-ordmallon "'"''
mocrneniS of the anns when 11 IS berng laundted h>r th"
reason, the Sideward Thru>~ kick i> usually applied 111 co
ordination with the Bong-sau nnd the Wu-sau as u <lcicnsrvc
moverncnt
A (,.ft} poorng the W T Prefoghting Posture whole lacrng B. B launches a 11ght
roundhou"' punch aimong at A's head. Seerng that B's punch ts po- lui. A steP>
sodewavs 10 the left to evode the coming punch. wholr applying the Bong-sau to
defeat the punching aom .
Having nullified B's roundhouse punch, A imrm:cJ11t1ely launches a Sidew~rd Thrust-
kick at B's flank as counteronack.

3 4

64
 LE TANSAU - HUEN-SAU - DOUBLE LOWER

11~ Doublt Tn ...au. \\hoch " placed t tltc opponent'\

"'tdr>~r arta. 1> a mo>omont less frequemly aprhed It "
ll>~ec,., ne..essa11ly apphed at 1he nmmeno when ohc oppon
arucks "' wnh rhc dnuhlc str:Jight!inc puo..:h~s wi!hin
imloor orto

l he Hutn-s.1u I~ ~ mmemcn1 applied ~y Huning 1hc :mn

Cjuoockl> from tht opponent':-. uwdoor area w hh mduor areu.
c re -po... ,tinnln~ ol our brit.lgcann::,. m this wa)' 1t'1akc:. ll
:no11c :.H..h.OIIIlJ~i.!0\.1\ l'c.~r us to h11.:e our oppon~nt .u the hegJn
ul th< lo!\111 oo <h rong ohe itgln

(tef:l posong thr W T Prcfoghtn>g Postuoe on hont ot B

{fight} When 8 anacks A wnh double punche-s, A tmmeoau
ly blocks B's altack w11h the Double Tan>au at 1he outdoor
.re8S of es a1m~. lnsrantlv. A makes a cidtng movement
w1th hs hands turntng tnto B's mdoor areas After that A
coun ttH al tacks B's lower-lel'el w1th Double Lower Lvmgr>etlm.

65
 b c

The Double Tano$1u , m(!lnaUy plaed

at the opponent's outdoor arCtJ . .an b
c.banged to the Jut~u to poess down
the opponent's arms, Chus causing him
to tumble forward.
Having effectuated the Jutsau mo,e
ment, we can further apply the Doubt
Upper Lylns-palm movement to auack
the opponent's fa~. (Note: Til( Tansau
is a fashion literally, ill Cll/nese. mronlng "Palm facing up"; tile Jutsau is an action
literolly meaning ~ sudden downward prc$$ing movttm~nr: Grnerally the Jutsau is
enacted In the fonn of the Fooksau. that Is why many Wing Tsun or IYinp Chun
trainees find the two confusing - editor.)

66
 d e

DOUBLE TANSAU DOUBLE UPPER l YINGPALM

A {left} pcmng the W.T. f>refi!#lnng Posture while facong B. B attacks A with double
punches. A doslolves B's attack by changing the Double Tannu to the Jut-sau move-
ment. Havmg fectuated the Jutsau, which caused B to tall forward. A takes the OPPOr
tunotv to launch hos powerful Double Upper Lying.palm attack at B's face.

3 4

67
 KAUSAU & HIGH GAUNSAU

The Kau...au is a movement which en

ables us to replace our bridgearlll8
from the opponent's outdoor area to
his indoor lll'eJJ or vice-versa in a safe
and simple way.

The Hi&)! Gaun..au is a movement

which lookJ like the Jurn-sau. However,
the Jum-sau is only applied for defen
sive purposes, while the High Gaun-$llu
can be applied both as an offensive and
defensive movement.

A (loft) posing tM W.T. Prefig,ting

Postu"' while feeing B. B applies the
double punches ettoek coming into A's
indoor BrH. A quickly makes a rum.
and POses his right 1rm in the Kau-$<10
movement while IPPiving with his
left arm the High Gaun-sau movement
to nullify B's attock tnd offer counter
attack at the same time.

68
 50 , I
'I l
aw;
&..i ~
~:..:

BDNGSAU- KNEE-STAMPING KICK

The Bona..u is a grearly effective move~n! which is adopud for counlering

heavy stf"ll&hlllne auacls. II is app!Jed by bending the forearm down to deflect the
opponent"s st111ighUine attacks, which, no matter how powerful, will surely be
nullified. Having ,effectuated the Bongsw movement, and while our opponent is
not yet ready to launch his second attack, we should at this moment make a side-
ward step to stay at the opponent's side and offer a countcral!ack with the Knee-
stamping Kick technlquel

A (lftl posing the W. T. Prefi~ting Posture while facing B. 8 imitiates a

right straightline punch 11 A. A quickly tums to evade !he punch. Immediately after
!hat. A makes a sideward step to stay at B's right side, end quickly raises his left leg
to launch Knet1tamplng Kick at the back of B's right knee.

69
 I

70
 <53 ,,

1'1-~
-- -.. -.
J!:~-
-- ~ ..._
.,

FOOKSAU- KAU.SAU l LOWER LYING-PALM

The functions of the Fook-uu are twofold. Besides seMng u a means for preulna
down or controlling the opponent's arm with the palm , The Fook-sau can also be
adopted for stopping the opponent's Chain-punches by maldn& use of the quick
bending of the wrist,as explained below.

By circling the wrist round the wrist of the opponent, we can replace our wrist
from the indO<>' orea of the opponent to his outdoor ana. TbJs enables us to stay at
the opponent's side, and to launch the Lower Lying1)alm attack at his Oank, as
illustrated:

A {left) posing the W.T. Prefi!t>ting Posture while lacing B. B snacks A whh
his ri~t strai~tline punch. A dissolves it with tho Fook-1au technique by flipf>ing his
right palm to the left. B again launches e left straightline punch. A still applies his
right Fook..au, by flipping his palm to the right to stop B's punch. Altar that B
launches a third punch with his ri!t>t arm, A this tim first flips his right Fooksau to
tho right to nullify B's punch, and then circles his palm outwards from B's indoot
tHea to his outdoor Mel, so that he is now standing at B's right sic Finally A
liiiUnches a left Lower Lying-palm attack at B's right flank.

71
 I

72
73
66 ,, ;
67 11{
1';~1 ali~
ik- .
-. .

KWUN-SAU - FACADE ''PO.PAI" DOUBLE-PALM MOVEMENT

The Po-pal Doub~alm movement is a combination of the Erectpalm movement

applied wllh one nrm and the Reverse-palm movement applied with the other ann.
In application, there ~rc two fashion nf it, namely the Facade Po-pal (Facc-tofacc
Po-Pai/ and the Sideward Po-pai. The following is an illustration of the Facade Po-pai
Double-palm movement applied in succession tu the KwwHtau movement:

A posing the W.T. Prefightir>g Posrure while facing B. B launches the double punches
at A. A turns and applies the Kwun-sau movement to d1$solvo B's attack. Immediate
ly after that, A changes his anns to the Facade Po-Pai Double-palm movement, with
one palm aiming at B's upper-level and the other at his lo.wrlevel.

74
4

75

If the uAirernate Bona._"
applied to dissolve the oppc
attack, what follows should I
Sideward Po-hi Ooub~lm
ment for counter.ettacking the "''PQ!illl
at bis side, u tllustrated below.

76
 - SIDEWARD "PO PAl" DDUBLEPALM MOVEMENT

lhe W.T. P~fighting Posture while facing B. B Initiates a left maightline

It A, who counters whh his left Bong ..au. Immediately after that, A aclvan~s to
I ' left side, and adopts the Sideward PoPai technique by launch lng his left
l 'a &houlder and his right palm at B's flank.

71
 -
HIGH & LOW GAUN-SAU-

FACADE PO-PAI

OOUBLEPALM MOVEMENT

The Rillt I. Low Caun.uu JS a sideward movement. However, when it changes to the
Po-Pal movement. it becomes the facade Po.pai. The Po-pai technique derived from the
High &, Low Gaun-sau is slightly different from that derived from the Kwun-sau. 1ne
Popai technique derived from the Kwun-sau is a movement of double-palm attacks
from the opponent's Indoor arta; the Po-pai technique derived from the High 8t Low
Caun-sau is appUed in rucl! a way that the arm of our upper attacking palm ls presling
one the opponent's arms, and the bridge<~rm of our lower attackillg palm is aiJO presling
the other arm of our opponent. Readers should watch carefully how the series of move
ments are enacted.

A posing the W.T. ?refighting Posture while facing 8. 8 attacks A with his double
puncha, one high and the other low. A quickly tums sideways and applies the High &
Low Gaunseu to counter the attacks. Immediately after that A turns to face 8 again
and applies the Po-pai technique as a counter-attack.

78
 -

71) l
 a

BONGSAU - SIDEWARD PDPAI DDUBLEPALM MOVEMENT

The foUowina set of Sideward Po-Pa; Double-pakn Movements derived from the
Bong-s1u is different from that menlioned above.

In the previous set, the Bong-sau directly turns to !he Erect-plim, and presses on !he
opponent's shoulder. In this set. the Bong-sau changes to t.be Reverse-palm, and
glides over the opponent's bridge4rm to penetrate Into his /JJdoor or~o and land on
his body.

A pos~ng the W.T. Prefighting Posture wilile facong B. 8 launches a sudden right
straightline punch at A. A adopts the righ t Sideward Bong-sau to dissolve B's attack.
Immediately after that, A turns to B's riltlt side, and changing his B~ to the
Reve,.,.palrn, thrusts it forward over B's right arm, wilile his left arm also tums to
the Erect-palm to join in the counter-attack.

80
b c

f e

81
BDNGSAU- GRAPPLING HAND & THROAT-CUTTING HAND - PAKSAU &
SPADE-HAND

Many Wing Tsun followers neglects the fact that the Bo11J-sau can give rise to a
variety of movement$, for example. the Crapplina-hand, as illustrated below .

When a practitioner applies the Capplin&-hand to control the opponent's ann,

he should at the same time apply the Throat-<:uUing Hand to attack his opponent
After that , his amu should change to the Pak..au and Spadeltand respectively to
launch further attacks at his opponent.
I
I
A posong theW. T. Prelighting Posture while lacing B. B launches a right stroightline
punch at A. A counters with his left Sideward Bong-sou, Which then changes to the
Grappling-hand to get hold of B's right arm, while his right arm launches a counter
attack in the form of the Throat-cutting Hand. At this moment A has already turned
from the right to the left.

Having eflectuated hos counter attacks, A withdraws his right arm to pose the Pak
sau to pre<s down B's right arm, and at the same tome changes his loft arm to the
Spadehand to strike heavily at B's chin.

82


BONGSAU - CROSSED STAMP-KICK

The Crossed StampKick is on ouW~>ding kick of the Wmg Tsun system. While
other kicks of Wing Tsun are applied with the front leg, the Crossed Stampkick,
however, is launched from the back leg. In applying the Cro~d Stamp-kick, a
practitioner should pay auenllon to the ways he steps forward prior to law1ching
the kick.

A posing the W. T. Prefighting Posture while facing 8 . B launches a right straightline

punctl at A. A dissolves me anack with his riftlt Sideward 8""9"sau. lmmediotely
lfter that, A's ri~t leg makes a curving step to land on B's right side, while his left
leg rises to launch a Crossed S~ Kick at the beck of the knee of B's back leg.

85
 11

86
 LOW BONG- .SAU - SPADE-HAND & FACADE THRUST-KICK - FACADE
KNEE-STAMPING KICK

Many Wing Tsun followers think that having applied the Low Bong-sau with
one arm, they lulvc to use the other arm to counter attack at the upper-leveL ln
fact they can usc the same ann that has ju.st executed the lAw Bong-5au movement
to dissolve further attacks from the opponent. Besides, an experienced Wing Tsun
practitioner can make use of both hlsarm and his leg to launch co-ordinating offensive
movements at the same moment , thus making it very difficult for the opponent to
defend hin1self.

As regards kicking techniques of W'mg Tsun, the same princople apphcs to them u
to hand techniques That is to lily, it is not necessary to withdraw the leg once It has
excuted a kick, for it can still be used to launch further attacks slmply by gmng
vaiialions to Its movements, which will enable the practitioner >tnke at differont
parts of the opponent's body as desired.

87
A posing the W.T. Prefighting Posture upon encountering B. B launches
a right straightline punch at A's /ower-level, which ls dissolved by A's
right Lower Bong-sau. B then immediately attacl<s A with a left straight
line punch at A's upper-level, A therefore turns his right Lower Bongsau
to the upper-/eve/ Spade-hand to nullify the attack and oHers a counter
attack at B's chin. At the same time A's left leg joins in the counter-attack
by launching a straightline Thrust-kick at B's abdomen.

Havillg effectuated the Thrust-kick, A turns his left leg to lvrther his attack on
8 with a Facade Knee-stamping Kick at B's right knee.

89
 The Cumsau and the Pak-.au look
similar but have different functjons
The Plk-sau is executed by slappina
the palm towards the opponent's arm
and pressing it down to nullify its
chaigt Therefore it b a forceful and
swifl movement. But its force quickly
diminishes. It is generally applied to
counter mitJ.Ievt'l auaeks. lr usually
makes a cracking sound as it is exc
GUM-SAU - SIDEWARD SLAP-PALM cuted The Cum-uu, on the other
& LOWER l YING PALM hand, Is movement that goes along
a rclathely longer distance wi01 a
more Jlexjble force. It IS often applied

1 2

90
to counter uuacks of a longer range
IUCil as punches and kicks at the upper
and mld-l~t/$.
A posing tM W. T. Prelo!t>tong Posture
As dluJ1r11ted below, the GWJ>osau on encountering B. B suddenly IIUnchft
II applied to "diPtrt" the course of a Fl!t>t kick at A. who counters t W1th
the opponent's coming kick, as dif- his right Sideward Gum-$101.
rerenl from the Slap-palm, which is
applied for "prtsslng dow11" a punching Immediately after that, A circles his
right leg to 1tep on B's right side, and
arm.
thon offers a counteranack with the
left Sideward Slap-palm & the Lower
Lying-palm movements.

8
7

91
GUM-SAU - PAKSAU & OFF-BODY THRUST-KICK

The Cum-sau is a movement useful for countering nut only lower-level kicks,
but also punches at both the midle~~el and lowerII!Verl. As illustrated here, the
practitioner firn adopts the Sideward Cumsau to stop the opponent's lo-r-koel
Thrusting-punch, then he apphes the Pak-cau (Slap-palm) and the Slant Thrust
kick to ward off an upper-level auack and offer counter-allack.

Most of the kicks of theW. T. system are launched at a very close range tu the
oppoocnt. Therefore the kickang technique mentioned above is the only kick be
sides the Sideward Thrustkkl< that is launched at a long ranged from the opponent.

A pOsong the W. T Prefighting Postu~ on encountenng B. B launches a sudden left

Thrunongpunch at A 's lower.Jevel. A dissolves it with a nght Gum-sau and turning
of the body to the loft. Having failed ith his first punch, B furthe rs his attack with a
right streightline punch at A 's upperltJWI. A shifu his body to B's right stele, and
defle<:ts B's punch with a Slap-palm movement. while his ri!tlt leg launches a Stamp-
ing-kick along a slant-straight lone at B's upper calf.
a d

93

BONG-SAU - GRAPPLING -HAND & SWEEP-KICK

Many trainees of W. T. syltem have Similarly, many Wing Tsun trainee

the wrong idea that there are nu Grap think that there is not a Sweep-kick
piing-hand techniques in the W. T. in Wing Tsun. In fact they are ngain
system. In fact there is a Gr:rpplina wrong. for there is such a l.lclc in
band movement in Wing nun, which Wing Tsun, which is qune different
however is less frequently applied. from that applied in all other rnartJaJ
lrt styles, and ts qwte difficult to
master. That is why explanation of
training In this technique is left behind
until the last :rection of the Wooden
Dummy Techmques.

A posing the W. T. Preflghting Posture
on enc;QUntering B. 8 suddenly launches
1 roght $lratghtline punch at A, who
slips the charl)e with the Sideling Bong
"u movem'ont. Immediately after that.
A hilts hmsclf to B's nght Side, and
turns his nght Bong->au to a Grappling
hll(ld to get' hold of B's right wrist,
while his left hand also poses a Greppl
ng-hand to "'Jze B's rtght elbow.

After that, A raises h is right leg to

launch a Sweep-kick at the kneeJoint
of B's front leg, whit. both hi e<ms
exert a forceful pull to the side, -sing
B to lose balance and fall forward.

95
~toru"""' of ,.alu
... '!!"'
,$ather
I '
-

<firent <5run~masltr

of

97
PROMOTER OF CHINESE KUNG FU

y deceased father, Yip Man the Grandmaster, was not

only the forerunner of the Wing Tsun style, but was also
a genius in the modem world of martial arts. Besides
promoting Chinese kung-fu and pushing its development
in overseas countries, he also brought up a large number
of highly skilful disciples.

FUTSHAN - BREEDING PLACE OF MARTIAL ARTS

Grandmaster Yip Man was a native of Namhoi County of Kwangtung

Province. lie spen t his living at Futshan, one of the four most famous
towns of southern China, where various kinds of handicrafts were then
highly developed. Besides, Futshan is also regurded as the place of
origin of Chinese kung-fu in southern China. During the period between
the fall of the Ching Dynasty and the founding of the National Republic

98
of China, a large number of famous and skilful Chinese marital art ish
were brought up in the town of Futshan, or at least these martial art1~ts
were somehow related to affairs that happened in Futshan 1 he cause of
the appearance of these skilful martial artists in Putshan m1~t have
been due to the burning down of the Siu Lam Monastery m FulciM
Province, which resulted in the great escape of hundreds of monks and
practitioner.. skilled in the Siu Lam Style of kung-fu. who ran away from
the siege of the soldiers of the Manchu govemment. Many of them, hke
the famous Zen Master Chi Shin, escaped southwards and hid themselve~
in Futshan.

A photo taken in
Grandmaster Yip
Man.s home.
OFF-SPRING Of KUNGFU GENERATIONS

Grandmaster Yip Man's father, that is. my grandfather, was named

Oi Doh. He was in fact brought up in a f;lmily of generations of mer
chants. My grandfather himself once ran u shop in Hong Kong. My
grandmolher, then known as Madame Ng, wus praised for being a helpful
wife and a good mother. Anyway, the Yip family in Futshan was a
famous and influential family. The inherited large farmyard was situated
at a newly rebuilt avenue. called the Fuk Yin Avenue, literally meaning
A~nue of Happiness and Scholarship. TI1e homesteads of the Yip
family occupied a large area, with two symetrical rows of large old
fashioned houses, amounting to not fewer than twenty in number
lining along the two sides of the avenue, at exactly the site of the present
Municipal Government House. The ancestral temple of the Yip clan was
situated at the centre of the homestead. It was in this ancestral temple
that the great Grandmaster Chan Wah Shun, the renowned Wing Tsun
practitioner, had for quite a long period re~ided, when he admitted
disciples and taught them skills of the Wing Tsun Style. Among the
students of Grandmaster Chan Wah Shun, there was one, by the name of
Yip Man , who for the first time in his life learnt Wing Tsun skills in the
ancestrd! temple ofh1s family

A GIFTED SUTOENT OF MARTIAL ARTS

At the age of nine, Yip Man my late father was admitt~d as a ~tudent by
Grandmaster Chan Wah Shun. But before that, as my grandmother the
lat~ Madame Ng said, Yip Man worked hard on hi> studies. After
receiving each lesson, he seldom wasted his time in having games with
fellow-playmates, but devoted all his spare time in writing p~ms and
painting, or watching Grandmaster Chan teaching his students. Day aftt>r
day he watched, and became gradually interested in techniques of Wing
Tsun. At least he went straight to Grandmaster Chan Wah Shun and
requested him to admit him into his kung-fu class. Grandmaster Chan
thought the boy might only be joldng, so he said jokingly that every
boy, m order to be admitted, had to pay an initial admission fee of
three taels of silver, and that if the boy had three taels of silver, he would

100
admit him. Orl hearing this, my father rushed hom.: lrlku wrth plcJ,ure
and hope. Soon he brought bad three taels of srlvcr a> rcqutret.l. (:rand
n~a>tcr Chan WU> surprised to see what the boy had done. lie u'ked the
boy how he had got the money. The boy answered that he had already
known that he needed the three taels of silver for adm""on, 'o he began
s:mng money some y.:a rs ago. Grandmaster Chan Wah Shun drd not
believe in the boy , thinking that he must have stolen the money. So he
Jrd not accept the boy as his disciple. Neither did he return the money
to the boy, l>aYing, "If you want to ger back thl' money. }'OU have to
brinl! vour mother here to proPe that the monl'y really belongs 10 you."
Yip Man the boy could do nothing but urge his mother to come to the
martial art tutor. When meeting th<' boy's mother, Chan Wah Shun said,
"/did not suspect the source of The money. It is only that I want to see
his mother and Sf'<'ak 10 her personally. and ask whether sire really
allows her boy t() team kung-fu from me. In j'al'ltllt' boy Is quite gifted,
and he has been watchi11g me teach kung-[11 qultt a long time. If he

The Grandmaster and his grandson, the son of Master Yip Chun the
author.

IOJ
 follows me. he will surely succeed in making lli.s career as a martial
artist." Madam Ng was very pleased to hear that , and said that if Chan
Wah Shun agreed to accept her son, she would not hesitate to aUow her
son to take up studies of martial arts.

102
 THE lAST STUDENT

From then on, my father became Grandmaster Chan Wah Shun\

youngest disciple. He learnt techniques from Grandmaster Chn and
practised with hiS feUow-students such as Ng Chung Sc and Lut Yu Chai.
He was in fact the last disciple admitted by Chan Wah Shun. That ~
why when Grandmaster Yip Man grew up and had his own students,
he said to them smilingly that his students had only "Elder Kung-fu
Uncles. hut not " Younger Kung-fit Uncles ". From the above des-
cription, it became clear that Chan Wah Shun dill not make a mistake
in accepting my father, for the boy's success in afterwards was really
d ue to his master's un-reserved teaching, and the boy's dedication and
effort he put to his studies. Ilis success in his career was not mere luck.
Grandmaster Chan died when Yip Man was thirteen years old. At his
Ja.~t minutes, Chan said to his disciple Ng C'hung So, "Yip Man is a cleer
boy, and is more gifted than others. If any of Ill}' uudents Is to promote
and spread our Wing Tsun techniques with suca<l, lip \fan Is tire one.
It is a regret that I could not stay longer From now on tire dut)o" of
teaching him rests on you. Pleale take good care of lum " Ng Cltung So
promised to take up the responsibility seconds before Grandmaster Cltan
died. So Yip Man studied under the guidance of Ng Cltung So, with the
company of fellow-~tudents such as Yuen Kay Shan and Yiu Choi.

BlENDING OF TECHNIQUES OF SEVERAL MASTERS

For two years Yip Man followed Ng Chung So. After that he went to
Hong Kong to pursue academic studies at the Sr. Stephen's College at
Stanley in Hong Kong. By one occasion he was introduced to Mister
Leung Bik, the first son of Grandmaster Leung Jan - the instructor of
Grandmaster Chan Wah Shun. Leung Bik was then staying as guest m a
famous silk company in the western district of Hong Kong. He was
delighted with Yip Man's cleverness and his effort in Jeammg, so he

Grandmaster Yip demonstrated a movement of the Wooden Dummy

Techniques.

103
tned his bt:Sl to teach him all he knew. TI1a1 is why my father later 'aid
to others that he got a good foundation from Grandmaster Chan Wah
Shun, hut sophisticated techniques from Mister Leung Bik. Ht: further
suid that when he was small, he paid attention to the external-fom1
of movements, not knowing why certain movements <hould be applied
m ~uch ways, while other movements in other ways. When he grew older.
he knew that the importance of mastering Wing Tsun techniques rested
on the merging of theory and prdctical application.
Grandmaster Yip Man became famous for his skill< even when he was
young. Yet he did not take teaching martial art skills as his career.
Instead, he joined the army during the war. After the war he returned to
his native land to take up the post of Captain of Local Police Patrols of
Namhoi, which he held for some years. Though being a sldlled martial
artist, and the captain of the police patrols, he was not proud and
arrogant. On the contrary, he dressed neatly, and looked gentle and
graceful. He !>eldom carried his pistol, unless he found it absolutely
necessary in certain occasions, feeling that he himself was already armed
with his deadly Wing Tsun skills. During hL~ career as the captain of the
local police patrols, Grandmaster Yip Man met some occassions worth
mentioning.

AMAZING STRENGTH OF FINGERS

There was a man, in my later father's nat1VC place, by the name of Yu

Yiu. He served in the army during the war, and after the war, he was
recruited into one of the divisional patrols of the local police of Namhoi,
under the command of my father. But owing to the large number of
patrolmen, neither Yu Yiu nor Yip Man the Captam knew each other.
One day, Yu Yiu was patrolling along a busy street. But very soon for
some minor reasons argued with someone in the street. Both men were
then shouting to each other loudly. lt happened that Captain Yip Man
p~d by the crowded spot. He saw that one of the quarrelling men was
wearing a badge of his patrolling teams and carrying a pistol, and knew
that the man must be one of his patrolmen. He wished to stop the
quarrel, thinking that a police patrolman's duty is to keep order and
peace,and so ~hould not argue with people. He stepped forward to stop
their shouts. But t he pat rolman was too proud to be stopped by a well
dressed gentleman such as Yip Man! He shouted at Yip Man, ordering

104
ABOVE: Grandmaster Yip Man and his second son, daughter (middle),
daughter-in-law (left/, and his friends in a countryside restaurant some-
where in Hong Kong.
BELOW: Grandmaster Yip and his grandson, son of h1s second son Yip
Ching.

105
101\
 htm to step back to mind his own business instead ot tnl~rvcnin!l thetr
quarrel. A~ he shouted at Yip Man, he drew his ptstot ami pomt~li t1 at
Yip Man. Yip Man realized that the patrolman was lo~m.e ht' 'cn,c. ami
that drawing out a pistol in a busy street was a dangerou' mo>c. To
rhminate the danger Yip Man rushed forward to 'top the patrohnan
from pointing the pistol at anyone. He got hold of the buU~t~hambcl'\
of the pistol, meaning to stop the man from miSfinng. The man
'truggled to free his pistol from Yip Man's grip. Yip \1an's finge11> were
>0 powerful that after a few pulls and twi~ts the bullet-<:hambers of the
pistol broke off, to the astonishment of the huge crowd of on-lookers.

OVERPOWERIN G A FIERCE ROBBER

In IllY father's little town there was a wanted robba by the name of
Tsu Ping, who was cruel, huge. strong and sktlled m martial arts. The
local policemen were after him for quite a long lime. One day my
father's squad was informed that the wanted robber appeared at the
town of Futshan. My father led some of his dectecttve) to lay a trap for
the robber. He bnefed his dectives that the robber wa~ ferocious and
armed, and that tt was dangerous to cross fire with him in a crowded
avenue. He told them that he would deal with him first, and that when
the robber was overpowered, they would then rush out to catch him,
but before that they had to hide at some concealed comers. Soon
the robber appear~d. My father walked towards him. B~ing well-dressed
and gentle ln outlook, my father was not suspected. The robber passed
by casually. My father turned and called the robber's name. The robber
became su~picious, and ran. But my father stepped forward and grabbed
the robber's collar, who was then tryillg to draw his pistol. My father
grappled the robber's atms. The robber struggled. But Yip Man's amb
were too powerful for the robber, and his stance was too frrm for him
At thi~ moment the dectectives rushed forward and handcuffed the
notorious robber and brought him back to their office .

A Tan-sau Mo veme nt as demo nstrated by t he late Grandmaster Ytp Man.

107
 THE SKILFUL SCHOLAR

When the robber was questioned, he admitted all chaJles laid against
him. He only rep-et ted that he never dreamt that he would be caught by
a gentle scholar, because he had so far not met a real antagonist, and that
he would not die content. My father smiled and '181d, "You Ctlll me a
scho/IJr. Do you think you Ctln defeat me with your techniques?" The
robber said, "If I am allowed to f~ght with you bart-handed. I Ctln
defeat you wilh/n one minute." Grandmaster yip Man asked his men to
unbind the robber, and promised him that if he could win,he would be
set free. The two w11re then ready to have a free fight in the hall of the
dcctectivcs office. The robber posed a wide stance, and adopted long
bridge~drmS, and attacked with thrusting and hanging punches, which
seemed fast and powerful. My father dodged left and right, trying to
keep himself evasive at first, and avoiding to make direct contact with
the robber's punches. He waited for his chance. Suddenly, when the
robber had just completed a reverse punch but had not yet withdrawn
his arm for another attack, my father advanced, grappled the robber's
wrist with his right hand, and pressed down the robber's elbow with his
left hand, and exerted a powerful downward pull. The robber lost his
balance and feD forward. At this moment, Grandmaster Yip Man raised
his right leg to execute an upward knee-thrust at the robber's chest. The
robber, having suffered such a deadly attack, feU on the floor, with white
foamy saliva coming out from his mouth. Since this incident, my father
was well-known as the unanned scholar-dectective, and Futshan was
peaceful and free from crimes during the years when he was being
a cap tain of the dectective squad t here.

GRANDMASTER YIP AT HONG KONG

In 1949, when mainland China feD into the hands of the communists,
my father left his homeland and v.oent south to Hong Kong, where he
settled down, set up a gymnasium, admined students and taught them
techniques of Wing Tsun. For the following thirty years he worked as
a martial art tutor, and had so far brought up more than five hundred
thousand students, who all help SPreading the Wing Tsun techniques to
aU parts of the world. This great success meant as much t o himself as to

108
others who worked ha.rd for the same aim of spreading Ihe technques of
Wing Tsun, for they all shared the joy of this successful dt.:ed . Grand-
master Yip Man would smile in satisfaction if he knew this.

GRANDMASTER YIP MAN A BR UCE LEE

Amongst the students of my father, Bruce Lee was one of the most
well-known . Bruce Lee met Grandmaster Yip Man at Hong Kong, when
he was studying at the St. Francis College. Bruce Lee's father, Lee Hoi
Chuen, was a good friend of my father. They were fellow narives of
Futshan. The close relationship between Bruce Lee's father and Grand-
master Yip Man, coupled with Bruce Lee's jealous inclination towards
martial arts and his assiduity in his studies, resulted in my father's
dedicated coaching for the boy. And before the end of the third year of
learning Wing Tsun techniques from my father, Bruce Lee had to
suspend his martial art lessons, for his bad to leave Hona Kong for taking
up academic studies in U.S.A.

Shek Kin & Bruce Lee together during a break in the filming of "Enrer
the Dragon~

109
 ~
~ '
\

'The Grwt Grandn~aster Yip Man & Young Bruce lee.

110
The parting of Bruce Lee from Grandmaster Yip Man did not show any
sign of permanent separation between the student and the master. But
in fact there was disagn:ement in their mind. The fact was, I aueu,
that before Bruce Lee left for U.S.A., my father reminded him that
Chinese kung-fu is one of the sophisticated arts of China, that we
Otinese need kung-fu techniques to defend ourselves and to keep good
health, and that teclmiques of Cllinese kune-fu should not be taught so
freely to foreigners, (it was the typically Chinese traditional thinking
of the old kung{u masters!) Bruce Lee promised to bear this in mind
before he left for U.S.A. But soon after Bruce Lee had reached U.S.A.,
he set up a gymnasium, admitted foreign students, and taught them
Wing Tsun techniques, to the surprise and disappointment of his master.

Grlndmaster Yip Man, the author's son, and the author's wi.. In Ylp'a
75th Year Birthday Party.
BRUCE LEE'S AMBITION

In the summer of 1965, Bruce Lee returned from U.S.A. to Hong Kong,
brought with him his wife and his son. He paid a visit to his master, and
requested him to teach the latter part of the Wooden Dummy Tep/1
niques, which Bruce Lee did not team during the three years when he
followed his master in Hong Kong before he went to U.S.A. He further
asked my father to allow him to make a shooting with an 8 m.m. film of
the complete set of Siu Nim Tau (Little Idea} techniques, wbicb he
needed for his teaching in U.S.A. In return for his master's favour,
Bruce Lee offered to buy Grandmaster Yip a new domestic fiat.
However, Bruce Lee made a vecy serious mistake. That was, he em
phasized too much about money so as to hurt his own teacher's self-
respect! So Grandmaster Yip Ma.n refused him, saying, ''J can't promise
you that, for the rea.SQns that firstly you were not the only student T
admitted, secondly, I had never promised any one of my students {or
such a request. Tf 1 accept your proposal. what should 1 say to my other
students?" Having been rejected by my father, Bruce Lee turned to me
to ask for help. I said, "Indeed we lived in hardship since.we first came
to Hong Kong more than ten years ago. We did not even had a house of
our own. The offer of a new flat would of course ease our hardship.
However, there is something more valuable than a comfortable material-
istic life to a Tl!4n. Besides, my father has a strong willpower, and is
firm-minded. This is what you and 1 know. If he refused you. 1 can't
persuade him to change his mind."

WIIIG TSUN KUEN &JEET-KUNE-00

Bruce Lee returned to U.S.A. feeling bored. He didn't teach Wing Tsun
anymore, because he knew that he would never become the "No. 1 Man"
in Wing Tsun. In order to suceed in his career, he had to set up a new
style and became the "Founder" himself. So he formulated his tech-
niques into Jeet-Kune-Do, which he taugbt his own students, and for
which he became famous. However, the techniques of his Jeet-Kune-Do,
as observed on screens, were in fact mainly based on the techniques of
Wing Tsun combined with Taikwondo and Karate, with some more
western boxing, judo, northem Praying Mantis Kung-fu, etc. His theories,

112
as released on newspapers, books, and magazines, were mostly the
theories of Wing Tsun, then added up some Cl11nese phtlosophic5 ol
Taoism, a~ well some theories of western boxing or judo. When llmce
Lee became famous for hisJeet-Kunc-Do, my father never mcnt1oned
Bruce Lee He even did not like people talk about Bruce Lee m front
of him.

Bruce Lee the famous kung fu star.

Ill
As a matter of fact, the disagreement between my father and Bruce Lee
was due to the difference of the life background and education of the
two. My father when young received traditional Chinese education, and
was influenced by Confucianism. He had thus a strong feeling of nation-
alism. Besides, he was strict and firm-minded. He could bear hardship of
life. Thou&h he was poor dunng his life as the captain of the dectective
squad and as a tutor of martial arts, he felt happy in accepting his life.

On the other hand, Bruce Lee was educated in an English school in

Hong Kong before he went to U.S.A. to further his educatton in
philosophy. He was deeply influenced by pragmatism. He struggled for
fame and wealth during his life. tie succeeded in obtaining hoth, but
leaving both behind on his death - one to the world of martial arts, the
other to his wife.

Grandmaster
Yip Man teach-
ing Bruca Lee
the Wing Tsun
Chi-Sau
exercise.

114
The High & Low Gaun-sau Movement as demonstrated by Me1111r Yip
Chun.

115
 Bruce lee

116
-
00
TERMS OF MOVEMENTS, EXERCISES, & EQUIPMENTS

BART-CHAM-DAO /\. .r7J Eight-Cutting Broadswords Techniques

0/U-FZE ~-~4lf Thrusting-Fingers form
BJU-TZE-SA U l.~4lf-1- Thrusting-fmgers (a movement)
BONG-SAU .UO+ Wing-arm
Cl/ANG-SAU ~+ Spade-hand
Cni-DAN-SAU
CHI-KWUN
+
.f1(fl..
Single Arm-clinging (exercise)
Pol~linging (exercise)
CHINGUM-sA U fr#+ Front Pinning-hand
CHJ-SAU IA-1 Arm-dinging (exercise)
CHJ-sHEUNG-SAU .f11t-f- Double Arm-clinging (exercise)
CHONG M: pre fighting posture (southern Chinese)
CHONG ~ wooden dummy, piles, special equipment for
Jrung-fu training
CHUEN-KIU ~4 Piercing-arm
CHUM-KJV ~~ Arm-Seeking form
Cf/UNG-LO 'f> II> mid-level
CHUNG-SIN median line
CI!UNG-SUM-SIN
DING-JARN
"''1''.,:;*"
JJiJ111
~ centre line
Butting-elbow
DUI-KOK-MA I JU-SUN-MA IJ )q -~ Diagonal Stance I Sideling Stance
FAK-SAU ~~~+ Whisking-arm
FOOK-SAU 1~ -1'- Bridge-on Arm
GAUN-SAU .JIIll+ Splitting-block
GE-NG-DIU-TIE-MA -T -'f- lj\ lt ~ Meridian Half-hanging Stance

GUJI.-SAU
......
..,.
HAR-LO TJ&. lower-IC\'el
HAUGU.H-SAU r4H- Back Pinning-hand
HOI-MA M~ Setting up of Stance
HUEN-BO I KA U-80 [l]jJ- Circling Steps I Plucking Steps
HUEN-GOT-SA U lll fH- Circling-cut
HUEN-SAU IIl+ Circling-hand
JU-CHEUNG 1111.t..- Sideward Palm
JU-GUM-sAU 111!-lH- Side Pinning-hand
JUM-SAU 411:.+ Sinking-block
JU-sUN-KUEN (lll.t Sideling punch
JU-SUN-MA (eDUJ-KOK-MA ) (111 k .... Sideling Stance (;Diagonal Stance)
JUT-SAU -t:+ Jerk-hand
KAR-SJK (aCI/ONGJ -'*s':. prefighting posturefnorthem Chinese)
KA U-BO I HUEN-00
"~
Plucking Steps / Circling Steps

.
KAU-SAU ~4 -1- Circling-block
KIU-SAU tl+ bridge-arm
KUEN fist, ftstfighting
KUEN-TO
~ boxing form
KUD-SAU iii.+ Fighting Practice
KWAI-JARN ~At Downward Elbow Strike
KWUN-MA m..~~<J Pole Stance
KWUN-SAU ~;I) -f- Rotating-arms (complex movement)
LAN-SAU JUJ -1- Bar-arm
-.., l..tll'-SA U
LAU-SAU
~Jl+
-1:11-1-
Deflectingarm (complex movem~nt)
Scooping-ann
-
~
UNWANKUEN
WKSAU
LUK-DIMBOON-KWUN
;tJJ.,f-
&H
~ .1.!; -'!'- ~It
Chain-punches I Alternate-thrusting punches
Rolling-arms (exercise)
Six-&aHalfpoint Long Pole Techniques
MANGGENG-SA U .. fl-1" Neck-pulling Hand
MAN-SAU ,., -1" Inquisitive-arm
MUK YAN-CHONG ;f..A.~ wooden dummy
MUK- YAN-CHONG-FA ;f-A.if.5k Wooden Dummy Techniques
NO I-MOON '*! ,, indoor area
NUKSAU Ill.-~ Free-hand Fighting Practice
OJ-MOON ?l-r1 outdoor area
PAK-SAU ~+ Slap-bloclc
PIE.JARN 41!.~ Elbow-hacking
PO-PAI-CHEUNG .1!!.44+ Double-palms (complex movement)
SAAMKOKBO ..::.ifi:!T Triangular (Advancing) Steps
SA AM-SING-CHONG ..::.;.t(f three-star dummy I tripodal dummy
SAAftf-PAI-FUT(=SIU-NIMTAU) ..::.tt~ Praying Titrice to the Buddha
SEI-PJNG-MA ~4'--~ Quadrilateral Level Stance
SHA TGENGSA U ~JA+ Throat-cutting Hand
SIIF.UNG-KUEN ~ ... Double-punches (complex movement)
SI/EUNG-LO ..t.J&. upper-level
SJU-NIM-TAU 1$Jili Little Idea form
TAN-SAU #-1" Palm-up Arm
TIE-SAU ~+ Lifting-arms I Rising of Arms
TOifSAU 4H Elbow-lifting Hand
TUTSAU -+ Freeing-arm (complex movement)
WU-SAU $'.(-}- Protective-arm
YANCHEUNG ~~ Stamping-palm
"YAT"CHI KUEN r a of ;f. Character "Sl/!1." Fisl

'TEr' an DJI YEUNG IIA

GENERAL TERMS OF CHINESE MARTIAL-ARTS

CHUNG-SJ .."'-. Grand-master of a style

DAIGEE I MOON-YAN !tt-T student(s), follower(s), disciple(s)
GAR ~ family, style
Founder of a style

.
JO..SI U.ltf
KIU I KIUSA U .,+ bridge-arm
KUEN fiSt, fist-fighting
KUEN-FA ;f.5k list fighting method
KUEN-SU of-#l Art of fist-fighting
~
KUEN-TO boxing form
KUNG $.IJ power or strength of a martial-art trainee
KUNG-FU 11<.. collequlal term of martial-art
KUNG-FU :LA. work, lcnowledge, technique
MO ~ military
MOON TO
MOON Y AN (;DAI-GE) ,,A.
fHl disciple(s)

--... MO-SU
PAl
ll\#l
~~
formal term of martial-art
style, system, special group, school
-
N
N
SHAOUNCHI
Sf-Dtrl
;)"tj;. 'f
!lifo;(,
Mandarin pronunciation of Siu Lam Monast~ry
younger Kungft brother
SI-1/JNG llo/X.. elder Kung-fu b rother
SI-J Jl41~ elder Kung-fu sister
SJ-JUK !If (t. Kung-fu nephew (studmt ofsi-def)
SJFU It-' (fj. Kungfu instructor, reverend title for a technical
pro fessional in an y trade
SIFU ttx Paternal-teacher, Kung-fu father, mentor
Sf-KUNG ~h Kung-fu grandfather (teacher of si-fu)
SI-MO ~'); wife of si-fu, Kungfu mother
SI-MUI (l.jltjt younger Kung-fu sister
SI-PAK Of fiJ elder Kungfu brother of si-fu
Sl-PAK-KUNC "f (bh elder Kung-fu brother of si-kung
SI-SOK 1' #. younger Kungfu brother of si-fu
S!-SOK-KUNG C~ #. -L; younger Kungfu brother of si kung
Sl-10 ~if !Ji teacher of sikung
S/ULAMGEE :nt--i Siu Lam Monastory
TO-DEl *~' student, disciple (soutllrm Chinese)
'f0-SUN I.Ut. Kung-fu grundson (student of to-dei)
TO- YE'E (=TO-Df:."l)
TUNC-MOON
,., ,,
1-1:. R.

~1:. lOr
student, dbciple fnvrrftem Chi11eu)
fellow-stude nt. follower of the same style
martial-art, kung-fu (Mandarin pronunciation)
WU-SU
Master Yip Chun & Master Leung Ting.

123