Li Luoneng

Li Luoneng, the founder of Xing Yi, was originally named Li Feiyu. He came from a wealthy family and was a well-known merchant. His literature name was “Nengran," a common style of self-naming in ancient times. However, because the "nen" in "Nengran" was pronounced as "nong" in some regions in shanxi province of China, many people mistakenly called him "Laonong," which translates to "old farmer." In reality, Li Luoneng was not a farmer but a highly successful merchant.

There are varying accounts of Li Luoneng's birth and death. The most widely accepted version suggests he was born on February 28, 1795, and passed away on July 4, 1881, both dates according to the lunar calendar. However, other versions exist, and there is no definitive proof. In old China, it was uncommon for people to keep precise records of personal birth dates. What is certain is that Li Luoneng was active in the martial arts community approximately 200 years ago. He was originally from Shen County, known today as Shenzhou, in Hebei Province.

As a child, Li Luoneng practiced Hua Quan and other Shaolin martial arts. After more than two decades of dedicated training, his kung fu skills reached an advanced level. Upon learning about the renowned practices of the Dai family in Shanxi, he traveled there to study Dai family Xin Yi, a style that originated from xin yi liu he, under their guidance.

Later, Li Luoneng developed his own practice and began teaching in Shanxi and Hebei. Before moving back to Hebei, the style he taught was known by various names, including Xin Yi, Liu He Quan, and Xin Yi Liu He Quan. In his 60s, Li Luoneng relocated to Hebei and officially named the style he created "Xing Yi." From that point onward, the new style was formally recognized as Xing Yi.

Some martial artists claim that Li Luoneng studied under Dai Longbang. However, two different accounts of Dai Longbang's birth and death are recorded in official county documents maintained by the local government. The first account lists his birth and death as 1720 and 1809, respectively, while the second account records them as 1713 and 1802, respectively.

Li Luoneng traveled to Shanxi to study with the Dai family around 1836, which means Dai Longbang had already passed away decades earlier. Therefore, it is highly unlikely that Li Luoneng studied directly with Dai Longbang. It is more plausible that he trained under Dai Wenxiong, Dai Longbang's second son. This theory has gained increasing support in recent years.

Li Luoneng traveled from Hebei to Shanxi to study the Dai family's Xin Yi. After a decade of dedicated practice, he mastered their art and began teaching it while also modifying it in the process. Over the next few decades, he systematically transformed Dai family Xin Yi into a new style, which he named Xi

In his 60s, Li Luoneng returned to Hebei, where his practice continued to evolve. The structure of his movements became more expansive, eventually resulting in the creation of Hebei-style Xing Yi, which differed from the more compact style he had taught in Shanxi.

Throughout his lifetime, Li Luoneng taught many students, some of whom became highly influential in their own right. There are varying accounts of the Ba Da Di Zi (Eigh important disciples) however; Che Yizhai, Song Shirong, Guo Yunshen, Liu Qilan and Li Taihe (Li luoneneg's son) were always on the list.

Together with Li Luoneng, these eight disciples played a pivotal role in promoting Xing Yi within the Chinese martial arts community. Their efforts in disseminating and popularizing Xing Yi over the centuries have been instrumental in establishing it as one of the most practical and renowned martial arts

 

As the founder of a popular martial arts style, it can be challenging to summarize all of Li Luoneng’s contributions to later generations. Master Yang Hai highlights eight key aspects of his influence:

1.      San Ti Posture as the Foundation of Body Structure
Compared to Xin Yi Liu He and Dai Xin Yi, Li Luoneng introduced a back-weighted stance rather than the forward-weighted stance used by earlier styles. This body structure, especially in terms of weight distribution, enhances flexibility in the hips and waist (the lower dantian area), which is critical for fa li (power generation). By focusing on forward and backward power at a horizontal level, while allowing subtle upward and downward movement, this stance became a hallmark of Xing Yi’s body mechanics.

 

2.      Five Elements as Five Types of Power
Before Li Luoneng, the concept of five types of martial energy existed largely as theory. He developed a systematic training method to cultivate these five distinct energies, thereby making the theoretical accessible for practitioners. By treating martial power and martial technique as separate yet complementary components, Xing Yi gained a reputation as an especially practical style within the martial arts community. Offcourse the 5 elemts also have their own applications which constitutes the fundamental applications of the style.

 

3.      The 12 Animals as Martial Techniques
In its predecessor style, Xin Yi, there were already ten animal forms showcasing advanced martial skills. Li Luoneng redesigned and expanded these forms to include 12 animals, basing them on the San Ti posture. This redesign not only added new techniques but also emphasized more internal body mechanics (shen fa). As a result, Xing Yi’s animal forms acquired a unique fusion of power generation and application methods distinct from earlier systems.

 

4.      Development of New Martial Arts Routines for Training
To further enrich practice, Li Luoneng created numerous routines that allowed practitioners to explore and express their own understanding of Xing Yi principles. These routines introduced new techniques not covered in the Five Elements or the 12 Animals, ensuring practitioners had comprehensive, varied training methods.

 

5. Two-Person Form Practice
Compared to earlier styles, Li Luoneng introduced a new two-person form practice in Xing Yi. This innovative training method accelerates martial skill acquisition by ingraining techniques at a subconscious level. Advanced martial arts training ideally develops skills that can be applied instinctively under pressure.

6. Emphasizing ‘Quan Xie He Yi’ (Unity of Barehand and Weapon Training)
Xing Yi, as taught by Li Luoneng, heavily derives its movements and power generation from spear practice. He emphasized that empty-hand and weapons training reinforce each other: working with weapons—especially the spear—can significantly enhance martial power and technical precision, while the principles of empty-hand combat inform better weapon handling.

7. ‘Lian Yang Jie He’ (Unity of Combat and Health Maintenance)
Xing Yi is rooted in Daoist philosophy, drawing on concepts such as Yin and Yang. In contrast to its predecessors, especially through the San Ti stance, Xing Yi offers flexible levels of intensity for different practitioners. Historically, Xing Yi practitioners have enjoyed notably longer lifespans, indicating its efficacy in promoting both martial skill and overall health.

8. A Style Suited for Widespread Promotion
Before Li Luoneng’s innovations, Dai Xin Yi and Xin Yi Liu He were transmitted among small circles. Li Luoneng transformed this dynamic by teaching Xing Yi to a broad range of students across multiple regions of China. Xing Yi’s well-structured training system—based on natural body mechanics—enables practitioners to achieve effective results more quickly than many other styles. This efficiency, combined with Li Luoneng’s open-minded teaching approach, led to the widespread adoption and enduring popularity of Xing Yi.

Zhang Zhaodong

Zhang Zhaodong (1865–1938), also known as Zhang Zhankui, was a highly influential martial artist of the late Qing Dynasty and early Republic of China. Known for his mastery of Xingyiquan (Form and Intention Boxing) and Baguazhang (Eight Trigrams Palm), Zhang's contributions to the martial arts world were significant. His unique approach culminated in the creation of Xingyi-Bagua Palm, a hybrid style that combined the best elements of both disciplines.

Early Life and Martial Arts Journey

Born in Hejian County, Hebei Province, Zhang Zhaodong was introduced to martial arts at a young age. He began with Shaolin-based styles in his hometown but later moved to Tianjin, which was then part of Hebei Province, to seek work as a teenager. Tianjin was a bustling hub for martial arts, and it was here that Zhang’s martial journey truly began.

In Tianjin, Zhang met Li Cunyi, one of the era’s most prominent martial artists and a master of both Xingyi and Bagua. Li recognized Zhang’s potential and took him under his wing, not just as a student but as a sworn younger brother. Under Li Cunyi’s guidance, Zhang began his formal training in Xingyi and Bagua, laying the foundation for his future achievements.

To further Zhang’s training, Li Cunyi introduced him to Liu Qilan, a second-generation master of Xingyiquan and a direct disciple of Xingyi founder Li Luoneng. This connection gave Zhang a strong lineage and access to the core principles of Xingyi.

For his Bagua training, Li Cunyi took Zhang to Beijing to meet Dong Haichuan, the founder of Baguazhang. However, by this time, Dong was very old and unable to teach directly. Instead, Dong entrusted Zhang’s training to Cheng Tinghua, one of his most accomplished disciples and the founder of Cheng-style Baguazhang. As a result, Zhang’s Bagua practice was shaped by Cheng Tinghua, Dong Haichuan, and Li Cunyi, giving him a rich and diverse foundation in the art.

Martial Arts Mastery

After years of rigorous training, Zhang Zhaodong became a highly skilled and respected martial artist. His Xingyi was particularly noted for its power, speed, and practicality, earning him the nickname “Thunder-Hand Zhang.” Alongside Li Cunyi, Zhang was regarded as one of the “Two Pillars of Hebei Xingyi,” a title that reflected their immense contributions to the development and preservation of the style.

Zhang also gained practical experience by working as a Bukuai (a government enforcer tasked with apprehending criminals), a dangerous profession in which his martial skills were put to the test. Later, he served as the chief bodyguard for the Acting President of the early Republic of China, further solidifying his reputation as an exceptional martial artist.

Zhang Zhaodong’s Xingyi and the Creation of Xingyi-Bagua Palm

Though Zhang primarily taught Xingyi, which some referred to as "Zhang-style Xingyi," he remained faithful to the principles of Hebei Xingyi. Over time, Zhang’s deep understanding of both Xingyi and Bagua led him to develop a new hybrid system, Xingyi-Bagua Palm.

This style was a natural evolution of his training under Li Cunyi and Cheng Tinghua. Zhang believed that Xingyi’s linear, forceful techniques could be enhanced by Bagua’s circular, evasive footwork and dynamic flow. By combining the two, he created a system that was both versatile and highly effective, suitable for both combat and personal development.

Xingyi-Bagua Palm retained the essence of Bagua’s palm techniques while incorporating the directness and power of Xingyi. This fusion allowed practitioners to switch seamlessly between linear and circular movements, providing adaptability and unpredictability in both offense and defense.

Contributions to the Martial Arts Community

Zhang Zhaodong’s influence extended beyond his teaching and innovations. He was an active participant in the martial arts community, serving as a judge in numerous national martial arts competitions, including the prestigious National Martial Arts Competitions of 1929 and 1930.

He dedicated his later years to teaching martial arts in Tianjin, training numerous students, including Yang Qinglin, who was Zhang’s disciple and the author’s grandfather. Zhang’s dedication to his students was matched by his charisma and kindness, traits that endeared him to all who trained under him.

Zhang’s personal connection to his students is reflected in the keepsakes he shared with them. For example, the long coat he gifted to Yang Qinglin remains a cherished family heirloom, symbolizing not only Zhang’s generosity but also the close bond he had with his students.

Key Takeaways from Zhang Zhaodong’s Legacy

Zhang Zhaodong’s life and teachings provide valuable lessons for martial artists:

1.      Integration of Styles
Zhang demonstrated the value of integrating different martial arts disciplines. By combining the strengths of Xingyi and Bagua, he created a hybrid style that was both practical and innovative.

2.      Dedication to Mastery
Zhang’s journey from a Shaolin practitioner to a master of Xingyi and Bagua exemplifies the importance of dedication and perseverance in achieving martial arts mastery.

3.      Balance of Tradition and Innovation
While deeply rooted in the traditions of Hebei Xingyi and Cheng-style Bagua, Zhang was unafraid to innovate, creating a style that reflected his unique understanding of martial arts.

4.      Character and Teaching
Beyond his skills, Zhang’s character and kindness left a lasting impact on his students, ensuring that his legacy would endure through the generations.

Li CunYi

Li Cunyi is highly regarded not only for his martial skills but, more importantly, for his role as an educator and disseminator of Hebei-style Xing Yi. He directly or indirectly taught thousands of martial artists in Tianjin and became the most important figure among Xing Yi practitioners. When discussing Xing Yi, Li Cunyi should always be mentioned.

Born in 1847 in Shenze, Hebei Province, Li Cunyi practiced Xing Yi under Liu Qilan and Gu Yuanshen, both of whom were disciples of Li Luoneng. Later, he was introduced to Dong Haichuan and studied Bagua in Beijing. He then worked as a military officer, training soldiers in martial arts in Tianjin, which was close to modern-day Shanghai. Eventually, Li Cunyi left his military career and opened a caravan bodyguard business, where bodyguards on horseback protected valuable merchandise in transit, much like scenes from Kung Fu movies.

He later transferred the ownership of his bodyguard business to his students in order to establish the Zhonghua Wushu Hui (Chinese Martial Arts Association) in Tianjin around 1912, which became the largest martial arts training organization in northern China. Li Cunyi served as the director, with Zhang Zhaodong as the vice director. Former Republic of China president, Feng Guozhang, was the honorary president of the school. Li Cunyi taught more than 1,000 students in Tianjin.

Li Cunyi passed away in 1921. He never had biological children but had several adopted sons, so anyone claiming to be a direct descendant of Li Cunyi would be an adopted descendant.

Li Cunyi’s favorite weapon was the saber. His saber was custom-made, with a length between that of a typical saber and a double-handed saber. The handle was long enough to be held with both hands but short enough to be used with one hand. In his 50s, when China was invaded by Russia, Li Cunyi and his students fought back to protect their people. They attacked the Russian army near the Tianjin railway station, killing hundreds of Russian soldiers. The people of Tianjin gave him the nickname "Dan Dao Li" (Single Saber Li).

According to Confucian teachings in ancient China, five characters were inscribed on wooden frames or plates during important ceremonies: Tian, Di, Jun, Qin, Shi (Sky, Earth, Emperor, Parents, Teacher). For thousands of years, China was an agricultural society, and various methods were used to maintain social stability. Worshipping these five entities was an important practice for consolidating society. Li Cunyi described the saber according to these five principles:

  • The blade represented the Sky.

  • The saber back represented the Earth.

  • The saber guard, which protected the hand, represented the Emperor.

  • The handle represented Parents.

  • The scoreboard (the part of the saber that is gripped) represented Teachers since it is the part that handles the weapon.

 Li Cunyi’s Xing Yi retains the traditional "old flavor," characterized by a taut, tensified body structure and a forward-leaning posture. In Xing Yi, a "straight back" does not necessarily mean vertical; rather, it refers to the spine being aligned and straight, as is typical in all Chinese martial arts. The fully vertical back structure commonly seen today was popularized about 30 years ago by modern Wushu practitioners

An important book that reflects Li Cunyi’s Xing Yi is Yue Shi Yi Quan Wu Xing Shi Er Xing Jing Yi (The Essentials of Xing Yi: Five Elements and Twelve Animals), written by Dong Chiu Song.

As the owner of a bodyguard company, Li Cunyi traveled extensively across China, interacting with numerous martial artists. Drawing from these experiences, he developed a unique Xing Yi practice that included two sets of Ba Zhe Gong (Eight Words) and Er Shi Shi Shou (24 Hands). These practices are considered rare in the history of Xing Yi.

Li Cunyi also studied Bagua in Beijing under Dong Hai Chuan. Later, he created his own Bagua style, named Si Men Long Xing Zhang (Four Gates Dragon Style Palm).

Li Cunyi famously declared that Xing Yi is the "national art," whereas other styles are merely martial arts. Even in his senior years, he stood by this bold claim, often having to defend it, which demonstrated his unwavering determination to uphold the reputation of the style.

Xue Dian

Xue Dian and His Legacy in Xingyi

Xue Dian is a lesser-known yet influential figure in the history of Xingyi, whose contributions remain significant despite political and historical challenges. Originally from Xinji in Hebei Province, Xue Dian relocated to Tianjin, where he began his journey in martial arts. He studied Xingyi under Li Cunyi, one of the most renowned Xingyi masters of the late 19th century.

Historical Background and His Rise in Martial Arts

To understand Xue Dian’s significance, it’s important to look at the development of martial arts organizations in Tianjin during his time. In 1909, Li Cunyi and his colleagues established the Association of Military-Men in Tianjin to promote martial arts. Many members of this group were military officials of the late Qing Dynasty. Later, in 1911, Li Cunyi and other prominent figures formed the Chinese Martial Arts Association, focusing primarily on teaching Xingyi.

Xue Dian was closely connected to these organizations and is believed to have studied Xingyi within their ranks. Many senior members of the Tianjin martial arts community have referred to Xue Dian as one of Li Cunyi’s most talented students. After Li Cunyi’s death, Xue Dian continued his teacher’s legacy by taking on leadership roles in martial arts associations, including becoming the director of the Chinese Martial Art Association of Tianjin.

In his pursuit of mastery, Xue Dian also trained with Li Zhenbang, the grandson of Li Luoneng, the founder of Xingyi. This exposure to different influences allowed Xue Dian to refine the Hebei style of Xingyi further, incorporating elements of the original Li Luoneng style. His innovations resulted in a unique variation of Xingyi that balanced tradition with creativity.

Establishing Xiang Xing Shu

In addition to his contributions to traditional Xingyi, Xue Dian created a sub-style known as Xiang Xing Shu, or "Imitative Form Art." Drawing from his extensive knowledge of Xingyi and other martial arts, Xue Dian integrated various techniques to develop this new system. Although he credited a monk from a mountain as his teacher, research suggests that Xue Dian himself synthesized these practices.

Xiang Xing Shu includes five methods, eight animal forms, and numerous single exercises. Unlike conventional Xingyi, it emphasizes open-palm techniques, dynamic stepping, and unique body mechanics, such as cross-stepping and over-extended movements. These features enhance flexibility, speed, and martial application, making it a valuable addition to the Xingyi tradition.

Challenges and the Impact of Political Turmoil

Despite his remarkable achievements, Xue Dian’s legacy was overshadowed by political events. Around the mid-1930s, Xue Dian became involved with Yiguandao, a religious sect that gained prominence in Tianjin and Shanxi during that time. When the Chinese Communist Party rose to power in 1949, Yiguandao was declared illegal, and its members faced severe persecution.

While many Yiguandao leaders fled to Taiwan, Xue Dian remained in Tianjin. In 1952, he disappeared under unclear circumstances. While some sources suggest he was taken by the Shanxi police, others indicate that he was never officially listed among Yiguandao members. His disappearance marked the loss of a martial arts legend.

The political climate of the time caused people to distance themselves from Xue Dian and his family. Martial arts teachers avoided mentioning his name, even when teaching his methods. This lack of recognition contributed to the obscurity of his contributions to Xingyi.

Unique Features of Xue Dian’s Xingyi

Xue Dian’s approach to Xingyi introduced several distinctive features, which addressed some common issues in conventional Xingyi practice:

  1. Combat Structure (Shi Zhan Jia)
    Xue Dian emphasized a forward-leaning upper body posture while maintaining upward energy flow. This structure, although traditional in early Xingyi, was refined and stressed more in his practice. It provided a strong foundation for combat while improving energy dynamics.

  2. Diagonal Body Coordination
    In Xue Dian’s Xingyi, movements were designed to maximize the coordination between the front palm and the opposite hip, creating a powerful force-release (Fajin). This concept, known as “Dragon Folds the Body,” allows for greater rotational power in strikes.

  3. Single-Movement Training for Fajin
    Xue Dian prioritized single-movement exercises to develop force-release and body conditioning. While this practice is often neglected in modern Xingyi, it remains a crucial aspect of traditional training.

  4. Integration of Xiang Xing Shu
    Xue Dian’s Xiang Xing Shu addressed common limitations in conventional Xingyi, such as lack of flexibility. Its dynamic movements and focus on chest opening, hip rotation, and stepping techniques provide practitioners with improved agility and martial application.

  5. Focus on Body Flexibility
    One of the common issues in Xingyi practice is the tendency for practitioners to develop stiffness in the upper body. Xue Dian’s methods tackled this issue early in training, incorporating movements that promote fluidity and natural body dynamics.

Takeaways from Xue Dian’s Life

Xue Dian’s story offers valuable lessons for martial artists and practitioners:

  1. Continuous Improvement
    Despite being one of the best students of Li Cunyi, Xue Dian never stopped refining his practice. His dedication to innovation led to the creation of Xiang Xing Shu and his unique variation of Xingyi.

  2. Broad Learning
    Xue Dian’s success was partly due to his willingness to explore beyond martial arts. He studied Daoism, meditation, and other practices, which enriched his understanding and mastery of Xingyi.

  3. Perseverance Amid Challenges
    Despite political persecution and the loss of recognition during his time, Xue Dian’s contributions to Xingyi have endured. His legacy reminds us of the importance of preserving and promoting traditional knowledge.

Yang QingLing

Yang Qinglin was born in the summer of 1894 and passed away in the summer of 1992, shortly after his 98th birthday. His father hailed from Zhaoqiang County in Hebei Province but later moved to Shandong for business before eventually settling in Tianjin. Yang Qinlin’s father owned a qian zhuang (Chinese native bank), which played a significant role in China's early economic development.

Yang Qinlin had an older brother and an older sister. After his brother passed away, leaving behind a son, Yang Qinlin adopted his nephew as his own son. Due to his brother’s poor life choices, their father decided to send Yang Qinlin to train under Zhang Zhaodong, one of the most renowned martial arts teachers of the time and the founder of Xingyi-Bagua Palm.

Li Cunyi, an elder kung fu brother of Zhang Zhaodong, owned a biao ju (merchandise bodyguard company) that provided protection for traders and their merchandise. Yang Qinlin worked for Li Cunyi’s company which was operated by his students, to make a living while practicing martial arts alongside other bodyguards, who were martial artists themselves. However, Yang Qinlin’s career as a bodyguard was relatively short-lived due to the invention of firearms. He often recounted to his grandson, Master Yang Hai, how bandits would attack them with machine guns while they could only respond with spears and swords.

To adapt to the changing times and ensure the survival of the business, the bodyguard company began transporting goods by train and equipping themselves with firearms. Eventually, Li Cunyi’s students decided to shut down the company. Following this, Yang Qinlin started working for the British-American Tobacco Company until his retirement.

In 1949, when the Communist Party came to power in China, the British-American Tobacco Company was expelled from the country. Its properties in Tianjin were seized and converted into a nationalized import and export company. Yang Qinlin retired from this company with a good pension and healthcare package.

Yang Xinlin studied Xing Yi and Xingyi-Bagua Palm under Zhang Zhaodong for nearly two decades. During this time, he also received extensive training from Li Cunyi. Zhang Zhaodong had two distinct approaches to his practice and teaching. In his earlier years, he emphasized hard force training. However, after reaching the age of 50, his teaching shifted to focus on soft force training methods, making his style more internal and refined than before.

Yang Xinlin also practiced Li Cunyi’s Bagua, but he preferred Zhang Zhaodong’s Xingyi-Bagua Palm. This style was more circular and represented a true integration of Xing Yi’s power with Bagua’s movement, making it both unique and highly practical in application.

Yang Qinlin’s work as a caravan bodyguard allowed him to travel extensively across China. This exposure enabled him to learn diverse practices from various individuals, not only in martial arts but also in qigong and meditation. Additionally, he studied traditional Chinese medicine (TCM) under some of his kung fu brothers.

After Zhang Zhaodong passed away, Yang Qinlin began teaching martial arts. However, this was not his primary source of income, as he already held a well-paid job.

Yang Qinlin belonged to an older, more orthodox generation in terms of mentality, attitude, and perception of martial arts practice. For him, martial arts were not merely a way of life but a matter of survival—a distinction between life and death in his everyday reality. He witnessed and experienced significant social changes, including the transition from the Qing Dynasty to the Nationalist and Communist eras, as well as the Cultural Revolution and the subsequent socioeconomic reforms. Yang Qinlin never considered altering or improving the styles he taught. In his view, his teacher’s teachings were the golden standard—rules to be neither bent nor broken. He emphasized rigorous, hard practice to develop genuine martial capability.

Hai Yang

Master Yang: A Journey Through Traditional Chinese Martial and Energy Arts

Hailing from Tianjin, China, Master Yang had the privilege of being born into a family deeply rooted in martial arts traditions. Tianjin, located near Beijing, has long been a center for internal martial arts. For over a century, it has been home to renowned Hebei Xingyi masters such as Liu Qilan, Li Cunyi, Zhang Zhaodong, and Xue Dian. Cheng-style Baguazhang also flourished in Tianjin after Cheng Tinghua's sons relocated there from Beijing. Historically, Tianjin’s population largely descended from soldiers of the Ming Dynasty (1368–1644), preserving a martial spirit that earned the city a reputation for producing exceptional martial artists. As the proverb goes, "If you pass the test in Tianjin, you will be a good one."

Early Life and Training

Master Yang began his martial arts training at the age of eight, selected as the family lineage bearer to carry on their martial tradition. In traditional Chinese families, this role came with significant responsibility and a strict, systematic training regimen. His first teacher was his grandfather, Yang Qinglin, a Grandmaster of Internal Styles and a student of Zhang Zhaodong, the founder of the Xingyi-Bagua Palm system. Although his grandfather was generally kind, he was highly disciplined during lessons. Master Yang cherished his training, especially the times his grandfather recounted martial arts stories from his days as a caravan bodyguard in Li Cunyi's Wantong company branch.

Another early influence in Master Yang’s life was his uncle, a student of Chen Zhaokui, son of the legendary Chen Fake, who introduced Chen-style Taichi to Beijing. Under his uncle’s guidance, Master Yang built a solid foundation in Taichi, which he credits with deepening his understanding of other martial arts disciplines. He often emphasizes Taichi’s dual benefits for health and martial application, describing it as an art of profound depth.

Expanding His Horizons

Unlike many practitioners of his time, who typically trained in a single style, Master Yang’s family encouraged him to learn from a variety of masters. Leveraging family connections, his grandfather introduced him to renowned teachers in different disciplines, greatly broadening his perspective on internal arts.

These experiences provided him with a comprehensive understanding of internal martial arts, enriched by the unique perspectives and methods of each master.

The Role of Daoist Meditation and Qigong

Master Yang recognized early in his journey that martial arts alone would not suffice to achieve a high level of practice. To complement his training, he delved into Daoist meditation and Qigong, which have been integral to Daoist traditions for thousands of years. Meditation, in particular, forms the foundation of internal practice, offering insights into the workings of the body and energy flow. Many traditional Chinese arts, including Daoist philosophy, were developed in meditative states, where practitioners gained a deeper understanding of life energy.

Master Yang trained under some of the most revered masters in these disciplines:

  • Yang Meijun: Grandmaster of Wild-Goose Qigong.

  • Li Zhihe: Grandmaster of Potential-Ability Development Qigong.

  • Pang Heming: Founder of Zhineng Qigong.

  • Cao Zhenyang: A top Daoist priest from the White Cloud Temple, where Master Yang learned Daoist meditation.

Master Yang also collected ancient Daoist documents to conduct in-depth research, likening the study of these texts to uncovering a treasure trove of wisdom. He believes that the spiritual approaches within these traditions offer practical benefits, guiding practitioners toward higher levels of self-development.

Bridging Martial Arts and Medicine

In addition to his martial and energy arts training, Master Yang earned a degree in Traditional Chinese Medicine (TCM) from the University of Traditional Chinese Medicine in Tianjin, specializing in herbology and acupuncture. His medical background gave him a deeper understanding of the human body, not just at the physical level but also at the energetic level. A certified Qigong instructor since 1992, he began teaching martial arts and Qigong in 1988 at the Technical Institute of Tianjin and other local communities.

Master Yang moved to Montreal in 2001, where he established the Center for Wudang Internal Practice. Through this center, he has continued to share his knowledge of martial arts, Qigong, and Daoist practices with students worldwide.

Philosophy of Practice

Master Yang believes in the importance of adhering to traditional principles while adapting them for modern times. His approach emphasizes the integration of theory and practice, combining internal and external training for holistic development. He also advocates for applying Daoist philosophy in daily life, allowing practitioners to cultivate both their physical and spiritual well-being.

For Master Yang, martial arts are more than a physical discipline—they are a way of life. He is committed to sharing his experiences and insights with those who are passionate about Chinese arts, ensuring that these ancient traditions continue to thrive in the modern world.