驚扎勁 Gink Jak Ging

驚 扎 勁

驚扎勁是一個位於兩個「浮」之間的非常高速而完美的六勁合一

驚扎勁並非從一套特別的套路鍛鍊而成一種特別的技巧，它只不過是鍛鍊六勁合一的最高目的或最後階段，從學習直步鏢指(直步)的第一課便循這個目標進發。

在學習直步期間，學員便開始須要熟習利用身體的六個部分(頸、肩、手、腰、腹及腳)同時發勁。但最初便好像切積木似的，只能用這六個之中的二至三個部分同時於一短時段內發力，這樣的招式便很難被視為發勁。

在一般的情况下，學員不可能在學習九步推之前已能發出正確的六勁合一，因為這是需要一段頗長的鍛鍊才成。現今的人，極少有能耐接受長時間單一直步的訓練。若從另一角度去考慮，學習九步推是可以給學員對於六勁合一在實用上的一個啟示，因為九步推基本上是一些實戰的招式。剛勁是九步推的基本目標，但它並未能達到一個完美六勁合一的要求，因它通常缺少了陷胸、拔背、擰腰、壓馬、頂勁、藏肘、等其中一些或全部。而最重要的是缺少了正確使用浮或完全把它忘記了。

在鍛鍊九步推一段長時間之後，一般的學員都會有點不耐煩，但他們仍然未能洞悉一個完美的六勁合一。事實上，雖然他們仍未能達至一個完美的六勁合一，但已可能在部分九步推的招式上發出頗為大的勁力。一般的學員，如果他們不能或沒有機會去領會一個真正的完美的六勁合一，便會認為剛勁是白眉武藝的一種勁，而不知剛勁只不過是向上達至驚扎勁的第一步而已。在這種情況下，學習十八摩橋(摩橋)便可令他們認識到一個高水平的六勁合一是多麼重要，因為摩橋主要是發韌勁或回勁的，而發韌勁或回勁是需要在前後兩個浮的狀況下才可成功的。因此，韌勁或回勁亦只不過又是向上達至驚扎勁的另一步而已。

在學習摩橋期間，學員會感覺到腹勁的重要性，便以為有了腹勁便是到達驚扎勁的境介了，這只不過是一種錯覺。其實在部分摩橋的招式是需要加強腹的勁力，以達至把對手抽向自己的下方，例如「拍掌鏢指」、「挽手鞭橋」、「挽手攝橋」等。若然細心分析，學員便可發覺早在鏢指的「虎爪角掌」及九步推的「雙抽勁」已需要腹勁與擰腰同發才可把對手抽向左下方，不過當時學員一般仍未能把這二個動作齊發，而腹勁往往是被忽畧的。其實白眉任何招式都必須由六勁合一(節勁除外)所發，但因應效果的需要而把其中某些勁量加大，簡單來說就是每一招式都由六個不同的勁量所組成的。

最後要說的便是猛虎出林，它的要求是發所謂重勁。重勁就是在吞的招式上把身體各個關節熔合成為一體而附於對手身上，就好像你跳入對手的懷內讓他把你抱著，你發勁的動力加上你身體的重量在剎那間完全附於對手身上。這樣是須要一個完美的六勁合一的，它就是驚扎勁。在吐的招式上如果你能把身體各個關節熔合成為一體，你的身體便會在發勁向前攻擊時稍為向前滑動。重勁可以說是達至驚扎勁的最後一步，至此你便完成學習白眉武藝了，你使用的所有任何招式都可以說是白眉的了。

請記著，所有招式都是由六個不同分量的勁所組成。例如: 「摩橋」的雙拍掌便須要較大的腹勁把雙掌在極少的距離猛然下拍對方的來手; 「九步推」的雙抽手的前段便須要較大的腹勁把對手抽向你自己的前下方而失去重心，跟著便是利用擰腰把對手抽向你的左下方; 「直步」的轉身縮馬鞭橋便須要較大勁發動擰腰以增強橋手的動力; 等等。任何單一或六個以下的組合勁都不能代表你已達至驚扎勁的境介。


在你達至驚扎勁的水平前不應滿足
30-6-2009

黃耀佳








Gink Jak Ging

Gink Jak Ging is a very high speed perfect Luk Ging Hup Yat sandwiched between 2 FAU

Gink Jak Ging, GJG, is not a special technique that acquires through training of a special set of movements. It is the end result or final destination of practicing Luk Ging Hup Yat, LGHY, starting from the first lesson of learning Jik Bo Bil Gee, JBBG.

During the JBBG period, student is required to get used to the requirement of exerting power from the six parts of the body, i.e. neck, shoulders, arms, waist, stomach & legs, at the same time. But, this is like starting to play jig saw puzzle. Usually only 2 or 3 parts can be put together at the same time but seldom can they be treated as Ging.

It is impossible to require any one to perform LGHY correctly before starting to learn the Gau Bo Tui, GBT, because that would take a very long time to achieve. Very few people nowadays have the patience to learn JBBG for a long period. Besides, learning GBT will give the students some idea of how LGHY is applied to the movements because GBT is practically a fighting technique. During this period, Gong Ging is the target to achieve but it hardly can be treated as a perfect LGHY because Hum Hung, But Boi, Ling Yiu, Art Ma, Ding Ging, Chong Jow (may not be all) are usually missed during the exerting of LGHY. And, most important is that FAU has not been correctly applied or even forgotten.

After a long period of practicing the GBT the students will on the one hand become impatience and on the other hand is still unable to visualize the true perfect LGHY because most of the movements in GBT can be very powerful though LGHY is still not fully applied. People who are unable or not having the chance to appreciate a true perfect GJG will consider Gong Ging is one of the gings in Bai Mei not knowing that it is just the first step forward towards GJG. So, the learning of Sup Ba More Kiu, SBMK, that concentrates on the use of UN Ging , UG, or Wu Ging, WG, will provide the learners a more advanced vision of a perfect LGHY because UG or WG demands a better quality of LGHY and the application of FAU right ahead and after a movement. So, again UG or WG is just another step forward towards GJG.

During the learning of SBMK students will feel that Fook Ging is quite important. Accordingly, they will think that having Fook Ging is equal to having GJG. This is totally wrong. Because, some of the movements in SBMK require a high degree of Fook Ging in order to draw the opponent downwards towards your side, e.g. Pak Jeung Bil Gee, Wan Sau Bin Kil, Wan Sau Sip Kil, etc. If analyze carefully, students will discover that Fook Ging is also required, in Fu Jow Kok Jeung of JBBG and Sheung Chow Ging in GBT to bring the opponent downward towards your lower left side with the Ling Yiu. Nevertheless, students usually are unable to exert both powers at the same time and Fook Ging is always not there. The fact is, all Pak Mei movements, except Jit Ging, are generated by LGHY. But, higher degree of some of the Gings are required to suit the expected result. Simply saying, each and every movement is composed of different degrees of power of each and every of the six gings.

Finally, the learning of Mount Fu Chui Lum, MFCL, is aiming at the use of a so called Chung Ging or Heavy Ging. To apply, you need to fuse all parts of your body in one piece in doing Tun movements, i.e. to add your body weight onto the opponent like jumping onto a person and let him hold you in his body. It requires a perfect LGHY, i.e. Gink Jak Ging. In Tow movements your body should automatically slide a little bit forward if you are able to fuse all parts of the body during the blow. Chung Ging is the final step up to Gink Jak Ging. At there, you will complete the learning the arts of Bai Mei and from there any movement from your body is Bai Mei.

Please bear in mind that all the movements are composed of 6 different quantities of gings, e.g. Sheung Park Jeung (double banging hands) in SBMK requires a very high degree of Fook Ging to bang the opponent’s coming hands downward ; Sheung Chow Sau in GBT requires a higher degree of Fook Ging in the first part of the movement to draw the opponent downward towards your front in order to make him off balance followed by Ling Yiu to bring him towards the lower left side of yourself; Juen Sun Suk Ma Bin Kil in JBBG requires more ging in Ling Yiu to increase the momentum of the arm; etc. Don’t consider any one ging represent the acquiring of Gink Jak Ging.


DO NOT SATISFY BEFORE YOU HAVE GOT THE GINK JAK GING

30-6-2009

WONG Yiu Kai

白眉武藝Bai Mei Martial Arts (理論篇Theory)

前 言

本人黃耀佳，學習白眉武藝已歷三十年以上。最初，我是偶然與一柔道師兄交換各人所學的幾個套路而初次認識白眉的武藝，當時因認識尚淺而未能洞察其中奧妙，心想白眉只不過是中國武藝其中之一種。

後來，在這三十多年間，經三位白眉派第五傳的師父悉心指導之下，才漸漸明瞭白眉武藝的基本拳理及應用。其中一位常常掛在口邊的「輕鬆」二字對我明白「浮」的意義尤為重要。他們亦不時指導我在實際的戰鬥中如向應用白眉武藝的招式。在我學習白眉武藝初期，曾參加派內總會所主辦的自由博擊比賽，僥倖的獲得重量級冠軍。

多年來經師父們的教導，及平日細心觀察他們教導其他同窗時所示範的招式，再加上我從教導學生的十多年經驗的體會，我逐漸意識到，白眉本門的招式都必須遵照一套有科學根據的基本拳理，正確運用這些基本拳理在每一招式上，才可把每一招式的力量或「勁」發揮至極點。我把這些基本拳理加進我教導學生的日常課程中，令他們可於平日私下的練習中不斷自我改善，他們在觀賞別人演練任何武藝的套路時，亦可以這些基本拳理去判斷它能發揮「制敵效果」的優劣。

武藝在最原始的階段是因為戰爭或搏鬥而發展出來，並非為娛樂他人而設，沒有制敵意念的套路或招式，只可稱之為舞藝。白眉武藝便是一種純搏擊的技藝，絕大部分的招式都以擊倒或剝奪對手作戰能力為目的。

能否在戰鬥中取勝，有制敵效果的招式是其中一個先決條件，制敵效果的優劣就首先視乎使技者擁有的武藝在拳理上的優劣，繼而就是使技者在緞練上所付出的努力，包括他在練習時有沒有遵照拳理不斷的加以改善。不過，我們不應迷信自己所持的拳理是至高無上的，它必須能經得起在制敵效果上高低的考驗，高制敵效果的招式 (即於最短距離、最快速度、發出最大勁量至使對手立刻喪失戰鬥能力的招式)，自然是拳理上優越的招式。最後，便是使技者在臨場搏擊上的經驗及個人在武藝上的悟性。

根據我在過去四十五年間所學習的各種中國武藝和「武術運動」(如柔道、唐手道、劍道、西洋劍等)的經驗，及觀察各家派的武藝示範，個人應為白眉武藝是我所認識的有最高制敵效果的其中之一。

但是，若然我們未能完全掌握它的最基本拳理「六勁合一」，便缺乏自我改善及分辨優劣的能力。有見及此，我在多年前已有寫作「白眉武藝叢書」的念頭，希望籍此提供一套有科學根據而又易於明白的拳理給白眉武藝的愛好者，去判斷本身在各套路及招式上的高低並加以改善，繼而利用它去分辨他人所演練套路的優劣，更可以利用本身在拳理上的造詣，把別人好的招式加以改良而收歸自己所用。學員更應以開放的態度把自已所認知的拳理以「制敵效果」的高低去評介它們的優劣，而加以改良。

其實，我這大膽的嘗試是希望利用這叢書作為一個平台，給世界上所有白眉及其他武藝愛好者在這個基礎上互相切磋琢磨，更希望從事白眉武藝的有識之士以開放的態度提出改良白眉武藝的拳理，把這一個屬於武藝世界的珍寶以更佳的狀態展現。我更希望世界上所有的武藝愛好者能放棄門弟之見，純粹從武學的觀點與同好交流，把武藝本著「制敵效果」的基本要求，推向體育化及普及化。

因為「直步鏢指」是白眉武藝中最基本的套路，所以就首先出版這本「白眉武藝叢書之一：直步鏢指」，下一本出版的將會是「九步推」。

Preface

I am WONG Yiu Kai. I have been a practitioner of the Bai Mei Martial Arts for more than 30 years. I accidentally learnt the arts from one of my Judo classmates by exchange of a few sets of martial arts we had learnt. At that time, I considered Bai Mei was just one of the styles of the Chinese martial arts.

Thereafter, for thirty years, my real understanding of the arts gradually built up through learning from three of the 5^th Generation Sifus. The emphasis of “relax” of one of them has a far reaching influence of my understanding the theory of “Fau” in the arts. During the early stage of my learning, I participated in the free fighting tournament organized by the then Bai Mei Martial Arts Association. Luckily, I acquired the title of the heavy-weight champion.

Adding up all these years of my learning, my careful observation of my Sifus’ performance of the movements while they were teaching my classmates plus my more than 10 years of teaching experience, I gradually understand that the original Bai Mei movements are all based on a firm set of scientific principles. The correct application of these principles will inevitably result in generation of the highest level of power or Ging. These theories have been taught to my students as part of the curriculum of my teaching. Accordingly, they have been making use of these theories as a basis to rectify their own mistakes and improve their techniques during their private daily practice.

Equally, they can make use of these theories as a benchmark so that they can assess the performance of others in terms of the ability to overpower an opponent. Science provides any logical disciplines with a measure against which qualitative results are tested. Bai Mei is no different, with the principles being used as a sort of standard rule, by which we can measure the ‘Overpowering Effect’ of any technique, individual or style.

Historically, the martial arts evolved during times of war and periods of conflict and were never performed for the sake of sport or entertainment. Without this ability to ‘overpower’, a performance can only be regarded as a visual art, or even dancing.

To win in combat, assuming similar abilities between opponents, the power to overwhelm is essential. Simply put, it is the difference between winning and losing and the consequential effect of each movement should be judged by its ability to overpower.

Martial techniques are usually determined by the basic theories rooted in the style or clan. Movements that result in a high degree of success are usually soundly based on good, tried and tested martial arts theories. Of course, the application and training regime of each individual can have an enormous effect on the results, irrespective of the techniques being taught. It is also important not to blindly assume that one is in possession of the best theories and movements, each of these should be examined thoroughly, under the yardstick of the ‘overpowering effect’.

What we are seeking is the ability to quickly overcome an opponent, by generating maximum power within a minimum distance and time. In this respect, real combat experiences, and the confidence possessed by an individual, are also a vital factor.

I can draw upon over forty-five years of martial arts experience in various styles and disciplines such as Judo, Okinawa Karate, Chinese Martial Arts, Kendo, foil, etc. It is my sincere belief that Bai Mei is one of the styles most effective in terms of quickly overcoming an opponent.

However, if we have little or no knowledge concerning the basic theories of Bai Mei, namely Luk Ging Hup Yat, will neither possess the capacity for self-rectification nor be able to correctly differentiate between good and bad martial arts. It is with the intention to improve upon this state of affairs that I publish this series of books on the Bai Mei Martial Arts.

Hopefully, the Bai Mei lovers everywhere with this set of concise and easy to understand theories as a guide to correct any mistakes within their present learning. One can even learn the good movements of other styles and improve them with the Bai Mei theories for one’s own use. Learners should also make use of the concept of Overpowering Effect to evaluate what they have learnt in an open-minded manner.

I dream to making use of these books as a platform to attract Bai Mei and other martial arts lovers to contribute their knowledge to further improve this worldly treasure of martial arts.

Moreover, I sincerely hope that this series of books I am going to publish will attract learned open-minded Bai Mei Martial Artists to share their valuable knowledge of the arts with all Bai Mei lovers in the world in order that this asset of the martial arts world will flourish in their best condition. I also sincerely hope that all the martial lovers in this world are willing to discard any prejudice between schools or clans, to share their leanings and understandings of the arts with their fellow martial arts lovers and to jointly develop the arts, based on the fundamental theory of overpowering effect, into a sport like activity for any persons to participate.

Since Jik Bo Bil Gee is the basic set in the Bai Mei originals this is published as the first book of the series. Gou Bo Tui will be followed shortly.

白 眉 武 藝 理 論 篇

白 眉 武 藝 套 路 簡 介

張禮泉宗師共拜四位師傅學武，最後拜竺法雲禪師學習白眉武藝，但對初學的三位師傅未敢忘恩。為了紀念他們，宗師選了他們所傳的最好之套路納入教材中，保留原有的招式，但身手腰馬及發勁方面則以白眉的基本拳理加以適當的改良。故此，他所教授的套路包括:

(甲) 拳腳套路 (乙) 武器套路

白眉本門的:

(1) 「直步鏢指」 (8) 「大陣棍」

(2) 「九步推」 (9) 「柳葉雙刀」

(3) 「地煞拳」 (10) 「回環雙枴」

(4) 「空手入白刃」 (11) 「對拆棍」

(5) 「黐黏拳法」 (12) 「青龍劍」

(6) 「十八摩橋」 (13) 「飛鳳雙刀」

(7) 「猛虎出林」 (14) 「青龍偃月刀」

(15) 「軟鞭」

(16) 「方天戟」

張禮泉所創的：

(17) 「四門八卦」

(18) 「脫跳拳法」

石師傅所傳的:

(19) 「十字扣打」 (20) 「天仙寶凳」

李義師傅所傳的:

(21) 「三門搥」

林亞合師傅所傳的:

(22) 「鷹爪黏橋」

李家所傳的: (23) 「五行中欄棍」

火地村所傳的: (24) 「火地三叉大扒」

A Brief History of the Forms of the Bai Mei Martial Arts

During his life Grand Master JEUNG Lai Chuen followed four masters, the last being Monk Chuk Fat Wan. In order to pay respect and keep alive the teachings of the first three, he chose the best forms from each system and while preserving the original movements he improved upon them by adding the fundamental principles of the Bai Mei arts, thereby creating a new curriculum for the next generation. Moreover, he also included some of the very good sets of other styles that he had learnt in exchange for the Bai Mei ones.

The syllabus, therefore, for learning the Bai Mei arts is as follows;

(Note: The English translation of the names below may not be able to reflect the exact meaning of the Chinese. It is also worthwhile to know that the words used in the names of the sets, in Chinese, sometimes may not be corresponding to the movements in the sets.)

From the Bai Mei originals there are:

Jik Bo Bil Gee (Straight step darting fingers)

Gou Bo Tui (Nine steps push)

Day Sark (Floor devil)

Hung Sau Yap Bak Yan (Bare hands against dagger)

Chee Nim Kuen (Sticky fist and kick)-practice by 2 persons

Sup Ba Mor Kil (Eighteen swirling hands)

Mount Fu Chui Lum (Fearful tiger comes out from the wood)

From his former masters there are;

Sup Gee Kau Da (Four sides hook and hit) – passed on by Master Shek

Sam Moon Choy (Three sides fist and kick) – passed on by Master Lee Yee

Ying Jow Nim Kil (Eagle claw grab hand) – passed on by Master Lam Ah-hup

Furthermore Grand Master JEUNG Lai Chuen created the following forms by mixing the various principles from the arts he had learned;

Tit Till Kuen (Loose and jump fist and kick)-practice by 2 persons

Say Mun Ba Gua (Four doors and Eight Diagrams)

For the weapons forms there are the Bai Mei originals;

Dai Jun Gwan (Big fight staff)

Lao Yip Cern Doe (Willow leaf double knifes)

Wui Wan Cern Gwai (Whirling double walking sticks)

Dui Chart Kwan (Hit and counter attack staff)-practice by 2 persons

Ching Lung Kim (Green dragon sword)

Fade Fung Cern Doe (Flying phoenix double swords)

Fong Tin Gig (Fong Tin spear)

Yuen Bin (Soft chain)

Ching Lung Yim Yuet Doe (Ching Lung Yim Yuet sword)

There are also;

Ng Hang Chun Lan Gwan (Five elements middle block staff) – from the Lee clan

For Day Sam Char Dai Pa (For Day trident) – from the For Day Village

Tin Sin Bo Dun (Fairy Stool) – passed on by Master Shek

白 眉 武 藝 的 基 本 拳 理

1. 六勁合一

1.1 要評定學員是否已真正學到了白眉武藝，必須視乎他在每招每式上是否能達至六勁合一的要求，其次是各套路的熟習程度。否則，就算他已學會了所有白眉派的套路，亦未能進入白眉武藝之門。六勁合一並不是神秘的東西，只要得到有資格的師傅指導，及不斷的鍛練，必能達至六勁合一的要求。

1.2 任何人一經體會了六勁合一，便會一生都擁有它。若能不斷的加強練習，必能往上達至驚扎勁的境界，這便是進入了白眉武藝之室了。簡單而言，驚扎勁就是高速的六勁合一。

為甚麼叫它驚扎勁呢?因為當你成功發它於對手的身上時，他必然有受驚似的感覺。在自身而言，施勁者就好像是在突然受驚嚇下的自然生理反應中發勁，一個人不經意地被人從後以針刺背的生理反應就是一個很好的例子。

六勁合一是各組筋肌經刻苦鍛練後而型成近乎自然的生理反應，它們在每個不同招式的要求下，須各自在同一刻內『收縮』或『放鬆』，漸漸便形成多個類似電腦的程式的組合，一經自已攻擊意念出現或對手使用任何招式的刺激，便毫不經意地作出特定招式的出擊，這是白眉武藝入門的最基本要求。

1.3 甚麼是六勁合一？它們是頸勁、膊勁、腰勁、腹勁、手勁和腳勁等在同一刻內齊發之『組合勁』，但是六勁都有各自的功能，但最終目的是使任何招式皆能發揮至最高制敵效果。

1.3.1 頸勁

頸勁的主要作用是保持頭的穩定、氣管的擴張和視力的清晰。若然頸不灌勁，頸肌和頸關節便會容易受傷，呼吸便不暢順，視力便會因頭的搖動而模糊不清。後果便是，當出招而有反撞力回彈或把對手抽擸向自已而有反拉力之時，注意力便不能集中，甚則受傷。

頸的灌勁是使頸所有肌腱抽緊，動作是咬大牙、下巴內收、瞪眼等，意識上有若用前額推一重物，所以又可稱為「頂勁」。

呼吸暢順是任何運動的基本要求，沒有足夠的氧氣去供給身體的新陳代謝，運動員便會感覺乏力，尤其是如白眉武藝般的劇烈運動。但在演練本門的套路或招式時並不須要刻意作任何胸式或腹式呼吸，其間只須以頸勁保持氣管擴張及暢通，及因施展招式時所用的吞勁、吐勁或浮(放鬆)使腹部無意識地被擴張、擠壓或減壓，做成腹腔內的壓力增加或減少，而令空氣基於這些機動原理被吸入肺內或擠壓出肺外。

所以，本門施技時的呼吸是機動式的，並不是腹式，更不是胸式的。就連面部表情如閉嘴、合眼等把面部肌肉拉緊的動作亦會影响呼吸的暢順，在意識上亦不應有呼吸的存在。因此，氣管能保持暢通無阻的讓空氣自由進出肺部，便是頸勁正確運用其中的一個指標。

1.3.2 膊勁---肩關節的勁

膊勁主要是提高出擊及抽擸的勁力，它可基於用途分為出膊與落膊，但切忌聳膊。

1.3.2.1 出膊是將肩關節所有筋肌向前盡伸，當向前出擊之時可令『出擊點』(即接觸對手身體用的肢體部位，如拳、肘、掌、指等)在接觸對手的身體時加長數吋之距，這種情況就有若鋼管中的矛，當鋼管撞擊對手身體之際，因離心力而隨即向前刺出。

1.3.2.2落膊是將肩關節所有筋肌向下盡伸，常與腹勁、吞腰及壓馬同時發勁，猛然使對手受重力的拖拉而向下失去重心，若同時加上擰腰，便可在抽擸的招式中控制對手下跌的方向。

1.3.3 腰勁

腰勁是六勁合一中佔最高百分比的一種勁，它可基於用途分為吞腰、吐腰及擰腰。發動腰勁的基本動作是向下壓縮由胸前乳房下的折痕起至肚臍一段的上身，脊柱必須保持垂直向下，它的作用是穩固及保護這段上身內的器官、關節及肌腱，免於受發招時所產生的拉力及反撞力的傷害。

1.3.3.1吞腰是指上述的基本動作加上利用陷胸、拔背把乳房折痕以上的胸部急速向前屈曲，以增加出擊點的距離和勁量。同時再配合出膊便可使向前的距離與勁量增加，若把出膊換以落膊及腹勁便可使向下的距離與勁量增加。

1.3.3.2吐腰是吞腰的相反動作，但它必須同時固腰。固腰是當胸腹伸展時把這段身體的肌腱向內壓縮，並保持這段脊柱垂直向下，這是為了在伸腰出擊時保護這一段上身內的器官、關節及肌腱。

1.3.3.3擰腰是急速轉動肚臍與臀部之間的腰部，發勁轉動的角度必須保持在每邊不多於20度，並須於事後立刻解除扭力，使臀部以上的軀幹自然回轉至原有向前的姿態，預備發動下一個招式。在向前出擊的招式中(例如直步鏢指的鳳眼穿心搥)， 配合吞腰、出膊、擰腰及壓馬等，便可使向前的距離與勁量增加。在吞的招式中(例如直步鏢指的雙陰手索勁)配合吞腰、落膊、擰腰及壓馬等，便可使手在回縮中的距離與勁量增加，並帶動上身擺向一側，令對手向橫下斜的角度下跌。

1.3.4 腹勁

腹勁是將小腹的筋肌抽緊，配合臀部內收、收陰及提肛，並與腳勁同施以穩定身體重心，使招式的勁量發揮至極點。腹勁配合吞腰、落膊及壓馬進一步加速在回縮中的擸手，使對手好像一個浮在水面的東西突然被一重物拉下水底似的。

1.3.5 手勁---上臂、前臂、手掌的勁

手勁是包括上臂、肘前、肘尖、前臂、掌根、掌緣、指關節、及指尖等出擊點所發的勁，但必須視乎所用招式而相應地灌勁。灌勁就是根據招式的須要把手或腳的出擊點固定於所須形狀，即控制各肌腱的鬆緊度使它形成所須形狀。

在吞的招式中手肘亦須同時灌勁藏肘(即夾緊腋窩及保持手肘藏於胸腹之內)使膊、手及腰等融合，共同發勁，這樣才可令手勁和其他五勁配合以達至六勁合一的要求。

手勁單獨使用時便稱節勁(例如鏢指)，它多用於攻擊對方較為薄弱的位置如頭面各部份。向前攻擊的招式，出擊點必須於擊中目標前的8公分內灌勁，待膊勁增加出擊距離和勁量。

1.3.6 腳勁---大腿、小腿、腳板的勁

腳勁是指由大腿至足指的勁。除以足、腿、膝為出擊點之外，它其中一個主要作用是保持下身的穩定，從而使身體的重心得以保持，在擰腰的動作中尤其重要，它就好像一座建築物的地基。在出招攻擊對手身體時，腳勁與腰勁聯合把出擊點碰撞對手所產生的反撞力回彈至對手的身體，或把抽擸對手時所產生的反拉力抵消。

除了穩定重心之外，壓馬亦是腳勁其中一個主要作用，但壓馬必須於浮及曲膝使身體下墮的狀態下才能發揮其最高作用。壓馬有兩個不同作用以配合不同的招式：

1.3.6.1 在向前攻擊的招式中----方法是在浮的狀態中放軟雙膝使身體下墮，其間以後腳的腳前掌為軸心把腳根扭至腳板直線向前，當身體在後腳一邊跌至稍低於馬式要求高度的一刻時，後腳使勁蹬至膝關節符合馬式要求的曲度而導至腳根撐向地面，借助撐地所產生的反撞力推動上身回轉向上向前，以增加出擊點的速度及勁量，但切勿事前提高腳跟並用力撞向地面。壓馬的方法重點在於蹬膝，足跟撞向地面只不過是蹬膝所產生的勁力所至。

1.3.6.2在吞的招式中----方法是在浮的狀態中放軟雙膝使其下墮，其間以後腳的腳前掌為軸心把腳根扭至腳板直線向前，當身體跌至馬式要求的高度一刻時，後腳使勁蹬至膝關節符合馬式要求的曲度而導至腳根撐向地面，作用是停止身體繼續下墮及隱固身體的重心，此時手亦須藏肘於胸腹前，在雙抽手的招式中，前臂借助因身體突然停頓而產生的離心力繼續擺向身旁，把對方來手抽向兩旁。在單或雙擸手的招式中前臂亦是借助身體突然停頓而產生的離心力及擰腰的擺動力，加速繼續抓擸或抽割使對方偏向己身旁下跌。

為使身體的重心更加穩固，於壓馬的一剎那，所有腳指亦必須同時使勁緊抓地面，前膝亦須使勁夾向後膝，尤如用兩大腿把一羊夾緊於兩腿之間似的，這謂之夾勁。

2. 六勁合一與吞、吐、浮、沉

在白眉本門的套路中，直接攻擊的招式只佔其中一小部分，部分招式是純粹發揮吞勁把對手『吸入來』，意即急速把對手拉向己身(例如九步推的雙陰索勁)。部分招式是純粹發揮吐勁把對手『彈出去』，意即急速把對手推離己身(例如九步推的吐勁雙推掌)。部分招式是吐勁同時配合直接攻擊，意即急速把對手『彈出去』直接攻擊(例如九步推的鞭橋)。部分招式是純粹發揮沉勁把對手『壓下去』(例如猛虎出林的沉勁索手)。部分招式是發揮沉勁並直接攻擊，意即把對手壓向面地並同時施以直接攻擊 (例如九步推的枕橋)。部分招式是吞勁同時配合直接攻擊，意即急速把對手『吸入來』直接攻擊(例如虎爪角掌)。但無論是上述任何一種招式都必須是六勁合一。

人是有活動能力的個體，你的對手會在攻擊、防守及反擊時作前進、後退或左閃、右避的不規則走動，所以在攻擊、防守或反擊時能以六勁合一出招，就較為容易使對手喪失戰鬥力，這就符合「止戈為武」的深層意義。

六勁合一就有若一輛高効能的跑車在起步的一剎那時所產生的爆炸力而非耐力，所以六勁合一是須要在一極短的時段消耗很多體力的。因此，在每一招式內，它是不能維持多於一秒鐘的，否則便牽制了下一個招式的發勁和變化。所以，六勁合一是必須配合浮，以求達到極高的發勁效果及活動能力，浮就是使身體的機能和意向在招式與招式之間得以片刻舒緩，而恢復體力及專注力以應付下一個發招。

2.1 吞勁

很多學武的人都有一個事先形成的觀點，武藝就是學習如何向前攻擊對手。不過，在白眉武藝而言，這只不過是武藝內容的一部分。

吞勁是本門一個重要課程，它是一組招式用於把對手急速『吸入來』而使他失去作戰能力。但在實戰時，每多配合另一向前出擊招式同時使用。

簡而言之，吞勁就是急速收縮的六勁合一，一個完美的吞勁招式應可使你的對手有眼前一黑的感覺，頓然失去防衛的意識，那種情況有若一個人不自覺地被一列急行中的火車勾走似的，又若他是在這一刻被攻擊，他所受的傷害程度必定比清醒時重得多，白眉武藝本門招式很多都是根據這個原則而形成的。例如直步鏢指的迫馬雙抽勁、割手等便是吞勁的招式。例如九步推的回身挽手鞭橋、四門八卦的冚手衝搥等便是吞勁同時配合直接出擊的招式。

2.2 吐勁

吐勁多夾雜吞勁使用，這兩種勁的先後使用就有若一條彈弓被拉長或被壓縮的情況，外力消失之際，被拉的便回彈，這就好像是吞勁的原理，而被壓縮的便彈出，這就好像是吐勁的原理，但吞勁不一定須要與吐勁配合使用。

簡單而言，吐就是向外伸展身體各部分，尤以手腳為主，以達到加長向前發勁的距離。其中的一個用途是把對手高速地推後，使他失去重心向後倒地，這就好像一個人給一輛高速行駛中的汽車撞倒似的，若能配合身體同時急速前進(迫馬)的衝力效果便更佳。吐勁常常緊接以吞勁化解對手的來勢及失去防禦能力的一剎那後出擊(例如九步推的吐勁雙推掌是緊接雙抽勁之後)。

2.3 浮---放鬆/儲勁/灌氣

上文曾解識過六勁合一只能維持不多於一秒，若於一招後不放鬆，往後的招式便會因筋肌處於緊張狀態而未能恢復體力，或意念仍然專注於上一招式而拖慢任何變化，而導至不能發出六勁合一。最後的結果便是你不能迅速回應對手的攻擊，或作出一連串達至六勁合一要求的攻擊。

其實，身體若能處於浮或稱儲勁的狀態，是下一個出招的最佳預備動作。浮不單止要求身體機能上的靜止，思想上亦應處於靜止(即無特定意念)，因為在大多數的情況下對手的下一個招式是難以估計的，除非你是熟知對手的慣用招式和作戰方式。浮與沉的完美配合對高質素的六勁合一是不可缺少的。

但浮並非把身體所有關節完全放軟，或好像是酒醉或熟睡般的狀態，又或者是把身體升高至直立的姿勢。它只不過是以最低限度的力量保持上一招式的姿勢，我們稱之為灌氣，但必須並無下一個招式的意念。因為意念一生，身體的肌腱便會作出反應而灌勁於關節，因而拖慢發動下一個招式的速度，及影響它發動六勁合一，因為在實戰當中，下一個招式並不一定是套路中所規定的下一個。

2.4 沉---吞勁的絕對集中

沉在白眉武藝中的廣義是指吞勁的絕對集中，簡單而言是浮的反義。在一連串的招式或攻擊中，它和浮是配合一起先後運用的，就好像機關槍發射時兩粒子彈間之『空隙』。『子彈』就是沉，而『空隙』就是浮。『子彈』與『空隙』之矩離越短，機關槍的威力就越大。

同樣地，浮的時間越短，出招的效果便越高。如果沉勁又相應地提高，出招的效果便更高。不斷『縮短浮的時間』和『提高沉的勁量』是把六勁合一提升至驚扎勁的唯一途徑。若能達到，你便可終身享用這艱苦得來的成果，任何招式於你都可轉化成絕招了。

沉勁在白眉武藝中的狹義，是指某些招式刻意令對手有若突然受重物下墮之拉力而不支倒地(例如猛虎出林的沉勁索手)，但這必雖視乎對方的來手有否灌勁，勁灌得越多墮地的速度越高，在某些招式中沉勁是指利用本身體重下墮的重力把對方來手『壓下去』直接攻擊(例如九步推的枕橋)。

Theory and Basic Techniques of the Arts

1). Luk Ging Hup Yat (Combination of the Six Powers)

1.1 When someone can perform the forms with Luk Ging Hup Yat, he is then considered to be a real disciple of the arts. Anyone unable perform the sets with Luk Ging Hup Yat has not Yat entered through the door of the Bai Mei clan, no matter how many forms he knows. Luk Ging Hup Yat is not a mysterious entity, a persistent student with constant practise, under the supervision of a qualified instructor, will eventually acquire Luk Ging Hup Yat.

1.2 Once you have acquired Luk Ging Hup Yat it will live with you for the rest of your life and, with sufficient practise, you will gradually be able to perform the arts using Geng Jak Ging (frightening power). Geng Jak Ging is simply Luk Ging Hup Yat at high speed.

Why do we call it Gink Jak Ging? Because your opponent will feel like he has had an electric shock upon contact. To the practitioner, the utilisation of Geng Jak Ging is similar to the natural reaction caused by having a pin prick by surprise or touching something hot by mistake.

Luk Ging Hup Yat is acquired through repeatedly training one’s body to perform or react in a certain way until it becomes a natural instinct, not thought about. The goal is to achieve a degree of relaxation of musculature that can suddenly be transformed into a contraction with terrific force. We practise constantly to program our bodies to react in a certain way in response to certain actions. It can be likened to having a computer program in your body that subconsciously triggers actions or reactions on your opponent as soon as the intention of attack or defence flashes in your mind. This is the basic method of the arts.

1.3 What is Luk Ging Hup Yat then? It is a sudden and swift force that is generated by the combination and coming together of movements made by the neck, shoulders, waist, stomach, arms and legs, all in the flash of a moment. Each one of these six body parts has their own particular function but their primary aims are all contributing to the greater effect of the whole.

1.3.1 Gang Ging – Neck Power

The power in the neck is mainly used to keep the head stable so that vision is not impaired and the throat not constricted. Without using Gang Ging the muscles and joints in the neck would become damaged, the breathing hindered and sight would be blurred as the head shakes from the reaction generated by the impact of the blow or the contraction from pulling the opponent to one’s side.

Consequently, the concentration would be affected which would diminish one’s effectiveness to comprehend the changing situation.

To perform Gang Ging one has to stiffen the muscles of the neck by contracting the muscles around it. One should clench the upper and lower molars together, while keeping the chin in and staring wide-eyed at the opponent. This can be likened to pushing something heavy with one’s forehead, so we can also call this technique Ding Ging (pushing power).

Fluency in breathing is a prime requirement of any sport as without a constant supply of oxygen the metabolism is affected and the practitioner rendered unable to exert sufficient power to accomplish the movements. Fluency in breathing is therefore particularly important to highly intense exercises such as the Bai Mei Martial Arts. However, when performing the movements or forms of the Arts we do not rely on the expansion of the chest for our intake of air. We take advantage of:

1). The expansion of the throat for the smooth passage of air and,

2). The ability of the abdomen (diaphragm) to expand, contract and relax on an involuntary basis caused by the movements of Tun Ging (swallowing power), Tow Ging (emitting power) and Fau (float).

Accordingly the pressure within the abdominal cavity will be decreased or increased in order to either draw in or expel air to or from the lungs, rather like having a pump inside the stomach. So we can say that the Bai Mei form of breathing is mechanical and not dictated by the expansion of the chest.

Tension of the facial muscles cause the mouth and eyes to shut and any mental concentration on breathing is forced. All these have an adverse effect on the fluency of the air flow through the throat and it is for this reason that the smooth passage of air via the throat is the correct application of Gang Ging.

1.3.2 Bok Ging – Shoulder Power

The power in the shoulders is mainly used to enhance the power of impact and or contraction. Depending on the application Bok Ging can be classified into Chui Bok (extending the shoulder forward) or Lok Bok (extending the shoulder downward) but in either case the shoulders are never raised.

1.3.2.1 Chui Bok is to extend the shoulder muscles forward to increase the length and speed of the arms when punching. It increases the length of the arms by a few inches when the point of attack is in contact with your opponent. The effect can be likened to a spear extruding from the inside of a tube when it collides with another object.

1.3.2.2 Lok Bok is to pull the shoulder muscles downwards when grabbing or seizing by using contraction power. It is always exerted in conjunction with Fook Ging (stomach power), Tun Yiu (collapsing waist) and At Ma (pressing step). Accordingly, the opponent will feel as if he is being pulled downwards by a heavy object. If Ling Yiu (twisting waist) is applied simultaneously, it will dictate the direction of the arms and hands, therefore controlling the direction the opponent will fall when being pulled.

1.3.3 Yiu Ging – Waist Power

The power of the waist contributes the largest proportion of power in Luk Ging Hup Yat. According to the application it can be classified into Tun Yiu, Tow Yiu (spitting/extending waist) and Ling Yiu.

The basic requirement of Yiu Ging is to compress the part of the torso from below the breasts to the waist while keeping the spine straight and perpendicular at all times. This procedure serves to stabilise the body as well as protecting the surrounding organs, joints, tendons and muscles from injuries arising from the forces generated from impact or pulling downwards.

1.3.3.1 Tun Yiu, in addition to compressing the torso, takes full advantage of Hum Hung Bat Boi (where the centre of the breast line collapses inwards to form a hunchback position) to bend swiftly forward, at the breast line, to lengthen the distance from the point of attack thus increasing the power impacting upon the opponent. This forward distance and power will be further increased by Chui Bok. Likewise, in the case of combining Lok Bok and Fook Ging in Tun movements.

1.3.3.2 Tow Yiu is the opposite of Tun Yiu and it should be applied with Goo Yiu (squeezing the side muscles inwards when the trunk is extended so as to increase one’s height when applying certain moves). Again the spine should be kept straight and perpendicular so as to protect the organs, joints, tendons and muscles during impact.

1.3.3.3 Ling Yiu is to quickly twist the waist on either side. The angle of twist should not be greater than 20 degrees on either side. The power should be immediately released at the end of the twisting to allow the part of the torso above the buttocks to return naturally to its original position, ready for the next blow.

In a forward blow (e.g. Fung An Chuen Sam Choy of Jik Bo Bil Gee) the use of Ling Yiu, along with the other gings, will further increase the distance as well as the power and speed.

In a Tun movement (e.g. Sheun Yum Sau Sok Ging of Jik Bo Bil Gee) the use of Ling Yiu, along with the other gings, will lengthen the distance from origin to impact thereby further increasing the speed and the power of the arms while controlling the direction of the falling opponent at the same time.

1.3.4 Fook Ging– Stomach Power

The power in the Stomach comes from contracting the muscles of the abdomen, hip, groin and anus conjointly with the power from the legs and feet and serves to stabilise the balance of the body during the blow while enabling it to exert maximum power.

The combined powers of Fook Ging, Tun Yiu and At Ma further enhance the pulling power of the arms when grabbing, making the opponent feel like a floating object being pulled down by a heavy weight to the bottom of the sea.

1.3.5 Sau Ging – Arms and Hands Power

This power in the arms includes the upper arm, elbow, forearms and the various parts of the hands and fingers. They are all used as points of attack, depending on the application. Goong Ging (pump up power) is also used to form the necessary shape.

In Tun movements the elbows must also Goong Ging to keep them within the chest and belly, i.e. Chong Jow (tightly closing the armpits), so that the shoulders and waist can be fused with the hands in the generation of power. The power of the arms can also be isolated and used alone, Jit Ging (sectional power), in some attacks to parts of the face and throat. In this instance the forearm from the elbow to fingertips must become rigid about 8 cm before impact.

1.3.6 Gurg Ging – Leg and Foot Power

The power of the legs includes both the legs and the feet. Except in the case of kicking, Gurg Ging is mainly used to stabilise the lower body while keeping the whole of the body in perfect balance, rather like the foundations of a building.

The other aspect of Gurg Ging is to neutralize any adverse reactions generated by one’s opponent when being pulled as well as stabilizing body balance.

At Ma (a component of Gurg Ging) is used to enhance the power of either a forward blow or in grasping. In either situation At Ma has to be used with Fau to let the knees bend and the body fall slightly. At Ma is used in the following circumstances;

1.3.6.1 – Forward Blows – To successfully perform this one has to be in Fau and release the strength in the knees so the upper body falls slightly. Simultaneously, using the ball of the back foot as pivot, the heel is twisted outwards until the foot is facing straight ahead. When the upper body has dropped to a bit below the normal requirements of the stance, the knees are straightened again pushing the body upwards until the requirements of the stance are once again met.

Consequently the heel of the hind foot will stamp or grind into the ground generating an upward pushing power that transmits up the torso and to the point of attack, thus enhancing the Ging. Note that under no circumstances should the heel be raised expressly for the purpose of stamping. I must stress that At Ma is performed by the straightening of the knees and the fact that the heel stamps into the ground is a result of the power generated by the knees, not the other way round.

1.3.6.2 – In Tun Movements – To successfully perform this one has to be in the state of Fau and release the strength in the knees that allows the upper body to fall slightly. Simultaneously using the ball of the foot as a pivot, twist the heel outwards until the foot is facing straight ahead. When the upper body has descended to the level normally required by the stance the knees are straightened to prevent the body from falling further. Consequently the heel of the back foot stamps hard onto the ground. At this point the elbow(s) of the arm(s) grabbing have to be in Goong Ging and placed in front of the side(s) of the stomach. At this point the movement of the whole body stops except for the forearm(s), which make use of the centrifugal force to swing sideways.

For a single side grab, the power generated by Ling Yiu will further enhance the contraction power of the move.

To maintain and secure body balance, all the toes must grasp into the ground while the front knee clamps strongly towards the rear knee, i.e. Garb Ging (cramping power), rather like holding a sheep tightly between the knees.

2). Luk Ging Hup Yat and TUN (Contraction) : TOW (Expansion) : FAU (Relaxation) : CHUM (Concentration)

In the Bai Mei original sets, movements of purely forward moving blows are just a small part of the Arts. There are moves solely using Tun Ging, which suck the opponent towards your body at high speed, e.g. Sheung Yum Sok Ging of Gou Bo Tui. There are also moves solely using Tow Ging to knock the opponent away from your body, e.g. Tow Ging Sheung Tui Jeung of Gou Bo Tui. Other moves launch forward blows together with Tow Ging to knock away and hit at the same time, e.g. Bin Kil of Jik Bo Bil Gee. Some make use of Chum Ging together with a direct blow to bring the opponent downwards whilst launching a downward attack at the same time, e.g. Jump Kil of Gou Bo Tui. While some make use of Tun Ging to pull the opponent in while launching a direct blow, e.g. Fu Jow Kok Jeung of Jik Bo Bil Gee. In all circumstances the moves are always performed with Luk Ging Hup Yat.

Human beings have a great capacity for mobility, as an opponent can move forwards, sideward or backwards during an attack, counter-attack or defense. Our aim must be to stop any opponent in his tracks in the shortest possible time.

Any blow performed with Luk Ging Hup Yat will be that much harder on the opponent, disabling his physical capability for further attack and will confound him, thus destabilising his mental capacity for defence. Consequently the opponent will lose all means to prolong the combat, which accords with the philosophy behind the Chinese Word (武) Wu or Mo, Martial Arts, which has the implicit meaning of ‘Stopping the war’, or stop fighting with supreme martial arts.

The power of Luk Ging Hup Yat is very similar to the explosive power generated by a high performance sports car engine, the aim being to increase the power potential of the engine without increasing the distance needed for acceleration. By consequence it also consumes a lot of energy. Luk Ging Hup Yat also requires a great deal of energy to exert and is unable to be maintained for much longer than a second in the human body. If it lasts too long it will inhibit the generation and quality of the next Ging. Any prolongation will also greatly hinder the speed of reaction needed to change direction of movement for the next blow.

Therefore Luk Ging Hup Yat must be performed in conjunction with Fau so that the Luk Ging Hup Yat can reach its highest standard as well as allowing the performer the highest degree of mobility in a fight. Fau allows the practitioner to rest both physically and mentally in order to regain both his strength and his power of concentration.

2.1 Tun Ging – Contracting Power

Many martial arts practitioners have the preconception that an attack is using a forward moving force against an opponent. This, however, is just one of the many techniques of the Arts. Tun works upon an entirely different principle and is an essential part of the Arts.

It is a series of movements used to ‘suck’ your opponent towards yourself by applying a contracting force with Luk Ging Hup Yat with the purpose of eliminating the opponents’ capacity for fighting. In real combat it is always applied with forward blows. Tun Ging in simple terms is Luk Ging Hup Yat in contraction.

Imagine the situation when you are accidentally hooked and pulled away by a fast moving train. A perfectly applied Tun Ging should make any opponent blackout momentarily as he is sucked in, thereby losing any sense of defence. If you attack at that precise moment the degree of injury to your opponent will be far greater than usual. Bai Mei always attacks in this manner. Examples of pure Tun Ging are Big Ma Sheung Chow Ging and Got Sau of Jik Bo Bil Gee.

Examples of Tun Ging used in combination with attack are Wui Sun Wan Sau Bin Kil of Gou Bo Tui and Come Sau Chung Choy of Say Mun Bat Gua.

2.2 Tow Ging – Expanding or Emitting Power

On most occasions Tow Gang is applied straight after Tun Ging, rather like the recoil of a compressed spring when released. Tun, however, does not need to be applied in conjunction with Tow.

Tow, in simple terms, is to fully extend the parts of the body in order to elongate the length of the arms thus decreasing the distance of impact onto the body of the opponent. In most cases it is used to ‘bump’ an opponent forcibly backwards making him lose balance. Rather like a fast moving car that knocks somebody down.

Tow Gang is the firing or emitting power of Luk Ging Hup Yat and its effect can be greatly increased with the forward movement of the body. Tow Ging always follows Tun Ging that applies to an incoming attack causes the opponent to be knocked off track or removes his capacity for self defence. For example, Tow Ging Sheung Tui Jeung being applied after Sheung Chow Ging of Gou Bo Tui.

2.3 Fau – Relaxation, Standby Posture or Saving of Ging

As explain earlier, Luk Ging Hup Yat can only be applied for less than a second. If you do not relax after one blow then any following movement will be hindered. You will therefore be unable to respond quickly to an opponent’s counter attack, let alone launch a series of attacks with Luk Ging Hup Yat yourself.

The relaxation of the body is actually a standby posture or saving of Ging for the following attack or counter attack. The essence of Fau is to be relaxed and calm in both mind and body. One should have no thought of intention as to the next move. Unless one is particularly familiar with one’s opponent it is very hard to predict their next move. Any reaction should be just to what comes and the harmony of Fau and Chum will result in the perfect application of Luk Ging Hup Yat.

However, Fau doesn’t mean the complete relaxation of all the joints or behaving like a drunk. You are only required to have the sufficient strength to maintain the posture of the last move, i.e. Goong Hay, but without any forward planning in mind.

With any preconceived intention in mind the joints, tendons and muscles will automatically tense in preparation for that move and consequently hamper the speed in launching the next move and perfect exertion of Luk Ging Hup Yat, as the next movement in the set may not be that in real combat.

2.4 Chum – Concentration of Gings

Chum in Chinese literally means to sink, but when used in the Arts Chum represents the complete concentration of Gings while in the state of Tun. In simple terms, Chum is the opposite of Fau. For example, in a series of blows they are used in pairs like the firing of a machine gun where Chum is the bullets and Fau is the interval between the bullets. Shorten the intervals between the firing of two bullets and the efficiency of the weapon will greatly improve. Similarly if we shorten the time span of Fau then the Chum will be that much more effective and improve the power of the blow.

By shortening the Fau and upgrading the Chum our Luk Ging Hup Yat will gradually be transformed into Geng Jak Ging. When you finally acquire Geng Jak Ging it will stay with you for the rest of your life in the martial arts and you will be able to transform any movement into a Bai Mei one.

Some attacks using Chum are to force an opponent on the ground as if he had been struck or pulled by a falling heavy object, e.g. Chum Ging Sock Sau of Mount Fu Chui Lum. The consequences of such an attack depend, by and large, on how much strength the opponent has used or exerted in his hands. The more power he has put in the harder he will fall. In some movements, Chum Ging is used to “press” the opponent’s in coming hand(s) downward by his own body weight and at the same time launching the blow, e.g. Jump Kil of Gou Bo Tui.

直 步 鏢 指 拳 析 義

Theories and Practice of JIK BO BIL GEE

拳法要求Basic Requirements

直步鏢指拳(簡稱「直步」)是自眉武藝的基本功法，它是訓練六勁合一的初階，它亦是日後六勁合一的進度指標尺。本套路一共只有十一個不同的獨立招式，主要是希望學員在每一招式上應用必須的勁力和功法，例如六勁合一、迫三角馬、節勁、吞勁、吐勁等。雖然它是一套初級套路，但在學習白眉武藝不同的階段中都有不同的要求。在學習其他白眉本門高級套路時，學員亦應提升直步的訓練水平，或利用它簡單的招式集中訓練六勁合一。在練習直步時，學員首先要熟習每招的正確姿勢和身體各個機能動作的配合，繼而把各動作在腦海中預先整理的時間逐步縮短，同時把各招式都間以浮，其後漸漸把這浮的時段縮短並同時提升每一招式的勁量和速率。當以上的訓練達至一定水平時六勁合一便慢慢的形成，如果繼續提升六勁合一的效果便會慢慢的進入勁的最高境界了，即驚扎勁。

Jik Bo Bil Gee (also known as Jik Bo) is the fundamental set of the Pak Mei Martial Arts. It contains the basic training of Luk Ging Hup Yat. It also serves as a measuring tool regarding the progress of one’s application of Luk Ging Hup Yat in future learning. The set has a total of 11 different movements. They serve to train the beginner to proceed towards Luk Ging Hup Yat by single simple movements. They require the trainee to apply relevant Ging and application, e.g. Luk Ging Hup Yat, Big Sam Kok Ma, Jit Ging, Tun Ging, Tow Ging, etc. Although Jik Bo is the fundamental set its training is required to be upgraded when one proceeds to the higher level sets of the Pak Mei originals. When one begins to practise Jik Bo the very first thing to do is to familiarize with the sequence of the movements. Then, firmly acquire the correct way to perform every single movement by shortening the period of time in figuring out in the mind beforehand all different actions in every part of the body. The next thing to do is to sandwich every two consecutive movements with Fau. Thereafter, shorten the period of Fau and increase the quantity of Ging and speed of every movement. Gradually, Luk Ging Hup Yat will appear. By upgrading of Luk Ging Hup Yat to a certain level, one will gradually acquire the highest level of Ging, i.e. Geng Jak Ging.