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Wing Chun and Wooden Dummy What is Wooden Dummy Wooden Dummy Construction History of Wing Chun
Wing Chun and Wooden Dummy What is Wooden Dummy Wooden Dummy Construction History of Wing Chun






Wing Chun and Wooden Dummy What is Wooden Dummy Wooden Dummy Construction History of Wing Chun

What is Wooden Dummy Wooden Dummy Construction History of Wing Chun Glossary of Wing Chun Dimensions of Wooden Dummy

Wing Chun and Wooden Dummy What is Wooden Dummy Wooden Dummy Construction History of Wing Chun
Wing Chun and Wooden Dummy What is Wooden Dummy Wooden Dummy Construction History of Wing Chun

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 dummies were 'dead' dummies.

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 prestigious of the empty-hands Wing Chun combat techniques.

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 three empty hands boxing forms.

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.

How to Make a Your Own Wooden Dummy


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, a training partner with your sweat, blood and qi.


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 split, in which case you might use a wood fill or banding.


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 damage to hand, fist or foot.

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.


The arms should be the same material as the body, since they need as much strength. Stress on the arms is at the point where they enter the body.

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 dummy. All three arms are set parallel to the floor.

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 average is about eight and a half inches.

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 removable pin or wedge.


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 removable pin or wedge.

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 is easier on the feet.

The section of the leg extending through the dummy must be cut with a square cross-section, to eliminate any rotation of the leg in its hole.

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, it's a good idea to have a spare leg on hand.

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 when one cracks.

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 in the way of a neck-pull.

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 center of the dummy for best balance.

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 framework on either side.


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 allow for forward and backward movement of the dummy.

"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 attached to the front of the uprights.


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 arms are for flowing around.

The History of Wing Chun Kuen

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 were incorporated into Wing Chun Kuen.

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 only non-family member ever taught.

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 years before he passed away.

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. all over his face. Ip Man and his classmate ran quickly to school.

The officer went down with blood

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 him to the side. Ip Man got up and left.

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

Art Kiu - Pressing Bridge / Pressing Forearm

At Yiu (Yayao) - Pressing the waist

Au Jaw-Ting (Ou Fangting)

Au Hong - (Ou Kang) - Student of Chan Wa Shun

Au Kuen - (Au Choi) Hook punch

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. Au Tac Gerk - Hooking Kick

Baat Gwa Bo - (Ba/Bat/Bot Gwa/Kwa/Gua Boe) Eight triagrams step Baat Gwa Lung Na(bagua longna)-Eight direction dragon grab.

Baat Hop Wui Goon-Eight Harmony Union

Baat Sik Dan Da(Bashi Danda)-Eight form single hit.

Bai Jong - Assume Post / Ready Posture

Bai Ying - Losing body structure / loss of balance

Bai Ying Chi Sau - Irregular structure sticking hands

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 Gek - Sparring

Bak Hok Chang Sa(Bai/Bok he Chansha) - White crane shoveling sand.

Bak Hok Kuen(Bai/Bok hequan) - White crane boxing.

Bak Hok Kum Wu(Bai/Bok he Qin Hu) - White crane catches fox. From Cheung Bo’s San Sik Wing

Chun. Sum Num included this San Sik in his “Sup Yee San Sik”. Also found in the Yuen Kay Shan Muk Yan Jong form. 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. Bak Mei Pai (Baimeipai) - White Eyebrow’s style

Bak Mei Tao Yan - White Eyebrow (taoist)

Bai Jong (Baizhuang) - Assume Post

Bao Pao Jeung / Po Pai Jeung - Shield holding Hands or Breaking the Row/Column Palms.

Bau Ja Geng - Whipping or exploding energy/power/force

Bau Ja Lik - Exploding strength.

Bien Choi / Bien Kuen - Whipping punch

Bien Kuen (Bianquan) - Whipping fist

Bik Bo - Pressing or chasing steps / Jamming stance in the knife form

Bik Bong - Pressing Wing/Flank Arm

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 Ping Dai Mah or Yee Jee Kim Yeung Mah. Biu - Concept of Darting / shooting / thrusting forward

Biu Cham - Thrusting Cutting (Cheung Bo lineage)

Biu Dao - Shooting/ thrusting / darting with the knives

Biu Gwan / Bue Kwan - Shooting/ darting or thrusting with the pole

Biu Jee ; Bue Tze ; Bil Gee - Shooting or Darting fingers

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

Bo Lay Ying - Glass technique

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 Je Lan or Poon dim Lan - Half point barring motion

Boon Tan Bong - Half dispersing Half Flanking / I.E Kwan Sao

Bok - Shoulder

Bok Hok Chang Sa - White Crane Shoveling Sand

Bok Hok Kuen - White Crane Boxing

Bok Hok Kum Wu - White Crane Catches the Fox / one of the Sup Yee San Sik. Also found on in

various Versions of the Muk Yan Jong (Cheung Bo and Sum Num Lineage) Bok Hok Tan Sui - White Crane Explores the Water

Bong An Chi Sau - Blindfolded sticky hands

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 Gerk - Shin block

Bong Sau -Common definition is wing arm block contacting on the wrist area / True definition is

Flanking arm Bot Gwa - 8 Trigrams from the Taoist Cannon, The I-Ching.

Bot Gwa Bo - 8 Trigrams stepping

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 earlier Muk Yan Jong forms. Bot Jam Dao / Bart Cham Do / Bat jaam Do - 8 Direction slash knives; Character “8slashing

sword ; the name of the Wing Chun knife form Bot Sin Choi Chi Sau - 8 Immortal table sticky hands for demonstrations

Bot Mo Dan Da / Bot Sik Dan Da - 8 Single hitting ways

By Jee - Swaying fingers (Pan Nam, Yip Man Futshan, Yiu Kay)

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 Dao - A upper slash or chop with the butterfly knives

Chaan Jeung - To “push out” with the palm; an upper gate palm strike that drills out with the

palm Chaap Kuen - Low punch

Chai Dao - Bandits long handled broadsword

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 Chai Sut - To stomp downward with the knee

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-Chai-Chen Jiaji

Chan Ga-Lim-Chen Jialian

Chan-Ga-Wing-Chen Jiarong

Chan Geng - Neck chop with the little finger side of the palm down or palm up

Chan Hui-Chen Kai

Chan Shing-Chen Cheng

Chan Wah-Shun-Chen Huashun

Chan Yiu-Min-Chen Rumian

Chan Jeung - “Knife edge” palm strike contacting with the little finger side of the palm

Chan Jee Pai - Paper Shoveling

Chan Kiu - Shoveling bridge

Chang Gerk - Spade Kick / Supporting Kick

Chang Jeung - Spade Palm / Supporting palm / Shovel Palm

Chang Sau - Spade Hand

Chang Tan Jeung - Thrusting and Dispersing Palms (Cheung bo style)

Charp Choi - Piercing Punch Hammer

Charp Sau - Piercing Hand

Chat Sing Bo / Chut Sing Bo - 7 Star Stepping. Stepping pattern based on the Big Dipper design

Chat Sing Kau Choi - 7 star trapping / holding Punches

Chat Sing Kuen - 7 Star boxing

Chat Sing Mah - 7 Star Horse

Che Chai Gerk - Slant stamping kick

Che Chin Kuen ; Che Jin choi - Shooting arrow punch

Cheen Chor Ma / Jing chor ma - Forward bracing stance

Cheung Bo-Zhang Bao

Cheung Chuk-Hing-Zhang Zhuoquig

Cheung Gung-Zhang Gong

Cheung Gwun Wong-King of the Long pole

Cheung Hok-Kin-Zhang Xuejian

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 Kiu lik - Long bridge power

Cheung Lung Tan Yue - Long Dragon Explores the Moon

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 sometimes called Siu Bot Gwa Chi Chang Gerk - Slant thrusting kick

Chi - 1) Internal energy 2) Sticking

Chi Bot Dim Lin Wan Kiu - Sticking 8 points linked chain bridges (Ban Chung Cho Family Wing

Chun) Chi Dan Gerk - Single sticky legs exercise

Chi Dao - Sticking knives

Chi Gok Chi Sau / Ji Gok Chi Sau - Light sticky hands

Chi Geng - Sticking energy

Chi Geng - Sticking power

Chi Gung - Internal energy exercises

Chi Gerk - Sticking legs exercise

Chi Gwan / Chi Kwan - Sticking pole exercise

Chi Sau - Sticky hands exercises; there are many types of chi sau

Chi Sau Chi Gerk - Sticking hands and legs exercise

Chi Seung Gerk / Chi Gerk - Double sticking legs exercise

Chi Seung Sao - Double sticking arms

Chi San - Body sticking

Chiao Ti / Sui Jow - Wrestling

Chin Bo - Fighting Steps

Chin Choi - Battle Punchs

Ching Sun Gerk - Front facing thrusting kick

Ching Sun Mah - Front facing horse

Chit - To slice

Chit Jeung - Slicing Palm

Chiu Mien Jui Ying Gwun - Facing and Chasing Posture Pole

Cho Dak-Man-Cao Dewen

Cho Dak-On-Cao Dean

Cho Dak-Sang-Cao Desheng

Choi Geng - Taking over power

Chong Jou Si Gan - Creating timing

Chong yin-Cheung-Zhuang Xuanxiang

Chor Dao - Stomping with the knife handle

Chor Mah - “Sitting” horse stance, the basic turning stance

Chow-Kwong-YiuZhou Guangyu

Chow Sai-Zhou Xi

Chou Gerk - Snapping front kick

Choung Chi - Aggressive energy

Choung Geng - Forward, aggressive power

Chour Kuen / Chour Tau Kuen - Hammer fist

Chu Chong-Zhu Zhong

Chu Chong-Man-Zhu Songmin

Chu Gwok-Yui-Zhu GuoYao

Chu-King Hung-Garrett Gee

Chue Seung Pow Kuen - Double leopard punches-( Pan Nam System)

Chuen Ging Jee Lak - Inch force exerted by the Joints

Chuen Kiu - Piercing bridge movement

Chuen Sum Gerk(Chuanzinjiao)-Center piercing kick

Chui Meen Joi Ying - Follow the structure; straight on facing and chasing

Chui Ying - Facing straight-on structure; facing the shadow

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/Chaam - To sink, one of the principles of the Siu Lum Tau

Chum Geng - Sinking power to duck away from attacks

Chum Jarn Gao Sau - Sinking elbow saving hand

Chum Jong - Sinking elbow bock; immovable elbow line

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)

Chum Kiu Mah - Bridge seeking Horse

Chum San - To evade by sinking the body, ducking

Chum Sau(Chenshou)-Sinking hands

Chum Lung Jeung - Sinking Dragon Palms (Pan Nam lineage)

Chuen Geng / Chuen Jing - Short power / Shock power

Chuen Geng Kuen - One inch punch, a short punch

Chun Chiu Dai Do(Chunqiu Dadao)-Spring and autumn big knives

Chuun Lop - Moving stance work between the poles in the mui fa jong

Chung Choi(Chongchui)-Thrusting punch

Chung Jeung(Chongzhang)-Thrusting palm

Chung Kuen - Straight punch

Churng Wai - Stealing the line

Churng Wai Chi Sau - Stealing the line or regaining the line in chi sau

Chut Lun - Seven Wheels

Chut Sing Bo(Qixingbu)-Seven star step

Cup Da Sau-Covering and hitting hand

Da - Strike or Hit Da Bao Jarn - Wrapping hitting elbow

Da Ng Jarn - Hitting 5 elbows Drill


Gwai Jarn - Diagonal downward elbow


Pai Jarn - Inward horizontal elbow


Sau Jarn - Retracting / rear elbow


Tai Jarn - Raising elbow


Wang Jarn - Outward horizontal elbow

Da Sa Bao - Sand bag hitting

Da San Jong(Dasanzhuang)-Separate hitting dummy

Da Sau Geng - Hand strikes throat

Daai Geng - Directing energy

Dai - Lower level attack

Dai Bong(Dabang)-Big wing

Dai Bong Sau / Dai pong sau - Low level wing arm block

Dai Chan Jeong - Low knife edge palm strike

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) Dai Fa Kuen - Big Flower Fist

Dai Fook Fu(Dafuhu)-“Big subduing the tiger”movement found with in Kulo village Wing Chun.

The movement is typically referring to a Gan Sau performed with phoenix eye fists, used with a sinking motion. Dai Lien Tao - Big idea which is built up from the little ideas in the Siu Lim Tau form

Dai Au Gerk - Low roundhouse

Dai Gerk - Low level kick

Dai Jeung / Har Lo Jeung - low level spade thrust palm strike

Dai Jing Gerk - Low front kick

Dai Jing Gerk - low front kick blocking with the calf muscle

Dai Pa(Daba)-Trident

Dai Wang Gerk - Low side kick

Dan By Jeung - Single praying palm

Dan Chi Sau - Single sticking hands exercise

Dan Dao - Single Broadsword

Dan Dao Tang Pai - Single broadsword and rattan shield

Dan Huen Sau - Single circling hand

Dan Tien - The center of energy in the body located about two inches below the navel in center

of the trunk Dang Gerk - Nailing kick

Dang Gwan / dang kwan - Snapping straight down with the pole

Dao - Knives or small swords

Dao Jong(Daozhuang)- Knife dummy

Dap Bo -Joining Step

Dap Bo Bong Sau -Joining Step flanking arm

Darp - To join

Darp Kiu - Joining bridges

Darp Sau / Loi and Oi - Joining Hand- Inner and outer

Day Har Au Gerk - Roundhouse kick on the floor

Day Har Chi Gerk - Sticky legs on the floor

Day Har Jing Gerk - Front kick on the floor

Day Har Wang Gerk - Side kick on the floor

Day Ton Bok Gek - Ground fighting

Deng Gerk - Nailing kick

Deng/Tai Gerk - Raising kick

Dim - Point

Dim Gwan / Dim Kwan - Stabbing pole

Dim Mah - Stamping in the pole stance to give more energy

Dim Mak - Point Marking (pressure point striking method)

Ding Gerk(Dingjiao)-Nailing kick

Ding Jeung -Nailing Palms

Ding Sau - Bent wrist block or strike contacting with the wrist area

Dip Jeung(Diezhang)-Butterfly palm

Dit Da - Injuries such as bruises, sprains and strains

Dit Da Jau / Dit Da Jow - herbal liniment for bruises, sprains, and strains

Dit Ming Dao - Life taking knives

Dit Yeung Juk - Candle hitting

Diu Mah(Diaoma)-Hanging stance

Doi Gok Gerk - Low diagonal leg block or strike

Doi Gok Kuen / Wang Kuen - Diagonal punch from outside across the centerline

Dok Gerk Siu Lien Tao - Single leg form of Siu Lim Ta

Do Bo - Moving stances with the knives

Do Lung Choi(Dulongchui)-Single dragon punch

Dong - Swinging force

Dong Dao - Swinging knives

Dong Sau - Swinging arms

Duk Kwok Choi / Duk Lung Choi - Single Horned Punch / Single Dragon Punch (Cheung Bo

lineage) Duk Lung Choi - Single Dragon Punch / Poison Dragon punch (Duk - poison implies 2 also) -

(Cheung Bo, Sum Num, and Mai Gai Wong Lineage) Duen Geng - Short inches power

Duen Kiu(Duanqiao)-Short bridge

Dui Sau(DuoShou)-Chopping hand

Faan Dan Chi Sau-Bouncing sticky hands Faan Kuen - Circling punch either inside or outside

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 - To regain the body position

Faan Sun Jing Gurk-To regain the body position with a front kick

Fa Kuen(Huaquan)-Variegated fist

Fai Jee Gung-Chopstick work

Fak Dao-Whisking knives;horizontal slashing knife attack.

Fak Sau- Whisking hand;horizontal swinging arm with typically a knife edge strike.

Fan Cup Chui(Fanqiachui)-Flipping cover punch(uppercut)

Fan Kum Na - Counter seizing and grappling

Fat Do - Right power in techniques

Faun Au Gerk or Fong Ngau Gurk - reverse roundhouse

Fay Jong - Flying elbows

Fei Biu - Flying darts

Fook - Controling / waiting / a man holding a dog down with a hand

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

Fook Sau - A palm controlling block with the elbow down

Fook Sut - An inward knee block or strike

Fong Sau sin wai - Blocking line

Fung Ngan Kuen/Fung An Kuen - Phoenix eye punch with the index knuckle forward

Fung Siu-Ching-Feng Shaoqing

Fung Ting-Feng Ting

Fung Wah-Feng Hua

Fuun Do - An outward or sideward slash with the butterfly knives

Fuun Sau - An outward or sideward horizontal chop

Ga Chok - Bouncing technique off of an opponent’s structure Gaan Da - Simultaneous low sweeping block with a punch

Gaan Gerk - 3 leg blocking exercise with the following blocks:

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

Gaan Sau - 5 blocking motions

Gan Jip Geng - Indirect power

”Gao Lo” Chung-“Tall Man” Chung

Gao Tong-Gao Tang

Gee - Fingers

Gee Gok Chi Sau/Ji/Chi Gok Chi Sau - Light sticky hands

Gee Gok Geng/Gum Gok Geng - Feeling power

Gerk - Leg or kick The 8 positions of the kick are:


Wang Gerk - Strike with the outside of the heel on the little toe side


Soo Gerk - Strike with the inside of the arch


Yaai Sut Gurk - Strike with the middle of the heel downward


Tiu Gerk - Strike with the instep with the toes pointed


Jut Gerk - Strike with the lower calf and Achilles tendon


Tai Sut - Strike with the top or side of the knee with the leg bent


Chai Gerk - Strike downward with the knife edge of the foot

Gerk Jong - 8 Kicks to the mok jong or dummy Geng/Ging/Jing - Energy; the 8 types of Wing Chun energy are:


Keng Geng - Listening power


Juun Geng - Drilling power


Jek Jip Geng - Direct power


Gan Jip Geng - Indirect power


Yaan Geng or Daai Geng - Guiding power


Lin Jip Geng - Connecting power


Choung Geng - Aggressive power

Gin Kuen - Moving side punch for pole exercise Goiu Ying - Adjusting the body structure

Goot Dao - Cutting knife attack

Goot Gwan - Cutting down with the pole

Gor Dan Chi Sau - Attacks in single sticky hands

Gor Lop Sau - Attacks in lop sau

Gor Sau/Guo Sau - Attacks in sticky hands

Gour Yung - Guts or determination and self-confidence to win

Gu Deng Chi Sau - Sitting sticky hands

Gum Gok Geng , Gee Gok Geng or ji Gok Geng - Feeling energy

Gum Jeong - Low palm edge strike

Gum Sau - Downward palm block or strike with the elbow turned outward

Gum Ying - Body feeling

Gung Gek Sin Wai - Attacking line

Gung Lik Chi Sau - Heavy sticky hands to develop power

Gurng Gee Kuen - Ginger fist punch

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

Gwang Geng - Steel-bar power

Gwat Ji Fat Lik - Bone-joint power

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/Chaap Kuen - Low punch Haa Jeong/Dai Jeong - Low palm strike with the side of the palm

Haan - Economic motion

Haan Kiu - Walking on the bridge or forearm

Haan Kiu Chi Sau - Walking on the bridge chi sau

Haan Sau - A long bridge block contacting with the little finger side of the wrist

”Hak Min” Nam-“Heimian” Nan-“Black Face” Nam

Hau Chor Mah - Backward bracing stance

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 Hau Jeong - A palm strike with the back of the palm

Hay Jong/Tai Jong - Raising elbow strike or block 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 Bok - Outside shoulder

Hoi Faan Kuen - Outside whip punch

Hoi Gaan Sau - An outward low sweeping block

Hoi Gaan Sau - Outside low sweeping block

Hoi Hurn - Outside facing stance

Hoi Jaam Sau - Outside wu sau

Hoi Jeorng/Hau Jerong - Back palm strike or block

Hoi Jung Sin - Outside line

Hoi Kwan Sau - Outside rolling hands block

Hoi Mah - To open the horse stance

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

Hoiu - Emptiness, one of the major principles of Siu Lim Tau

Hoiu Bo - Empty step or cat stance in the pole form

Hoiu Ying - Empty shadow

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

Huen Jing Gerk - Circling front kick

Huen Mah - Circling stance in the pole form

Huen Sau - Circling, controlling hand

Huen Tiu Gerk - Circling instep kick

Huen Wang Gerk - Circling side kick

Hui Sam-Joy-Xu Sanzhu

Huiu Mah - Cat stance in the pole form

Hung Fa Wai Goon-Red Flower Union

Hung Fook-Kong Fu

”Hung Gun” Biu (Hongjin Biao)-Red Bandanna

Hung Gwun Wui (Honggunhui)-Red Pole Society

Hung Jai - Control of power

Hung Jai Chi Sau - Controlling sticky hands motion to block the opponent

Hung Jai Geng - Controlling energy

Hung Mun-Kong Man

Hung Mun Wui (Hongmenhui)-Hung Mun Society

Hung Suen Hay Ban(Hongchuan Xiban-Red Junk Opera Company

Jaam Dao - A forward deflecting block with the butterfly knives Jaam Sau - A forearm deflecting block contacting with the little finger side of the forearm

Jam Jong - Stance for chi gung

Jan Sin-Sang (Zan Xiansheng)-Mr. Jan

Jau Ma/Jou Mah - Combining moving footwork

Jau Mui Fa Jong - Stance work on the plum blossom

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

Jek Jip Geng - Direct power

Jeong - Palm strike or chop; the 8 palm strikes are


Jing Jeong - Front vertical palm

  • 2. Choen Kui Jeong - Long bridge palm

  • 3. Hau Jeong - Back palm

  • 4. Dai Jeong - Low side palm

  • 5. Pau Jeong - Downward vertical palm strike

  • 6. Gum Sau - Diagonally downward palm strike

  • 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


”Jiao-Chin” Wah-Moneychanger

Ji Gok Chi Sau, Gee or Chi Gok Chi Sau - Light sticking hands

Ji Yau Bak Gek - Free sparring

Jing - Front or center

Jing - “Quietness” one of the major principles of the Siu Lim Tau form

Jing Bok - Front shoulder

Jing Chor Mah/Cheen Chor Mah - Forward bracing stance

Jing Dok Lop Mah/Jing Gerk Dok Lop Mah - Front single leg stance

Jing Gerk - Front kick

Jing Jeorng - Straight vertical palm strike

Jing Jung - Any strike on the center

Jing Mah/Yee Gee Kim Yeung Mah - Front developmental stance; it is not a stance to fight from

Jing Meen - Facing to the front

Jing Ngour Gerk - Toe up hooking kick or control

Jing Sun - Wing Chun front-on body structure

Jin Kuen - Punches from the pole horse stance

Jit Gerk - Stopping a kick with a kick

Jip Sau - “Controlling the bridge” an arm break

Jiu Chao-Zhao Jiu

Jiu Ching-Zhao Cheng

Jiu Sang-Zhao Song

Jiu Wan-Zhao Yun

Joi Geng - Chasing power

Joi Yin - Following the shadow

Joi Yin Chi Sau - Following the shadow in chi sau; a type of chasing chi sau

Joi Yin Jong - Following the shadow on the floor

Jon Geng/Juun Geng - Drilling power

Jong - Elbow

Jong Dai Lik - Elbow power produced from practicing the punch

Jong Gek - Elbow pushing from behind

Jong Sau - 1) A centerline block or strike contacting with the thumb side of the wrist

2) the general name for the Wing Chun fighting position

Joong-Lo - Mid-level

Joong-Lo Kuen - Mid-section drilling punch

Juen Mah - Turning and circling stance with the pole

Juk Dok Lop Mah/Wang Dok Lop Mah - Side single leg stance

Jung Sin - Centerline or centerline plane

Jung Sum Sin - Vertical mother line

Juun Geng - Drilling power

Jut - Snapping motion

Jut Da - Simultaneous snapping control with one hand and striking with the other

Jut Dao - Snapping the knives sideways

Jut Geng - Snapping power

jut Gerk - Snapping block

Jut Gerk - Snapping kick or block

Jut Sau - Snapping block contacting with the thumb side of the wrist

Kan Wah-Chit (Jian Huajie)-Victor Kan Kau Sau/Kow Sau - Hooking palm control

Keng Geng - Listening power

Kit Gwan / Git Kwan - Opening up or blocking the inside, upper gate with the pole

Kuen - Fist / Punch

8 Families of Wing Chun punches are:


Chair Kuen - Pulling vertical punch


Chaap Kuen - Low punch


Ngoi Faan Kuen - Inside whip punch


Hoi Faan Kuen - Outside whip punch


Doi Gok Kuen - Diagonal punch


Chour Kuen - Hammerfist


Joong-Lo Kuen - Drilling punch


<bTtai Kuen - Raising 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. Kuen To - Any hand form

Kiu - Bridge or forearm

Kiu Li - Distance to the bridge

Kiu Sau - Arm bridge

Koo Sang-Gu Sheng

Koo Siu-Lung-Gu Zhaolong

Kum Na/La - Seizing and Holding; Joint locking techniques

Kum La Chi Sau - Joint locking techniques applied in chi sau

Kung Fu - Effort; Time and energy used to master something or some skill

Kwak Sau - Double spreading huen sau

Kwan/Gwan - Pole

Kwan Jong-Yuen-Guan Juangyuan

Kwan - Rolling

Kwan Dao - Rolling knives

Kwan Mah - Pole stance

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 Block); Also called Ng Fa Sau or Tieing Flowers Hand Kwok Fu-Guo Fu

Kwok Gai-Guo Jia

Kwok Jin-Fen-Guo Junfen

Kwok Sing-Guo Cheng

Kwok Wan-Ping-Guo Yunping

Kwong Din-Hing-Guang Dianqing

Lai - Pulling Hands usually practised double handed within the Biu Jee form of Modern Wing Chun Lai Fook-Shun-Li Fushun

Lai Hip-Chi-Li Xiechi

Lai Yeung-Yin-Li Yangqiao

Lai Ying-Li Ying

Lai Yiu - Waist Pulling Exercise found in Yuen Kay Shan or Pan Nam lineage

Lan - Concept of Wing Chun; To Bar Passage

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 Gwan / Lan Kwan - Horizontal long bridge pole

La Mah - The stable, rooting stance in the pole form

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 coincide with a Horizontal position like in the Yip Man family. 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 to seperate their art for that of others. Lao Dat-Sang-Liu Dasheng

Lao Man-Kay-Liu Minqi

Lao Yip Sueng Dao(Liuye Shuangdao) -Willow leaf double knives

Lau Dao - Twisting the knives inward to block and strike

Lay Wai Chi Sau - Leaving the gap sticky hands

Lee Chi-Yiu-Li Zhiyao Lee Dak-Sang-Liu Desheng

Lee Ding-Li Ding

Lee Jit-Man-Li Zhewen

Lee Man-Li Min

Lee Man-Mao-Li Wenmao

Lee Shing-Li Sheng

Lee Siu-Long (Li Ziaolong)-Bruce Lee

Leung Bak Cheung-Liang Bozhang

Leung Bik-Liang Bi

Leung Bok-Tao-Liang Bochou

Leung Chong-Ting-Liang Cangting

Leung Chun-Liang Chun

Leung Dai-Chiu-Leung Dazhou

Leung Jan-Liang Zan

Leung Jik-Liang Zhi

Leung Kay-Liang Qi

Leung Keung-Liang Quan

Leung Kwok-Keung-Liang Guoqiang

Leung Lan-Kwai-Liang Langui

Leung Sheung-Liang Xiang

Leung Ting-Liang Ting

Leung Yan-Liang En

Leung Yee-Tai-Liang Erdi

Lien Gung - Training Work

Lien Gung Sik - Training Work Forms

Lien Wan - Linked Chain; Linking several movements in a row

Lien Wan Choi - Linked Chain Punching found in all Wing Chun Systems

Lien Wan Fai Jeung(Lianhuan Kuaizhang) -Linked fast palms

Lien Wan Kao Da(Lianhuan Kouda)-Continuous capture hit

Lik - Muscular strength

Lik Do - The correct power

Lin Jip geng - Connecting power or energy

Lin Siu Dai Da - Economy of motion

Lin Wan Kuen - Continuous chain punching

Ling Gung Jau - Muscle liniment

Lin Wai Gurk - Flowing kicks

Liu Yum Gerk(Liaoyinjiao) -Lifting yin kick

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. Loi Kiu(Liqiao)-Double bridges

Look Sau/Luk Sau/Gung Lik Chi Sau - Heavy sticky hands

Lok-Gong-Lu Langong

Lok Yiu-Luo Yao

Lop - Grabbing or Controlling with the palm

Lop Chan Jeong - Simultaneous palm controlling and heel palm strike

Lop Da - Simultaneous controlling and striking ; also refers to a partner exercise

Lop Fok - Grabbing from fok sau position

Lop Sau - Grabbing hand control; also refers to a partner exercise

Lop Sau Chi Sau - Lop Sau in sticky hands

Lou Gwan/Low Gwan - The half point pole technique; a short thrust

Luk Dim Boon Gwun(Liudianbangun)-Six and a half point pole

Luk Sau(Lushou)-Rolling hands

Lui Yiu-Chai-Lei Ruji

Lun Fao-Lun Huo

Lung Ying Kuen(Longxingquan)-Dragon shape boxing

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

Mah Bo Lop Sau - Stepping horse grabbing hand Ma Jung-Yiu-Ma Zhongru

Ma Ning-Yee-Ma Ninger

Mah - Horse / Stance

Mah Bo - Moving stances / Stepping Horse

Mah Bo Chi Sau - Moving sticking hands

”Mai Gai”Wong(“Mi Ji”Huang)-“Rice Machine” Wong.

Mai Jong - The correct elbow position with the elbow inward on the elbow line

Mai Jong - Closing the gap

Mai Sang Jong(Maishengzhuang)-Live dummy

Malaysia Wing Chun Kuen(Malaixiya Yongchunquan)-Malaysian Always Spring Boxing.

Man - “to ask”

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

Man Sau Chi Sau - Asking hand within sticky hands

Mei Lui Chuen Jaam(Meinu Chuanzhen)-Fair lady threads needle.

Miu Hin-Miao Xian

Miu Shun-Miao Shun

Miu Tsui-Fa-Miu Jiahua

Mo Kiu Chi Sau - Walking on the bridge sticky hands

Mo See - Traditional lion dance

Mo Sut (Wushu)-Martial arts

Mo Yieng Gerk (Wuyingjiao)-Shadowless kick

Mok Lik - Eye power with emotion

Mok Jong or Mok Yan Jong - Wooden dummy also the name for the wooden dummy form

Mok Poi-On-Mo Peian

Mor Poon Seung Dao(Mopan Shuangdao)-Millstone double knife

Moon/Mun - Gate or door

Moy Yat-Mei Yi

Mui Fa Baat Gwa (Meihua Bagua)-Plum blossom eight trigrams

Mui Fa Cheung(Meihuaqiang)-Plum blossom spear

Mui Fa Jong - Plum blossom posts and the name for the exercise of practicing on the posts

Mui Fa Kuen (Meihuaquan)-Plum flower boxing

Muk Yan Jong (Murenzhuang)-Wooden dummy

”Muk Yan” Wah-“Muren Hua”

Mun Sau (Wenshou)-Asking hand

Nam Yeung Wing Chun Kuen (Nanyang Yongchunquan)- Southeast asian wing chun boxing. Ng’An Geng/Ng’On Geng - Elastic power

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

Ng Mui Pai (Wumeipai)- Five plum’s style

Ng Mui Si Tai (Wu Mei Shitai)-Five Plums,nun

Ng’On Geng or ng’an geng - Elastic power

Ng Siu-Lo (Wu Xiaolu)

Ng Yat-Fei (Wu Yifei)

Ng Ying Hei Gung (Wuxing qigong)- Five shape (animal) qigong

Ng Ying Kuen (Wuxingquan)- Five shape boxing

Ngo Lui-Kay (Ao Leiqi)

Ngoi - Inside

Ngoi Bok - Inside shoulder

Ngoi Dap (Waida)- Outside join

Ngoi Faan Kuen - Inside whip punch

Ngoi Gaan Sau - An inward low sweeping block

Ngoi Geng - Internal power

Ngoi Gung - Internal chi exercises for fighting applications

Ngoi Hurn - Inside facing stance

Ngoi Jaam Sau - Inside jaam sau

Ngoi Jong (Waizhuang)- Outside dummy

Ngoi Jung Sin - Inside line

Ngoi Kwan Sau - Inside rolling hands

Ngoi Lim Sau (Wailianshou)- Outside sickle hand

Ngoi Lop (wailie)- Outside grasp

Ngoi Moon Kuen - Inside gate diagonal punch

Ngoi Moon Chi Sau - Inside gate (position) chi sau

Ngoi Ngau gerk - Inside leg hook

Ngok Ga Kuen (Yuejiaquan)- Ngok family boxing

Ngou Sau - Pushing and drilling while moving in chi sau

Noi Dap (Neida)- Inside join

Noi Jong (Neizhuang)- Inside dummy

Noi Lim Sau (Neilianshou)- Inside sickle hand

Noi Lop (Neilie)- Inside grasp

Oi/Hoi - An alternative spelling for “outside”

Pai Jang (Pizhou)- Hacking elbows Pai Jarn - Horizontal inward elbow strike

Pak Da - Simultaneous pushing palm block and punch

Pak Dao - Catching knives block

Pak Gerk - Inside kick with the sole of the foot with the knee bent

Pak Sau - Slapping palm block or strike

Pak Sut - Inward knee block or strike

Pan Nam (Peng Nan)

Pan Siu-Cho (Peng Shuhan)

Pan Siu-Lam (Peng Shulin)

”Pao Fa Lien” (Paohua Lian)-Wood-Planer Lien

Pau Jeung - Flat palm strike with the fingers pointing down. This is applied to the lower body

Pau Sau - Lifting palm block

Ping - Level bridge, found in Kulo Village Wing Chun

Ping Kuen - Level Boxing form found in Fukien Weng Chun Kung Fu

Ping Haan Geng - Balancing or equalizing power

Pin Sun - Also Pian San; Pien Sin; side turning body structure or position; Flanking position

Po Bai/Po Pai - Double butterfly palm strike

Poon Sau - Regular sticky hand motion

Por Jung - All techniques that control and “break” the centerline

Por Si Gan - Breaking timing

Pun Doon - Determination in a fight

Sa Bau - The wall bag Sam Gung Ma/Sip Ma - 3 angle stance

San Sau - Slow attack exercise

San Sau Chi Sau - Slow attacks in sticky hands

Sat Gwan - Opening the lower gate to inside or outside with the pole

Sau - Hand or arm

Sau Gwan - Retreating the pole

Sau Jong - Retracting elbow strike or block

Sau Sik/Sau Sic - Closing position in the forms

Sau Wuun Geng - Equalizing the point and power; wrist power

Say Bo - Retreat and step back stance to deflect in the knife form

Say-I Kuen - Shooting punch

Say-I Moon - Dead gate

Say Ping Mah - Low horse stance for pole

Seng Yum Geng - Sound power to emotionally trap an opponent

Seung - Double or advancing

Seung Bok - Shoulder attacks

Seung Chi Sau - Double sticky hands exercise

Seung Dai Bong - Double low forearm block

Seung Heun Sau - Double circling block

Seung Jut Sau - Double snapping block

Seung Kuen - Double punch

Seung Mah - Front advancing stance

Seung Pau Sau - Double upward palm block

Seung Tan Sau - Double palm up block

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

Seung Yan Man Sau - Man sau with three people

Si Bok - Your teacher’s Si-Hing

Si Dai - A male classmate who joined a school after you

Si Fu - Your teacher can be either male or female

Si Gan - Timing


Chong Jou Si Gan - Creating


Si Gan Sing - Regular


Tor Chi Si Gan - Delayed


Por Si Gan - Breaking


Si Gan Sing - Regular timing

Si Gan Pui Hop - The correct timing and power

Si Gung - Your teacher’s teacher

Si Hing - A male classmate who joined the school before you

Si Jay - A female classmate who joined the school before you

Si Jo - An ancestor within the system

Si Mah - Deflecting stance that braces the pole

Si Mo - Your teacher’s wife

Si Sook/Si Suk - Your teacher’s classmates who started after him



Fong Sau Sin Wai - Blocking line


Gung Gek Sin Wai - Attacking line


Hoi Jung Sin - Outside line


Jung Sin - Centerline


Jung Sum Sin - Vertical motherline


Ngoi Jung Sin - Inside line


Wang Jung Sin - Horizontal motherline

Sing Geng - Raising power to destroy the opponent’s structure

Sip Mah/Sam Gung Mah - 3 angle stance

Siu Geng - Dissolving power

Siu Lim Tau - “Small idea form” the first wing chun form

Soang Jong/Wang Jong - Outward horizontal elbow

Soo Gerk - Sweeping kick

Soor Jung - Sinking elbow down to control the centerline so the opponent cannot move you

Sor Sau Chi Sau - Trapping sticky hands

Soung Moon - Live gate

Sum Jee (Cen Zhi)

Sum Nung (Cen Neng)

Sum Qwang - 3 joints in the arm equivalent to the 3 gates to pass

Sun Fook-Chung (Sun Fucheng

Sun Wah (Xin Hua)

Sun Ying - Body structur

Sup Jee Sau ; sup gee sau - Character “10hand / Character “+” hand

Sut - Knee

Taan Gwan - Snapping the pole sideways Tai - Raising

Tai / Dang sut - Raising knee block or attack

Tai Gerk - Raising kick

Tai Gwan - Raising pole

Tai Jong or hay jong - Raising elbow

Tai Kuen - Raising punch

Tak Gerk - Low instep kick

Tam Yeung (Tan Yang)

Tan Da - Simultaneous palm up block and punch

Tan Da Gaan Da - Simultaneous blocking and attacking exercise

Tan Dao - Locking knife block

Tan Gerk - Forward and upward leg block

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) Tan Sut - Outward knee block or attack

Tang Geng - A rubber- band like power

Teut Sau / Tut sau - Freeing arm block

Tien Dei Wui (Tiandihui)-Heaven and Earth Society

Tiet Jee - Iron Fingers

Tiet Kiu Sau - Iron bridge

Tik Gwan - Opening the upper gate with the pole

Tiu Dao - Snapping up knife

Tiu Gwan / Tiu kwan - Snapping up pole

Tiu Gerk - Instep kick

Tiu / Tio Gerk - Jumping kick

To Gwan or to kwan - Going forward with the pole

Toi Dit - Take downs

Toi Dit Chi Sau - Takedowns in chi sau

Toi Ma - Step back and turn stance

Tok Sau/Pau Sau - Lifting palm block

Tong Do - Slicing knife attack

Tor Chi Si Gan - Delayed timing

Tor Ma - Step slide stance

Tou Geng - Power that “spits out” or bounces the opponent away

Tou Mah - Advancing forward stance in the pole

Tse Gwok-Cheung (Xie Guozhang)

Tse Gwok-Leung (Xie Guoliang)

Tsui Seung-Tin (Xu Shangtian)

Tui Mah - Jumping stance

Tun Geng -“Swallowing” or sucking power to duck or control attacks

Tun Gwan/Tun Kwan - Retracting pole

Tung Mah - Retreating jumping stance in the pole form

Wai Ji - A good position Wan Bo - Crossing step stance in the knife form

Wan Dao - Circling knife attack

Wan Mah - Step and circle into other stances in the pole

Wan Yuk-Sang (Wei Yusheng)

Wang/Wan - Side

Wang Gerk - Side kick

Wang Gerk Dok Lop Ma - Side kick single leg stance

Wang Jeong - Side of palm strike with the palm down

Wang Jong/Pai Jong - Inside horizontal elbow

Wang Jung Sin - Horizontal motherline

Wing Chun Tong - Wing Chun school

”Wing Chun Wong” (Yongchunwang)King of Wing Chun

Won/Huen Gwan /Kwan - Following circle with the pole

Wong Jee-Keung (Huang Zhiqiang)

Wong Jing (Huang Zhen)

Wong Kiu (Wang Qiao)

Wong “Lao Fu” (Wang “Laohu”)-“Old Tiger” Wong

Wong Ming (Wang Ming)

Wong Shun-Leung (Huang Chunliang)

Wong Ting (Wang Ting)

Wong Wah-Bo (Huang Huabao)

Wong Wah-Sum (Huang Huasan)

Woot Mah - Flexible pole stance

Wu Dao - A strike with the knife hand guard

Wu Gerk - Blade edge of the foot block or strike

Wu Sau - Guard hand block contacting with the little finger side of the wrist

Wu Yi Sun - To return the body to a normal position

Wu Yi Ying - To regain the body structure

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

Wun Geng,Ngon Geng,Jut Geng - Jerking power

Yaai Hau Gerk - To attack by stepping down on the opponent’s rear leg Yaai Sut - To attack down with the knee

Yaan Geng / Daai Geng - Guiding power

Yap Jung Lou - Closing the gap

Yat Chum Dai Si (Yi Chen Dashi)-“Speck of dust”,monk

Yat Chum Um Jee (Yi Chen Anzhu)”Speck of Dust”, founder of convent

Yat Jee Chung Choi - Character “Yat”/one/sun hammer punch

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 horse and white crane Yee “Gung” (Yan “Gong”)-“Grandfather” Yee

Yeung Biu (Yang Biao)-Robert Young

Yeung Dak (Yang De)

Yeung Sang (Yang Sheng)

Yik Gang - Reverse tendon twisting

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 Chai-Wan (Ruan Jiyun)

Yuen Kay-San (Ruan Qishan)

Yuen Kay Shan - A Wing chun master, who’s 2nd sifu, Fung Siu Ching was a student on the Red

Boats. Yuen “Lo-Jia” (Ruan “Laozha”)-Yuen “The Fifth”

Yik Ying (Yi Ying)

Yim Man (Yan Wen)

Yim Wing-Chun (Yan Yongchun)

Yim Yee (Yan Er)

Yim Sei (Yan Si)

Yin Li-Chung (Xian Lizhang)

Yiu Lik - Waist Power

Yip Ching (Ye Zheng)

Yip Chun (Ye Zhun)

Yip Kam (Ye Jin)

Yip Kin (Ye Jian)

Yip Man - The late grandmaster of Hong Kong Wing Chun system

Yip Man (Ye Wen)

Yip Man-Sun (Ye Mingshen)

Yiu Chui (Yao Cai)