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Wooden
Dummy
What is Wooden Dummy
Wooden Dummy Construction
History of Wing Chun
Glossary of Wing Chun
Dimensions of Wooden Dummy
What is Wooden Dummy (Muk Yan Jong)
Even though a variety of martial arts nowadays employ a wooden dummy for training, it is usually more
recognised as being (associated) with the Wing Chun kung fu system and it is generally accepted that it
originated from the Shaolin temple. A 'live' dummy is one which is mounted on the wall or a portable stand;
whereas a ‘dead’ dummy is one which is sunk into the floor or ground. Prior to Yip Man’s era, most
There is a story that goes as follows, when Yip Man moved into his Hong Kong apartment, there was no
where to 'sink' a dummy into. So, he put the dummy to a wall-mounted frame. With this new mounting,
there was also a type of 'give' to the force being exerted since it would move slightly, and it was found
that this type of mounting was actually preferable to the non-moving "dead" dummies. A dead dummy is
completely non-moving so you need to move more around the dummy. Practising with a 'live' or 'dead'
wooden dummy requires a person to have a good command of their structure. Yan Chong Fa represents a
big strong opponent, which you must move yourself around, or try to go behind him.
The Wooden Dummy also precisely develops hands strike lines, footwork, two handed movement, correct
body structure, hand conditioning power (hand strikes & kicks). The Wooden Dummy is the most
The Wing Chun kung fu system comprises three empty hands boxing forms (Siu Lim Tao, Chum Kiu, Biu
Gee and a set of 116 wooden dummy techniques). The wooden dummy set is divided into eight sections.
Muk-Yan Jong means Wooden Dummy. Yan Chong Fa means Wooden Dummy Techniques.
Usually Wing Chun practitioners refer to the dummy set as 108 wooden dummy techniques (Yan Chong
Fa). (The number 108 is preferred by the Chinese culture as it corresponds to a special set of stars and is
a lucky number)
The Wooden Dummy is a progression after the three boxing forms. In the Wooden Dummy form you
practice the applications of the three forms in addition to extra moves that are not contained within the
The Wooden Dummy (Muk-Yan Jong), is a very skilful set and is one of the main forms for advanced
practitioners of the Wing Chun system. Unfortunately, many people have misunderstood or have been
mislead into thinking that the dummy is only used to develop power (for example, like that used to break
wood and bricks) and it is because of this that they have to try very hard to break a piece of wood. Doing
so, either you damage or break your hands or the dummy. That should not happen!
The Wooden Dummy definitely develops the advanced fighting aspects of Wing Chun. Lots of hours are
required to make your body, hands and legs listen to you. You should not get hooked on how fast you can
learn all of the above forms. Learning the forms fast is not important if your body has not matured into the
Wing Chun concepts and you don't have good command of your structure. Don't mislead yourself.
Overview
Muk Yan Jong - literally translates "wood man post", but is generally called a "wooden dummy" in English,
or "jong" for short. The dummy consists of a body with two upper arms at shoulder level, a lower arm at
stomach height, and one leg, suspended on a framework by two crosspieces. As easy at it might looks to
make a real wooden dummy is an extremely difficult task. For some this task has an incredible end result,
Materials
Teak was often traditionally used for all parts of the dummy. But, since solid blocks of this exotic
hardwood are increasingly hard to find, you can use almost any strong hardwood - one that's heavy,
strong and dense, but not brittle. Some softwood may not have enough strength to withstand the force
applied to a dummy, or have the proper weight. Another problem with softer wood is that over time, as
the arms and legs are struck repeatedly, they become compressed and more "sloppy" in their movement.
Because it's difficult to get hardwood in a piece large enough, you might try laminated wood (although the
look will be different with all those lines running through it).
Avoid wood with pitch in it, and the wood should be well seasoned - dry all the way through - to avoid
cracking. Try to find wood native to your area since transporting it from a different climate, especially with
different humidity, can cause cracking. Even with these precautions wood will still sometimes check or
Body
Use hardwood for the body so its weight will correspond to that of a human body. This way if you can
move the dummy you can also move a person. The body has a round cross section of about eight inches
in diameter. Anything smaller doesn't give the needed weight and requires adjustments in the length of
arms and leg. The height of the body is about five feet.
Make the cross section as close to a perfect circle as possible. Irregularities in the surface could cause
The body should be smooth, though not necessarily polished, to avoid splinters.
Slightly taper or round off the top and bottom of the body to remove hard edges.
One of the hardest parts of dummy construction is cutting the square holes for the arms. First drill circular
holes, then square them with hand chisels. In order to give both arms room to pass through the dummy,
the left arm (facing the dummy) is slightly higher than the right. The holes intersect at their outer edges
where they cross in the exact center of the dummy. An advantage of hardwood is that you're less likely to
tear up the center of the dummy as you cut these overlapping holes.
Arms
The arms should be the same material as the body, since they need as much strength. Stress on the arms
Turn the arms on a lathe, rather than make them by hand, since a smooth level surface is essential.
All three arms are identical Each is twenty-two inches long, divided into two sections: one eleven inch half
goes through the dummy body and out the back, the other eleven inch half sticks out from in front of the
The visible half of the arm, extending from the dummy, is cylindrical - though wider at the point where it
leaves the body and tapering smaller towards the tip. The widest part, closest to the dummy, is two and a
half inches in diameter. The amount of taper differs, but a loss of about an inch, down to one and a half
inches in diameter at the tip, is average. Slightly round off the tip end so there are no hard edges.
The inner hidden half of the dummy arm has a square cross section. Though it's far easier to make the
inner half cylindrical, this would allow the dummy arm to spin on contact - unlike a real opponent's arm.
This half of the arm can be either in line with the outer half, or offset from center so one corner of the
inner half touches one edge of the outer half while the opposite corner of the squared inner half is inset
from the edge of the rounded outer half. While this offset is more difficult to make, it allows the dummy
arms to be adjusted to different angles simply by switching or turning the arms, causing the width apart at
the tapered ends to be changed. While the distance apart at the tips depends on your own body - the
upper arms point at your shoulders when you stand at an arms length away from the dummy - the
The upper arm is nine inches down from the top of the dummy. The lower arm is eight and a half inches
down from the upper arms, extending straight out from the center of the body.
The holes cut in the body for the arms should provide a fairly tight fit, neither too tight nor too loose. Your
technique on the dummy can be judged by the sound of the arms moving in their holes: a dull thud
indicates tension in the arms, caused by holding back power, while a sharp "clack" shows power has been
properly passed to the dummy without force being reabsorbed into your own arm.
Extend the dummy arms through the body and out the back two inches. Secure the arm in place with a
Leg
The leg is divided into two sections: one half extending through the dummy and out from the front center
of the body to a "knee joint", the other half extending down towards the "ankle".
The leg is the least standardized part of the dummy. The upper part of the leg may come straight out from
the dummy, parallel with the floor, or it may extend downwards at an angle. The lower part of the leg may
come straight down, at a right angle to the floor, or it may extend forward at an angle. It is meant to
correspond to your own leg, if you were to stand with one leg forward, so keep this pattern in mind when
making your wooden leg. Use the knee joint as your guide and have it roughly at the same height as your
own knee.
The upper section of the leg is about twenty-two inches long: one half of which extends through the
dummy and out the back, the other half extending out in front. The part that passes through the dummy
must be smaller than the part that is visible, so the leg won't slide back up into the dummy. The lower
"hanging" section is about thirteen inches long. As with the arms, the leg is secured in back with a
The diameter of the leg is not standardised, since it was traditionally made from a hardwood branch with
a knot and bend where the knee would be. This makes a functional, and pretty, leg, but suitable tree limbs
are hard to find. A square cross-section leg with a joint at the knee is much easier to construct. Anything
less than two by two inches will be too weak to stand up to steady use. Round the edges slightly so kicking
The leg leaves the dummy at a point roughly sixteen or seventeen inches from the base of the body.
Because the angle of the leg can vary the hole may be raised or lowered as needed. The bottom of the leg
should line up with the bottom of the body, about six inches above the floor.
Stress points are at the knee and where the leg passes into the dummy.
Use a strong hardwood, since the leg must withstand a great deal of kicking force. And, as with the arms,
Cross Pieces
The dummy is suspended above the ground by two crosspieces or slats, each one inch wide by two inches
high.
No matter what wood is used for the rest of the dummy, these crosspieces must be a strong hardwood
since they receive most of the force given to the dummy. On the other hand they must not be too brittle,
otherwise they will crack rather than flex under stress. Stress points are at the spot where the slats first
pass into the dummy. It's a good idea to have an extra set of crosspieces on hand for the inevitable day
The crosspieces should be no less than five feet long, so they are long enough to flex when the dummy is
moved forward or backward, and long enough to extend out several inches on either side of the
framework.
The top crosspiece is six inches down from the top of the dummy; the bottom crosspiece is nine inches up
from the bottom of the dummy. At this distance apart they provide support so the dummy does not tip
forward or backward when moved. Also, if the top crosspiece is any closer to the top of the dummy it gets
The crosspieces must be cut perfectly parallel to each other, the top directly over the bottom; otherwise
they will bind, and not slide, in the supporting framework. They should also pass directly through the
Attach stops so the dummy body won't slide on the crosspieces - the body and slats should move together.
Put another set of stops on the crosspieces to keep the dummy from sliding all the way out of the
Mount your dummy on two sturdy parallel upright wooden posts (four by eight is a good size) about five
feet apart, or on any framework that adequately supports the weight of the dummy while allowing for its
movement.
Attach these supports securely to floor, walls, or ceiling. Set them far enough out from anything behind to
"Life" in the dummy is provided in two ways: by flex in the cross slats when you move the dummy forward
or backward, and by these slats sliding in the framework when you move the dummy side to side. <
Although the dummy should be suspended about six inches above the floor, the actual height of the
dummy from the floor depends on your own height: the upper arms point at your shoulders.
You can make the dummy portable by cutting downward pointing L-shaped slots in the uprights to hold
the crosspieces. You can then lift the dummy in or out of the top of the slot and then drop it into the
bottom of the upside-down "L" to keep it in place. These slots also provide a way to adjust the height of
the dummy. Cut the bottom of the slots at the lowest height needed for the dummy then, to raise the
dummy, insert wooden risers in each slot. You can also support the crosspieces on L-shaped brackets
Finish
You don't need to use oil or stain to finish the dummy, natural oils from the hands and arms will eventually
seal and color the wood. I personally use an all natural lin seed wax to finish my dummies. Never kick the
arms, as shoes can damage the finish and scratch the wood. Remember, the trunk is for striking and the
Much of Wing Chun history is full of myth and legend and until the mid to late 1800's there is no accurate
accounting of the history. Many claim to know the story or to have studied the historical documents yet
many of the documents, if they do exist at all, have not been produced for all to see leaving skepticism
and political bickering about who has the true history. Many claims by the various families as to who
holds the truth does nothing except to fan the flames of controversy even more. Following is an
accounting of the history as we view it, part myth, part legend, part speculation and part fact.
What we do know is in 1644 the Manchurians took over and an end came to the Ming
Dynasty. Revolutionary societies sprang up after the fall of the Ming government early in the Qing
Dynasty. The Shaolin Temple became a place where revolutionary activities took place and people loyal
to the Ming family took refuge. As word leaked out to the Manchu government, which was hostile to the
Chinese people, legend has it that five temple elders began developing a new form of Kung Fu. The new
style was to be quicker to learn than that traditionally taught there. Arousing fear in the Manchu
government, they sent troops to attack the temple. The temple was attacked and with the help of Shaolin
monk Ma Ning Yee, fire was set from the inside. The surviving monks, Buddhist Nun Ng Mui, Master Fung
Too Tak, Master Miu Hin, Abbot Jee Shim and Abbot Pak Mei escaped. Leading the way for development
outside the temple of Wing Chun Kuen and a possible explanation for the various lineages that exist
today. Ng Mui often practiced her Kung Fu after fleeing the temple, spending time further advancing the
principles she had learned in the temple. Legend has it that one day while walking she witnessed a fight
between a snake and a crane which allowed her to complete the system. Other animals are often
mentioned at this juncture, some families use a fox and a crane. Taking refuge in White Crane Temple on
Mt. Tai Leung (also known as Mt. Chai Har) Ng Mui eventually met Yim Wing Chun the daughter of Yim
Yee.
Yim Wing Chun was a young, beautiful woman of the marrying age and the local bully was trying to force
her to marry him. When Ng Mui learned of this she agreed to teach Yim Wing Chun kung fu fighting
techniques so she could defend herself. She told the bully if he could beat Yim Wing Chun in a fight that
she would marry him and if he lost he would leave her alone. Ng Mui took Yim Wing Chun into the
mountains teaching her Wing Chun Kuen. Yim Wing Chun returned, fought the bully and won allowing
her to marry Leung Bok Cho. Ng Mui named her style of kung fu after her first student. Many people
claim that Ng Mui and Yim Wing Chun never existed that they were simply made up to throw off the
government, we will never know the truth as all known records from that time have been destroyed.
Yim Wing Chun in turn taught Wing Chun Kuen to her husband Leung Bok Cho. He in turn passed his
kung fu techniques to Leung Lan Kwai, who while present in some histories is absent in others. He in turn
passed his kung fu on to Wong Wa Bo. Wong Wa Bo was a member of the Red Junk Opera. Wong worked
on the Red Junk with Leung Yee Tei. Abbot Jee Shim, who fled from the temple upon its destruction,
disguised himself as a cook and was now working on the Red Junk. Jee Shim taught the six-and-a-half
point long pole techniques to Leung Yee Tei. Wong Wa Bo was a close friend of Leung Yee Tei and traded
him the knowledge of his Wing Chun for the knowledge of the pole that Leung Yee Tei had learned from
Jee Shim. Together they improved their techniques, and thus the six-and-half-point long pole techniques
Leung Yee Tai and Wong Wa Bo passed Wing Chun Kuen on to Leung Jan, one of the first figures in the
history of Wing Chun to have been known to actually exist. Leung Jan was a well known herbal doctor in
Fatshan. Leung Jan learned and grasped the innermost secrets of Wing Chun, and attained a high level
of mastery. Leung Jan became famous and many kung fu masters came to challenge him. Challengers
would travel hundreds of miles to fight the famous "Fighting man of Fatshan".
Having mastered Wing Chun Kuen, Leung Jan began teaching his two sons, Leung Chun and Leung Bik in
his herbal shop after closing for the day. Chan Wa Shun, also known as "Wa The Money Changer",
changed currency in the market in front of Leung Jan's shop. One day during a rainstorm Chan Wa Shun
stood under the awning in front of Leung Jan's shop. Chan Wa Shun noticed light coming from Leung
Jan's door and he looked into the shop. He watched as Leung Jan taught his two sons Wing Chun. Chan
Wa Shun would secretly watch Leung Jan every chance he could and practiced what he saw. He began to
beg Leung Jan to teach him the kung fu he had seen. Because Leung Jan had known Chan Wa Shun for
a long time he agreed to take Chan Wa Shun as his student. Chan Wa Shun was a loyal student and the
After the death of Leung Jan Chan Wa Shun began teaching kung fu in the Ip clan family complex in
Fatshan. It was here that Ip Man first saw Wing Chun Kuen. At the age of 12 years Ip Man went to Chan
Wa Shun and asked to be taught Wing Chun. Because he was teaching at the family complex Chan Wa
Shun could not refuse the young Ip Man. However, he required Ip Man to pay 600 pieces of silver to
become a student. It took Ip Man 6 months to raise the money. This shocked Chan Wa Shun and he
suspected Ip Man of stealing the money. Chan Wa Shun took Ip Man to see his father. Ip Mans father
explained that he had given Ip Man the money. Ip Man learned directly from Chan Wa Shun for three
Ip Man went to Hong Kong at the age of 17 to attend high school at Saint Francis College. Ip Man and a
classmate came upon a police officer beating a Chinese lady on the way to school one day. This officer
was beating the women simply to be cruel. The officer took a swing at Ip Man realizing he was just a kid.
Ip Man having trained kung fu for four years responded to the attack. The officer went down with blood
all over his face. Ip Man and his classmate ran quickly to school.
Ip Man's classmate told an old man who lived in his building about the incident. The old man, also from
Fatshan, asked to see what Ip Man had done. The old man then asked Ip Man's classmate to meet Ip
Man. The classmate took Ip Man to see the old man. The old man asked what type of kung fu Ip Man had
studied in Fatshan. Ip Man told the old man that it was the best kung fu in the world, that he had studied
Wing Chun. The old man asked to see the Siu Lim Tau form. The old man told him that it wasn't very
good, angering Ip Man. The old man also asked Ip Man to perform Chum Kiu form. Ip Man was unhappy
but did it anyway. During the demonstration, the old man kept shaking his head again angering Ip Man.
The old man asked to see the Biu Gee form. Ip Man did not know the Biu Gee form and simply told the
old man he didn't feel like it. The old man asked if Ip Man would chi sau with him. Ip Man happily agreed,
thinking he could teach the old man a lesson. Ip Man threw a punch and the old man blocked it and
threw him to the side. Ip Man got up and throws another punch. Again the old man blocked it and threw
Ip Man's friend told him the old man requested to see him again, Ip Man said no. The old man then told
him to tell Ip Man he was Leung Bik. The friend told Ip Man the next day, Ip Man left before class was
over and went straight to Leung Bik's. Ip Man lived with Leung Bik for five years and learned the entire
Wing Chun Kuen system. Leung Bik was an educated man, and his understanding of Wing Chun was
shaped by philosophy. His understanding of the principles was very different than Chan Wa Shun. Ip Man
referred to Leung Bik as Si Pak. Chan Wa Shun was a relatively uneducated man and his understanding
was more grounded, it is also said that Chan Wa Shun was a large man in stature, which also changed his
understanding. Ip Man referred to Chan Wa Shun as Sifu. Both of his kung fu teachers had the same
kung fu but they both had different teaching styles. Upon Leung Bik’s death, Ip Man returned to Fatshan.
Wing Chun Glossary
• Au Shi- (Ou Si) Student of Fung Siu Ching from 1933–1936 along side Yuen Kay Shan, at the
Yuen Estate in Mullberry Gardens. Teacher of Wai Yuk Sang. Owned and ran a butcher shop on
ChopStick street.
• Bai Ying Jing Ngau Gerk -To regain lost balance by controlling with a front instep kick
• Bai Ying Ngoi Au Gerk - To regain lost balance by controlling with an inside instep kick
• Bak Hok Tan Sui(Bai/Bok he Tan Shui) - White crane explores water. Supplemental form found in
Heir Ban Wing Chun Kuen of Leung Sifu.
• Bao Pao Jeung / Po Pai Jeung - Shield holding Hands or Breaking the Row/Column Palms.
• Bik Mah - Simply another name for the Chum Kiu Mah/Jin Mah/Biu Mah. Translates as Chasing
Horse or Pressing Horse. Found in the pole of some versions of Wing Chun. Can be used with Sai
• Biu Gwan / Bue Kwan - Shooting/ darting or thrusting with the pole
• Biu Jee Mah - Outward circling stance.Another term for Huen Mah?
• Biu Jong Sau - Centerline thrusting block or strike with the thumb side up, contacting on the
thumb side of the wrist
• Biu Mah - Simply another name for the Chum Kiu Mah/Jin Mah/ Bik Mah Shooting forward stance.
Also performed with the pole and knives.
• Biu Sau - Shooting fingers block, contacting on the little finger side of the wrist
• Boon Dim - Half Point. Inch Spearing with Inch Power, from all other Wing Chun Kuen structures.
Inch spearing from the lead hand, using the Pole.
• Boon Tan Bong - Half dispersing Half Flanking / I.E Kwan Sao
• Bok - Shoulder
• Bong Dao - Wing arm block with the Bot Jam Dao Yip man version
• Bong Family - A family of Wing Chun techniques that contact on the little finger side of the wrist
• Bong Gerk - Outer shin bock with the knee turned outward
• Bong Sau -Common definition is wing arm block contacting on the wrist area / True definition is
Flanking arm
• Bot Gwa Kuen - 8 Trigrams Fist Form; The name of the fourth section found in Wong Wa Bo’s
Original Single Hand Form, that contained four sections. When the single form was broken down
into the 3 hand forms we see in modern day Wing Chun, the forth section was used to create the
• Bot Jam Dao / Bart Cham Do / Bat jaam Do - 8 Direction slash knives; Character “8″ slashing
sword ; the name of the Wing Chun knife form
• Bot Sin Choi Chi Sau - 8 Immortal table sticky hands for demonstrations
• Cha Jee Sau - Cross armed block defining the gates, center line and central area, low to high,
found within all Wing Chun
• Chaan Bo - Go forward and jam step in the Bot Jam Dao Form
• Chaan Jeung - To “push out” with the palm; an upper gate palm strike that drills out with the
palm
• Chai Gerk - Any kick that stamps down; also a scraping kick contacting with the blade edge of the
foot
• Chai Mei Gwun - Eyebrow level pole found within many Mainland Wing Chun branches; Double
ended staff
• Chair Kuen - Pulling punch; the Wing Chun basic rotational punch
• Chao Choi - Bouncing punch found in the Yip Man Family Chum Kiu Form, after the Saam Gum
Sao Juen Jah
• Chan Dai jeung / Dai Chan jeunng / Juk Jeung - To “cut in”; a low knife edge palm strike,
contacting with the little finger side and with the palm up
• Chan-Ga-Wing-Chen Jiarong
• Chan Geng - Neck chop with the little finger side of the palm down or palm up
• Chan Jeung - “Knife edge” palm strike contacting with the little finger side of the palm
• Chat Sing Bo / Chut Sing Bo - 7 Star Stepping. Stepping pattern based on the Big Dipper design
• Cheung Kiu Jeung - Long bridge palm that drills as the stance turns, contacting with the little
finger side of the palm; from the Bue Gee form
• Cheung Ng-Zhang Wu
• Cheung Sam Bo - Long Robe Steps a term for a particular footwork method found in different
places in different branches of Wing Chun. In Yip Man family its found in the Bot Jam Tao form;
In Pao Fa Lien its found in the Siu Lien Tao Form; In Lo Kwai Family its found in the 4th form
• Chi Bot Dim Lin Wan Kiu - Sticking 8 points linked chain bridges (Ban Chung Cho Family Wing
Chun)
• Chi Gok Chi Sau / Ji Gok Chi Sau - Light sticky hands
• Chi Sau - Sticky hands exercises; there are many types of chi sau
• Chi Sau Chi Gerk - Sticking hands and legs exercise
• Chit - To slice
• Chiu Mien Jui Ying Gwun - Facing and Chasing Posture Pole
• Chow-Kwong-YiuZhou Guangyu
• Chow Sai-Zhou Xi
• Chue Seung Pow Kuen - Double leopard punches-( Pan Nam System)
• Chui Meen Joi Ying - Follow the structure; straight on facing and chasing
• Chuk Chong / Juk Jong - Bamboo Dummy / Post ( Passed down from Fok Bo Chun to Yuen Kay
Shan and Yuen Chai Wan lineage )
• Chum Bo - Cat sinking stance in the knife form
• Chum Kiu - 1) Searching for the bridge (Yip Man translation) 2) Sinking the bridge (Yuen Kay
Shan Translation
• Chum Kiu Biu Jee - Sinking Bridge thrusting fingers (Chan Yiu Men lineage)
• Chuun Lop - Moving stance work between the poles in the mui fa jong
• Churng Wai Chi Sau - Stealing the line or regaining the line in chi sau
• Da - Strike or Hit
• Dai Che Lun Sau / Dai Fan Che Sau - Big Wheeling arms / Big Circling arms ( Section found within
the Yiu Kay, Yuen Kay Shan, Lun Gai and Gwok Fu, Mai Gai Wong lineages Siu Lien Tao Form-In
Yip Mans Siu Leing Tao the motion is replaced with Horizontal Seung Fak Sao)
sinking motion.
• Dai Lien Tao - Big idea which is built up from the little ideas in the Siu Lim Tau form
• Dai Jeung / Har Lo Jeung - low level spade thrust palm strike
• Dai Jing Gerk - low front kick blocking with the calf muscle
• Dai Pa(Daba)-Trident
• Dan Tien - The center of energy in the body located about two inches below the navel in center
of the trunk
• Dang Gwan / dang kwan - Snapping straight down with the pole
• Darp - To join
• Dim - Point
• Ding Sau - Bent wrist block or strike contacting with the wrist area
• Dit Da Jau / Dit Da Jow - herbal liniment for bruises, sprains, and strains
• Doi Gok Kuen / Wang Kuen - Diagonal punch from outside across the centerline
• Dok Gerk Siu Lien Tao - Single leg form of Siu Lim Ta
• Duk Lung Choi - Single Dragon Punch / Poison Dragon punch (Duk - poison implies 2 also) -
(Cheung Bo, Sum Num, and Mai Gai Wong Lineage)
• Faan Kuen or Faan Sau-Continuous attacking with controlling while alternating punches as in Pak
Faan Sau.
• Faan Sau - Continuous lop sau basic attack to break through the opponent’s structure
• Faan Sun Jing Gurk-To regain the body position with a front kick
• Fa Kuen(Huaquan)-Variegated fist
• Fai Jee Gung-Chopstick work
• Fak Sau- Whisking hand;horizontal swinging arm with typically a knife edge strike.
• Fook Family - A family of Wing Chun techniques which use the palm
• Fook Gerk - A downward leg block or strike contacting with the muscle next to the shin bone
• Fung Ngan Kuen/Fung An Kuen - Phoenix eye punch with the index knuckle forward
• Gaan Jaam - Simultaneous low sweeping block with a forearm deflecting block or chop
• Gaan Jaam Do - Simultaneous low sweeping bock and upper deflecting block with the butterfly
knives
• Gaan Sau - A low sweeping block. There are two kinds of gaan sau
• Gee - Fingers
• Gee Gok Chi Sau/Ji/Chi Gok Chi Sau - Light sticky hands
1. Jing Gerk -Strike with the top of the heel just below the arch
2. Wang Gerk - Strike with the outside of the heel on the little toe side
4. Yaai Sut Gurk - Strike with the middle of the heel downward
5. Tiu Gerk - Strike with the instep with the toes pointed
6. Jut Gerk - Strike with the lower calf and Achilles tendon
7. Tai Sut - Strike with the top or side of the knee with the leg bent
8. Chai Gerk - Strike downward with the knife edge of the foot
• Gum Gok Geng , Gee Gok Geng or ji Gok Geng - Feeling energy
• Gum Sau - Downward palm block or strike with the elbow turned outward
• Gwai Jong - A circular downward elbow block or strike contacting with the forearm
• Gwai Sut - A downward knee block contacting with the side of the knee or shin
• Gwan/Kwan - Pole
• Gwat Gwan/Sut Gwan - Opening up or blocking the inside or outside lower gate with the pole
• Gwat Sau -A circular controlling technique that carries the subject across the centerline to open
an attacking line
• Haa Jeong/Dai Jeong - Low palm strike with the side of the palm
• Haan Sau - A long bridge block contacting with the little finger side of the wrist
• Hau Huen Joon Mah/Hau Huen/Hau Joon — A turning stance that is executed by stepping
forward then turning 180 degrees to face the opposite direction
• Hay Sau/Tai Sau/Ding Sau - A raising bent wrist block or strike contacting on the little finger side
of the wrist
• Hay Sut/Tai Sut - Raising knee block or strike contacting with the top or side of the knee
• Ho Han-Lui-He Hanlu
• Ho Kam-Ming-He Jinge
• Ho Kam Ming - A long time disciple of Grandmaster Yip Man; the teacher of Augustine Fong
(Fong Chi-Wing)
• Hoi or Oi -Outside
• Hoi Moon Chi Sau/Hoi Mun Chi Sau - Outside gate (position) chi sau
• Hoi Moon Kuen or hoi mun kuen - Outside gate diagonal punch
• Hoi Sik - Opening position
• Huen Da - Simultaneous circling with one hand and striking with the other
• Huen Fok sau - Circling one hand into the “Fok Sau” position
• Huen Gerk - Any circle kick
• Hung Fook-Kong Fu
• Hung Jai Chi Sau - Controlling sticky hands motion to block the opponent
• Jaam Sau - A forearm deflecting block contacting with the little finger side of the forearm
• Jau Sau - Changing lines in attacks, going from one line to another
• Jau Wai - Moving stances while changing from one line to another
• Jau Wai Chi Sau/Ngou Sau - Moving sticky hands while changing lines
• Jau Wai Yaai Sut - Moving stances to attack with the knees
• Jee Shim Sim Si (Zhi Shan Chanshi)-Jee Shim Chan (Buddhist) Teacher
7. Chan Jeong - Knife edge palm strike to upper body and head with palm up
8. Wang Jeong - Side of palm strike to upper body and head with palm down
o ”Jiao-Chin” Wah-Moneychanger
• Ji Gok Chi Sau, Gee or Chi Gok Chi Sau - Light sticking hands
• Jing - “Quietness” one of the major principles of the Siu Lim Tau form
• Jing Dok Lop Mah/Jing Gerk Dok Lop Mah - Front single leg stance
• Jing Mah/Yee Gee Kim Yeung Mah - Front developmental stance; it is not a stance to fight from
• Joi Yin Chi Sau - Following the shadow in chi sau; a type of chasing chi sau
• Jong - Elbow
• Jong Dai Lik - Elbow power produced from practicing the punch
• Joong-Lo - Mid-level
• Juk Dok Lop Mah/Wang Dok Lop Mah - Side single leg stance
• Jut Da - Simultaneous snapping control with one hand and striking with the other
• Jut Sau - Snapping block contacting with the thumb side of the wrist
• Kit Gwan / Git Kwan - Opening up or blocking the inside, upper gate with the pole
• Kuen - Fist / Punch
• Kuen Siu Kuen - Punch to punch exercise; Fist Parries Fist; The core manefestation of the Wing
Chun idea of Linked Attack and Defence, as the striking hand also Blocks.
• Kung Fu - Effort; Time and energy used to master something or some skill
• Kwak Sau - Double spreading huen sau
• Kwan/Gwan - Pole
• Kwan - Rolling
• Kwan Sau - Rolling hands block; Usually Tan and Bong combo, that is connected to the use of Po
Pai Jeung. The Kwan Sau is related to the Silver Scissor hands from White Crane, in structure and
use. The actual energy rolls the hands. This action is hidden in the transition from the Har Lo Cha
Jee Sau transition to Chung Lo Cha Jee Sau (Lower X Gan Block rolling up to Middle Gate X Gan
• Kwok Fu-Guo Fu
• Lai - Pulling Hands usually practised double handed within the Biu Jee form of Modern Wing
Chun
• Lai Yiu - Waist Pulling Exercise found in Yuen Kay Shan or Pan Nam lineage
• Lan Da - Horizontal Blocing arm with a Yat Jee Chung Kuen Punch found within the Yip Man
Family.
• Lan Gerk - Horizontal leg block contacting with the shin bone
• Lan Sau - Horizontal arm block contacting with forearm and sometimes palm from the Yip Man
Family; Baring the Gate arm found within the Yuen Kay Shan family. There are several version
including in the Chum Kiu Form and in the Muk Yan Jong Form. The Gate baring does not
• Lan Sau Chung Choi - An early San Sik found within the Yuen Kay Shan system, that is
traditionaly found within the unique Hoi Sik that Yuen Kay Shan and Sum Nung created together
• Leung Bik-Liang Bi
• Leung Kay-Liang Qi
• Leung Yan-Liang En
• Lien Wan Choi - Linked Chain Punching found in all Wing Chun Systems
• Lien Wan Fai Jeung(Lianhuan Kuaizhang) -Linked fast palms
• Lo Kwai-Lu Gui
• Lo Man-Gung-Lu Wangong
• Lo Man-Kam-Lu Wenjin
• Loi Lim Yum Yeung Jeung - Inside Outside Yin Yang Palms; a San Sik found in Cheung Bo’s Wing
Chun, that Sum Nung included in his early Sup Yee San Sik Training for his Students.Also
contains Fook and Tan in one small set. Suggests One long bridge and one short bridge.
• Lok-Gong-Lu Langong
• Lop Chan Jeong - Simultaneous palm controlling and heel palm strike
• Lou Gwan/Low Gwan - The half point pole technique; a short thrust
• Lut Sau - attacking without initial contact with the opponent’s bridge; it begins with fighting
position
• Lut Sau Chi Sau - Attacking from man sau position and immediately going into sticky hands
• Ma Jung-Yiu-Ma Zhongru
• Ma Ning-Yee-Ma Ninger
• Mah - Horse / Stance
• Mai Jong - The correct elbow position with the elbow inward on the elbow line
• Man Gerk - Asking legs where the first motion sets up the second attack
• Man Sau - Asking hands where the first motions sets up the second attack
• Mok Jong or Mok Yan Jong - Wooden dummy also the name for the wooden dummy form
• Moy Yat-Mei Yi
• Mui Fa Jong - Plum blossom posts and the name for the exercise of practicing on the posts
• Nam Yeung Wing Chun Kuen (Nanyang Yongchunquan)- Southeast asian wing chun boxing.
• Ng Jee Mui Hei Gung (Wuzhimei qigong)- Five petal plum qigong
• Ng Jo-five elders
• Ng Jung-So-(Wu Zhongsu)
• Ng Mui - The Buddhist Siu Lum nun who founded Wing Chun
• Ngoi - Inside
• Pau Jeung - Flat palm strike with the fingers pointing down. This is applied to the lower body
• Ping Kuen - Level Boxing form found in Fukien Weng Chun Kung Fu
• Pin Sun - Also Pian San; Pien Sin; side turning body structure or position; Flanking position
• Por Jung - All techniques that control and “break” the centerline
• Sat Gwan - Opening the lower gate to inside or outside with the pole
• Sau - Hand or arm
• Sau Wuun Geng - Equalizing the point and power; wrist power
• Say Bo - Retreat and step back stance to deflect in the knife form
• Seung Yan Chi Sau - Double sticky hands with three people
• Seung Yan Dan Chi Sau - Single sticky hands with three people
• Seung Yan Jou Wai Chi Sau - Moving sticky hands with three people
• Si Gan - Timing
o Chong Jou Si Gan - Creating
• Sin-Line
o Fong Sau Sin Wai - Blocking line
• Siu Lim Tau - “Small idea form” the first wing chun form
• Soang Jong/Wang Jong - Outward horizontal elbow
• Soor Jung - Sinking elbow down to control the centerline so the opponent cannot move you
• Sup Jee Sau ; sup gee sau - Character “10″ hand / Character “+” hand
• Sut - Knee
• Tai - Raising
• Tan Mah - Drawing back stance from horse or cat in the pole
• Tan Sau - “Dispersing”-Throwing off mass and force from Center (Yuen Kay Shan, Cheung Bo,
Cho Family, Kulo Village) / palm up block contacting on the thumb side of the wrist ( Yip Man
family)
• Tou Geng - Power that “spits out” or bounces the opponent away
• Wang/Wan - Side
• Wu Sau - Guard hand block contacting with the little finger side of the wrist
• Wu Yi Ying Bong Sau - To regain the body structure with bong sau
• Wu Yi Ying Gum Sau - To regain the body structure with gum sau
• Yaai Hau Gerk - To attack by stepping down on the opponent’s rear leg
• Yee Gee Kim Yeung Mah - Clamping the Yang Sink the Yin ; 2 legs clamping the goat horse ; the
mother of all stances; The stationary front stance for developing all stances which means two
knees going in stance position ; Hybred horse containing characteristics of a equal shoulder
• Yik Kam - Cheng Tan / Male playing female martial lead, who passed down the 3 Wing Chun hand
forms in 1 ultra long set containing 4 sections, to the Cho family in Poon Yu Village.
• Yuen Kay Shan - A Wing chun master, who’s 2nd sifu, Fung Siu Ching was a student on the Red
Boats.
• Yip Man - The late grandmaster of Hong Kong Wing Chun system
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