are mentioned in both manuals are Cheng Jingtao and Hu Wojiang; compare Quan
jing, Quan fa beiyao, preface 1a; and Xuanji mishou, 1.3a. The latter manual alludes
also to another military expert, Chen Songquan, who, Zhang Ming’e explains, was
his teacher; see Xuanji mishou, preface 2a.
- Compare Quan jing, Quan fa beiyao, 2.4a, 2.15a; and Xuanji mishou, illustra-
tions 1.1a, 1.4a. - See Tang Hao and Gu Liuxin, Taijiquan yanjiu, p. 15; and Matsuda Ryûchi,
Zhongguo wushu shilüe, pp. 34–35, 57–60. - See Shaolin quanshu mijue, p. 259, and Tang Hao, Shaolin quanshu mijue kao-
zheng, pp. 70–74, 99–138. The Shaolin quanshu mijue refers to Hongquan as Wuquan. - Quan jing, Quan fa beiyao, 1.1a. This is largely Douglas Wile’s translation of
the Qi Jiguang’s passage that had served as the Quan jing, Quan fa beiyao’s source;
see Wile, T’ai Chi’s Ancestors, pp. 18–19. - In Qi Jiguang, Jixiao xinshu: shiba juan ben, 14.227–229; Wile, T’ai Chi’s An-
cestors, pp. 18–19. - Ming period lore attributed to Song Taizu also staff techniques, in which the
historical emperor might have been versed; see Ma Mingda, Shuo jian cong gao, pp. 77– - On contemporary Song Taizu practice, see Kash, “The Original Emperor’s Long
Fist System.”
1 2. The stele is titled “Chongxiu Hengcuiting ji” (“Record of the suspended-
emerald pavilion’s reconstruction”). The 1677 Stupa Inscription of Shaolin’s abbot
Ningran Gaigong (“Ningran Gaigong taming beiji”) alludes to Xuanji specifically
as a “fighting monk” (wu seng). However, it writes his name xuan with the metal rad-
ical. I am grateful to A’de for both transcriptions. - Compare Quan jing, Quan fa beiyao, 1.2b; and Xuanji mishou, 1.16a–b.
- Quan jing, Quan fa beiyao, 1.10b –13a.
- Xuanji mishou, 1.11b–12a.
- See Qi Jiguang, Jixiao xinshu: shiba juan ben, 14.229; He Liangchen, Zhenji,
2.26; Cheng Zongyou, Shaolin gunfa, 3.11a; and Tang Shunzhi, Wu bian, qianji,
5.37b. See also “duanda” in Zhongguo wushu baike quanshu, p. 171. - See Watson, The Complete Works of Chuang Tzu, 3.50–51.
- Xuanji mishou, 1.3b.
1 9. See Shou-Yu Liang and Wen-Ching Wu, Kung Fu Elements, p. 363. - Xuanji mishou, 1.1a–b; where the terms are still being used, I consulted
Shou-Yu Liang and Wen-Ching Wu, Kung Fu Elements. - See Strickmann, Mantras et mandarins.
- Compare Quan jing, Quan fa beiyao 1.29a–31a; and Xuanji mishou, 1.10b –
11b. See also “zui quan,” in Zhongguo wushu baike quanshu, pp. 131–132. - See Study of the Hong Kong Martial Arts Film, p. 216.
- Quan jing, Quan fa beiyao, 1.16b; compare Xuanji mishou, 1.9b.
- Matsuda Ryûchi, Zhongguo wushu shilüe, p. 127.
- See Matsuda Ryûchi, Zhongguo wushu shilüe, pp. 123 –125. See also “Yanqing
quan,” in Zhongguo wushu baike quanshu, pp. 122–123; and Lee, “The Real Fists of
Fury: The Artists and Artistry of Mizong Quan.”
224 Notes to Pages 115–122