Bafaquan (Eight Methods Fist)
It was developed by Li De Mao during the Qing dynasty. He combined the techniques of Fanziquan, Paochui, Tantui, Tongbeiquan and Xingyiquan into a new style based on the theory of eight methods. The eight methods are: outer trap, inner trap and stab, flick, support, shake, chop and reel. This style includes both single forms, pair training, as well as weapon training such as spear, saber and sword. Eight Methods Big Spear (Da Qiang), also known as the Big Pole, is a specialty of this style. This technique first appeared in 1906, just before the Revolution of 1911. It combines the methods of the Yue-family spear, Pear-flower Spear and Liuhe Spear with principles of the eight methods. It is also design to work on foot or on horse back.
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Baguazhang (Changing Palm)
 Is one of the three main Chinese martial arts of the Wudang school, the other two being Taijiquan and Xing Yi Quan. It is more broadly grouped as an internal practice. Baguazhang makes reference to the trigrams of the I Ching (Yijing), one of the canons of Taoism. The creation of Baguazhang, as a formalised martial art, is attributed to Dong Haichuan, who is said to have learned from Taoist and Buddhist masters in the mountains of rural China during the early 19th century.
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Bak Mei Quan (White Eyebrow Fist)
Bak Mei is said to have been one of the legendary Five Elders, survivors of the destruction of the Shaolin Monastery by the Qing Dynasty (1644–1912) who, according to some accounts, betrayed Shaolin to the imperial government. He shares his name with this Southern Chinese martial art attributed to him. It is characterized by its emphasis on powerful close range hand strikes. Within Bak Mei can be found the four principles of Fou (Float), Chum (Sink), Tun (Swallow), and Tou (Spit) common in the Southern Chinese martial arts. Unique to Bak Mei is its classification of the following 6 powers: biu (thrusting), chum (sinking), tan (springing), fa (neutralizing), tung, and chuk. Bak Mei emphasizes the movements of the tiger.
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Bai He Quan (Fujian White Crane Fist)
Is a Southern Chinese martial art that originated in the Fujian province. According to oral tradition, the style was developed by Fang Qiniang, a female martial artist. It is associated with traditional fighting techniques, including long range, but is most similar to close-quarter or hand-to-hand combat. It is most recognizable by the way the fighter imitates a bird’s pecking or flapping of wings. While some white crane styles make use of traditional weapons, others have discontinued the use of weaponry. Fujian White Crane is a type of Shaolin Boxing that imitates characteristics of the white Crane. An entire system of fighting was developed from observing the crane’s movements, methods of attack and spirit. It is one of the six well-known schools of Shaolin Boxing. The legend of the white crane: Qiniang and her father lived in Fujian province, where many cranes live. Qiniang’s father knew the Southern Chinese martial arts and taught them to his daughter. One day, while Qiniang was doing her chores, a crane landed nearby. Qiniang tried to scare the bird off using a stick and the skills she had learned from her father, but whatever she did, the crane would counter. Qiniang tried to hit the crane on the head, but the bird moved its head out of the way and blocked the stick with its wings. Qiniang tried to hit the crane’s wings, but the crane stepped to the side and blocked the stick with its claws. Qiniang tried to poke the crane’s body, but the crane dodged backwards and struck the stick with its beak. From then on, Qiniang carefully studied the crane’s movements. She combined these movements with techniques learned from her father, ultimately creating the White Crane Style of the Fujian province. Fujian White Crane is one of the constituent styles of Five Ancestors, who, in addition to various styles of Karate-Do (notably Goju-Ryu, Chito-Ryu and Uechi-Ryu), use the routine San Chian. San Chian is best known by the Japanese pronunciation of its name, Sanchin.
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Bai He Pai (Tibetan White Crane)
While today this martial art is known as Lama Pai, and Hop Gar; and also exist as relatively distinct lineages and/or organizations, all originated with a single figure known as Sing Lung who arrived in Guangdong Province during the Qing Dynasty and taught a martial art then known as Lion’s Roar.
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Bajiquan (Eight Extremities Fist)
Is a Chinese martial art that features explosive, short-range power and is famous for its elbow and shoulder strikes. It originated in the Hebei Province in Northern China, but spread to Taiwan and other places. Its full name is Kai Men Baji Quan (Open Gate Eight Extremities Fist). Bajiquan was originally called Baziquan (Rake Fist) because the fists, held loosely and slightly open, are used to strike downwards in a rake-like fashion.
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Baoquan (Leopard Fist)
Is one of the main Five Animal styles. It was supposedly created by Jue Yuan with help from Bai Yufeng and Li Sou. The emphasis of leopard is speed and angular attack. The leopard does not overwhelm or rely on strength, as does the tiger, but instead relies on speed and outsmarting its opponent. The power of the style derives from its aggressive speed. The leopard practitioner will focus on elbows, knees, low kicks, and leopard punches. Leopard Kung-Fu is a hit, damage and run style designed to overcome superior forces with inferior resources. Counter attacks are sudden, indirect and short, with the aim of landing a debilitating technique. The goals of Leopard style are to: develop muscle speed for external strength, teach patience, and use the leopard punch for penetration and lower body springing power.
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Bayingquan (Eight Shadows Fist)
It is the current generation of the Ma styles, passed to Neil Andrew Ripski from Ma Qing Long, now deceased. Mastery of Bayingquan is achieved through learning each of the eight core systems and how to switch between them seamlessly. The eight core systems of Bayingquan are: Wing Chun, Northern Mantis Fist, 18 Luohan Palms, Drunken Fist, Chen style Taijiquan, Long Fist, Xingyiquan and Hungry Tiger Fist.
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Bei Shaolin (Northern Shaolin)
Refers to the external martial arts of Northern China referring to those styles from the Northern Shaolin Monastery in Henan. At its most specific, Northern Shaolin refers to a style called Northern Shaolin Boxing School, disseminated by Gu Yu-jeung (1894–1952; also known as Ku Yu-cheung or, in Pinyin, Gu Ruzhang). The Northern Shaolin style is one of the most prominent traditional northern styles of Chinese martial arts. The northern styles of Kung-Fu generally emphasize long range techniques, quick advances and retreats, wide stances, kicking and leaping techniques, whirling circular blocks, quickness, agility, and aggressive attacks.
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Caijiaquan (Choy Family Fist)
Also known as Choy Gar, is a martial art deriving its name from the Cantonese-born founder, Choy Gau Lee (Choy Tsing Hung) and is one of the five main family styles of Kung-Fu in Southern China. It was taught to him by a monk named, Yi Guan. This style that was founded in the 17th century as a combination of rat and snake styles emphasizing on swift footwork and rapid strikes. The body and arms are meant to resemble the quick attacking movements of the snake. Unlike the Northern Shaolin Kung-Fu styles which have wider, more open techniques, Choy Gar’s short and swift movements are better suited for the crowded alleys and streets of densely populated Southern China. The low stance and power in the techniques will in time develop an inner strength within the practitioner. This is the basic foundation for creating effective movements, abilities and actions of the body.
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Cai Li Fo (Choy Li Fut)
It was founded in 1836 by Chan Heung. Choy Li Fut was named to honor the Buddhist monk Choy Fook who taught him Choy Gar, and Li Yau-San who taught him Li Gar, plus his uncle Chan Yuen-Wu, who taught him Fut Gar, and developed to honor the Buddha and the Shaolin roots of the system. The system combines the martial arts techniques from various Northern and Southern Chinese Kung-Fu systems; the powerful arm and hand techniques from the Shaolin animal forms from the South, combined with the extended, circular movements, twisting body, and agile footwork that characterizes Northern China’s martial arts. It contains a wide variety of techniques, including long and short range punches, kicks, sweeps and take downs, pressure point attacks, joint locks, and grappling.
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Chaquan (Zha Shangyi Fist)
Is a martial art that features graceful movements and some acrobatic aerial maneuvers. Chaquan falls under the classification Changquan (Long Fist), a general term for external Northern Chinese martial arts, which are known for their extended, long movements. Sha Da Chuan founded the art by developing it from his teacher, Wang Yue Qun’s Tai Chi Yuan Gong style. Later Xu Yi Qian learn the Tai Chi Yuan Gong of Sha Da Chuan’s lineage from Li Xue Qun by further adding more movements into the art. Then it was named Chuan Na Cha Quan, and later changed to Chuan Na Quan but the system is basically Chaquan. It is a system that has 6 main weapons (staff, saber, sword, spear, kwan dao, hook swords). It emphasizes long range movements and stances combined with speed and power.
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Chuojiao (Poking Foot)
It comprises many jumps, kicks, and fast fist sequences. The fist and feet work in unison and strike continuously forward, like “falling meteorites”, never giving the opponent a moment to recover. This style is practiced mainly in central Hebei, Northern China, Beijing and Liaoning in North-eastern China. Chuojiao originated in the Northern Song Dynasty (960–1127) and became popular during the Ming and Qing Dynasties (1368–1911). It is attributed to Deng Liang, who is said to have created the style on the basis of the 18 basic feet plays. He developed the basics according to calculations of the Chinese abacus to form a chain of feet plays incorporating 108 techniques. According to the legend, he later taught the monk Zhou Tong the style, who later passed it on to his pupil General Yue Fei.
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Ditangquan (Ground Tumbling Fist)
Originated in the Shandong Province of China during the Song Dynasty (960–1279). According to the Quanzhou Ditangquan Fa style, a Dishuquan practitioner monk by the name of Hui Kai, a fellow of Sui Yue (also a Dishuquan practitioner) from the White Lotus temple, taught the art of Ditangquan Fa (Ground sequences Canine Methods) to Zheng Yishan. Zheng Yishan taught very few students but the main proponent of the art was Zhuang Zishen. The major characteristic of Ditangquan is the ability to perform tumbles, falls, turns, leg skills, somersaults and aerial acrobatics using those techniques for both offense and defense.
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Duanquan (Short-Range Fist)
Is a form of Kung-Fu practiced primarily in the Hebei Province of China. It is a short-range style created specifically for combat. The founder of this art is unknown except that it evolved more than four hundred years ago. A highly-dynamic and combat-oriented martial art, Duanquan focuses on short and compact routines, low stances, and quick movements. Students are taught to be highly mobile, in order to keep the opponent disoriented and unable to attack. Low stances and small but quick movements are major features of this style. The arms and legs are bent slightly. They also use simple and sudden moves and the techniques are executed smartly, wasting no energy. By practicing Duanquan, students improve their physique as well as sharpen their instincts and skills in close-range combat. Movements are well connected and fist techniques follow in quick succession often with sudden changes. Practitioners of Duanquan rarely jump or leap. The Duanquan fighter moves around to avoid the opponent’s attack and then moves in close to deliver multiple counter-attacks.
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Emeiquan (Emei Fist)
Mount Emei, in Sichuan Province is one of the major “Martial Mountains”, known for its swiftness and flexibility. A wide range of Kung-Fu styles have originated from this place. Since the Emei mountain is renowned for its abundant wildlife, Emeiquan is famous for its animal styles, most particularly monkey style and its unique Southern style. Emeiquan combines both internal (from Wudangquan, Xingyiquan, Baguazhang and Tai Chi) and external (from Nanquan) practices. Low stable stances with little hopping are characteristic of this style. Jumps are executed very lightly and quickly and its movements are very diverse. Many of its most effective techniques are derived from the use of the wrist.
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Fanziquan (Rotating Fist)
It emphasizes offense and defense with the hands. Its movements have been described as: Two fists are fast like the falling rain drops, and fast like a snapping whip. Fanziquan routines are usually quite short and very fast. It is a source of many other modern styles like Eagle Claw. Until at least the Ming Dynasty (1368–1644), Fanziquan was known as Bashanfan (8 flash/evasive tumbles), and is attributed to General Qi Jiguang. Whereas in the Qing Dynasty this style was known as Bafanmen (8 Rotations School).
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Feng Shou (Wind Hand)
It is a style associated with Taoist Arts of the Lee-style as taught by Chee Soo. Feng Shou is a soft or internal style so the techniques are relaxed and generally involved circular motion with no blocking. The techniques are designed to use Jin (snap out without preparation, completely relaxed and impacting with greater force) rather than Li (muscle power).
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Fojiaquan (Buddhist Family Fist)
Also known as Fut Gar Kuen, is a relatively modern Southern Shaolin style of Kung-Fu devised primarily from the combination of Hung Ga Kuen and Choy Gar Kuen. The style utilizes mostly punches, palm strikes and low kicks, further characterized by evasive footwork, circular blocks and using the opponent’s force against him/her. One style that was formally founded using the name of “Fut Gar” has its origins at Qingyun temple near Dinghu Mountain in Guangdong Province. Early on in its history, the monks at this temple were fortunate enough to learn martial arts from fighters that had mastered the 5 most popular systems of Southern Kung-Fu. These styles were Lau Gar, Lei Gar, Mok Gar, Choy Gar, and Hung Gar. The names of the styles reflect the surname of the particular style’s founder. A monk named Leung Tin Jiu realized the value of incorporating different schools or styles together and took only the best techniques of each style and discarded what he thought was useless or ineffective. A combination of mostly Choy Gar from Leung Siu Jong and Hung Gar from Yao Loon Kwong, became Sil Lum Fut Gar (Shaolin Buddhist Family).
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Heihuquan (Black Tiger Fist)
Is a Northern style originating in Shandong Province. There is also another Black Tiger Fist style originated from Gansu, China near the borders of Mongolia. The traditional lineage of the system begins with master Wang Zhenyuan in the late nineteenth-century; but the style was originally formed at the Shaolin Henan Temple before being transferred to Wang. The Black Tiger style is characterised by its extensive footwork, acrobatic kicks, low, wide stances, and unique fist position (where the thumb is curled in the same manner as the other fingers, rather than wrapped around them). According to the Shaolin grandmasters, the style is the single most external style in the Shaolin canon; the longer the stylist practices, however, the more she or he comes to rely solely on internal power. In this aspect it is similar to Northern Praying Mantis.

Hongfoquan (Hong and Buddhist Fist)
Also known as Hung Fut, is a Southern style, first developed in the early 1800s by Lei Jou Fun. Hung Fut is considered to be a hybrid system. Its philosophies are a mixture of two martial art systems: the powerful, hard style of Hung Gar with the flowing, soft style of Fut Gar forms that develop body coordination. Hung Fut is a combat method that uses economy of movement in order to achieve efficiency. Its strategies are to try to throw the opponent into an awkward position that makes defense difficult and counterattack unlikely. There is no need to keep contact with an opponent, as the system uses interchangeable and flexible movements. The system also includes techniques from Fut Jeung which is thought to be a Shaolin Buddhist method, and ten animal styles (snake, tiger, leopard, lion, eagle, crane, monkey, elephant, horse and dragon), as well as “8 Drunken Immortal” forms (based on the personality traits of the 8 heavenly deities of Chinese traditional religion), “4 Afflictions/Cripples” forms (a deceptive mimicry of one who is crippled) and a left-handed form (based on the legend of a famous general fighting while holding the infant son of a Chinese emperor).
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Hongjiaquan (Hong Society Fist)
Also known as Hung Ga Kuen, is a Southern Shaolin style associated with the Cantonese folk hero Wong Fei Hung, who was a master of Hung Ga. The hallmarks of the Wong Fei-Hung lineage of Hung Ga are deep low stances, notably its horse stance, and strong hand techniques, notably the bridge hand and its versatile tiger claw. Hung Ga’s earliest beginnings have been traced to the 17th century in Southern China. More specifically, legend has it that a Shaolin monk by the name of Gee Seen Sim See was at the heart of Hung Ga’s emergence. See was alive during a time of fighting in the Qing Dynasty. He practiced the arts during an era when the Shaolin Temple had become a refuge for those that opposed the ruling class (the Manchus), allowing him to practice in semi-secrecy.
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Houquan (Monkey Fist)
This style utilizes ape or monkey-like movements as part of its technique. Traditional Houquan as taught in Mainland China includes running on both hands and feet, various difficult acrobatic movements such as flipping sideways in the air, front flips, back flips, back handsprings, hand stands, walking on the hands, forward lunges/dives, backward lunges, spinning on the butt, spinning on the back and many kicks and strikes. Most of the attacks are aimed at the knees, groin area, throat or eyes of the opponent and hand strikes are normally either open handed slaps or clawing with a semi-closed fist called the monkey claw. A wide array of facial monkey expressions are also practiced, inclusive of happiness, anger, fear, fright, confusion and bewilderment. Except for very brief periods, most movements inclusive of running are executed from either a squatting or semi-squatting position and are normally accompanied by very swift and ‘jerky’ head movements as the practitioner nervously looks around. The monkey staff, or Hou Gun, is one of this style’s specialty weapons.
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Huaquan (Hua Fist)
Is a style of Long Fist Kung-Fu (Changquan) which is believed to have originated in the Former Song Dynasty (420–479 AD) around the Hua Shan (Hua Mountain) area of Shaanxi Province. Huaquan is characterized by its smooth, well-connected movements. Its techniques are executed “like a fast burst of wind” and its flawless stances are “as rooted as the pine tree”. Huaquan practitioners breath deeply to spread air flows throughout the body, to develop external/internal strength and energy for fighting.
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Huxingquan (Tiger Claw Fist)
Also known as Fu Jow Pai, is a style that has its origins in Hoy Hong Temple. The system “was modeled after the demeanor and fighting strategy of an attacking tiger”. The striking movements are lightning fast, agile and powerful. Techniques unique to Fu Jow Pai are ripping, tearing, clawing and grasping applications.
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Jeet Kune Do (Way of the Intercepting Fist)
It is a hybrid philosophy of martial arts heavily influenced by the personal philosophy and experiences of martial artist Bruce Lee. Lee, who founded the system on July 9, 1969, referred to it as “non-classical”, suggesting that Jeet Kune Do is a form of Chinese Kung-Fu, yet without form. Unlike more traditional martial arts, Jeet Kune Do is not fixed or patterned, and is a philosophy with guiding thoughts. It was named for the Wing Chun concept of interception or attacking while one’s opponent is about to attack. Jeet Kune Do practitioners believe in minimal movement with maximum effect. On January 10, 1996, the Bruce Lee Foundation decided to use the name Jun Fan Jeet Kune Do (振藩截拳道) to refer to the martial arts system which Lee founded; “Jun Fan” being Lee’s Chinese given name.
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Jing Wu Men (Chin Woo System)
Is an international martial arts organisation founded in Shanghai, China, on July 7, 1910, but some sources cite dates in 1909. It has at least 59 branches based in 22 or more countries worldwide, where it is usually known as an “athletic association” or “federation”. Many sources, including the official websites of its branches in various countries, claim that Jing Wu was founded by the martial artist Huo Yuanjia, who died not long after its establishment. As one of the first public martial arts institutes in China, Jing Wu was intended to create a structured environment for teaching and learning martial arts as opposed to the secretive training that had been common in the past. The founders of Jing Wu felt that the association would keep alive traditions that secrecy and social change would otherwise doom.
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Kunlunquan (Kunlun Fist)
Is a style popular in the province of Guangdong, on the Kunlun Mountain. It was officially included among the styles Nanquan, but originated in northern China.
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Lama Pai (Lion’s Roar)
The original Lion’s Roar system is attributed to a monk named Ah Dat-Ta, also sometimes known as the “Dai Dat Lama”. Ah Dat-Ta was born in 1426 and was a member of a nomadic tribe that traveled throughout Tibet and Qinghai. He was an active young man who practiced horsemanship, wrestling (Shuai-Jiao) and a special type of joint-locking art. After being ordained as a monk in Tibet, he also learned a martial art that was apparently Indian in origin. For several years Ah Dat-Ta retreated to the mountains to live in seclusion, studying Buddhist texts and practicing meditation. He also hoped to improve his martial art skill. One day Ah Dat-Ta’s meditation was disturbed by a loud sound. He left the cave he had been meditating in to investigate and found an ape trying to capture a crane. He was astonished. Despite the ape’s great size and strength, the crane eluded the great swings and pecked at soft, vital points. Ah Dat-Ta was inspired to create a new martial art. Ah Dat-Ta created a system that mimicked the deft evasion and vital point striking of the white crane and the ape’s powerful swings and grabbing techniques. It was based upon the number eight, an important number in Chinese cosmology and numerology.
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Li Jia Quan (Li Family Fist)
Is commonly known as one of the five famous family styles of Southern Chinese martial arts. The Li family is originally from Lanzhou in the Gansu province of China. Li Jia Quan is a blending of the Hard Stable Southern Fist and the Quick Agility of the Northern School. The style is most famous for its Long Staff and Leg Skills.
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Lai Tung Pai (Coiling Fist)
Also known as Panquan or Poon Kuen, is a martial art coming from the Sil Lum (Mandarin Shaolin) tradition in the Guangdong providence of China. The art was developed at the Henan Sil Lum Temple and then was moved to the Hoi Tung Temple in Kwangtung when the former was burned down during the Ching Dynasty. The dates are not certain, as the only living person, Kong Hoi (surname given first as in Chinese tradition), studied at the Hoi Tung Temple in the early 20th century, but it is believed the style originated in the early 1600s. Grandmaster Kong is a member of the Hong Kong Chinese Martial Art Association, now named the Hong Kong Chinese Martial Arts Dragon and Lion Dancing Association Ltd. Lai Tung Pai also teaches and performs the traditional Lion Dance and the Dragon Dance.
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Liu Xiang Quan Dao (Liu Xiang Fist Methodology)
Also known as Liu Seong Kuntao, is a hybrid system derived from the cultures of Chinese Indonesia. The Liu Seong system was brought to America, from Indonesia, by Willem A. Reeders (1917-1990). Being a synthesis, it has many tactics to draw upon. One basic recognition of this is found in the expression, Chinese hands and Indonesian feet. This refers to the basic combination of Chinese-style biomechanics and Indonesian style footwork patterns. Because it is greatly influenced by Silat, the Liu Seong System is what is known as ‘blade aware’, and this is reflected in many elements of the posture.
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Liuhebafaquan (Six Harmonies Eight Methods Fist)
The Song Dynasty Taoist sage Chen Tuan (also known as Chen Xiyi or by his nickname, Chen Po) is often credited with its origin and development. He was associated with the Hua Shan Taoist Monastery on Mount Hua in ShaanxiProvince.
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Longxingquan (Southern Dragon Fist)
The Dragon style is an imitative-style that was developed based on the imagined characteristics of the mythical Chinese dragon. The Dragon played an influential and beneficial role in Chinese culture. An amalgam of several creatures, including monitor lizards, pythons and the Chinese alligator, the polymorphic dragon was a water spirit, responsible for bringing the rains and thus ensuring the survival of crops. The dragon was the symbolic guardian to the gods, and was the source of true wisdom. The dragon represented two of the ancient elements, Earth and Water, endowing the creature with powers of illusion and strength.
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Luohanquan (Arhat Fist)
Is a general name for all the styles that are named after the Arhats, the holy Buddhist figures. Luohan style is the oldest and the representative style of Shaolin Kung-Fu, so that the name Luohanquan is sometimes considered an equal name for the whole vast system of Shaolin Temple martial arts. Enlightenment (Nirvana) is one of the first concepts of Buddhism. The name Luohan, the Chinese equivalent of the Sanskrit (Indian) word Arhat, refers to those who have achieved enlightenment. Therefore, the ultimate goal of the monks of Shaolin temple, in particular, has always been to reach the level of becoming Luohans. Therefore, the Luohans have always been holy icons in the daily life and martial art of Shaolin temple monks.
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Meihuaquan (Plum Blossom Fist)
There are many Meihuaquan that have same origins: Ganzhi Wushi Meihuazhuang, Baijiazhi Meihuaquan, Luodi Meihuaquan, Wuzi Meihuaquan, Leijia Meihuaquan, etc. There are various traditions regarding the foundation of this style; it is said that Meihuaquan has no single founder.
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Mianquan (Cotton Fist)
Is a northern style which most likely originated in the province of Hebei. There is no definite given record of the creator or origin of the style. The theory for this style is that defense becomes offense and softness turns to hardness, and the practitioner’s attacks always follow after the opponent’s. Soft attacks gain the upper hand for a practitioner and sets up the opponent for a harder, more dominant array of movements. The style is simple to use as it does not require advanced movements such as grappling, therefore only using punches and kicks. Mianquan requires balanced posture, with the majority of the body relaxed and a short-range attack span.
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Mizongquan (Lost Track Fist)
Also known as Mizongyi (Lost Track Skill) or Yanqingquan (Blue Swallow Fist), is a style based on deception and mobility. Is an external style, with distinct internal influences. It draws on many aspects of the external Northern Shaolin Long Fist style, and the internal styles Tai Chi Chuan and Baguazhang, which are often taught alongside it in modern times. It is characterized by deceptive hand movements, intricate footwork, varied kicks, and high leaps. The style changes very quickly when executed.
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Mo Jia Quan (Mo Family Fist)
Also known as Mok Gar, is one of the five major family styles of Southern Chinese martial arts. It was developed by a Shaolin monk named Monk Mok Ta Shi as an inheritance of the Southern Shaolin Fist in Guangdong province in China. Mok Gar emphasizes clinch fighting techniques and also powerful low kicking techniques. Mok Gar fighters fight so close, it is said they fight chest to chest, cheek to cheek, breath to breath.
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Nan Pai Tanglang Quan (Southern Praying Mantis)
Southern Praying Mantis places a heavy emphasis on close-range fighting. This system is known for its short power methods, and has aspects of both internal and external techniques. In application, the emphasis is on hand and arm techniques, and a limited use of low kicks. The application of close combat methods with an emphasis on hands and short kicking techniques makes the Southern Praying Mantis art somewhat akin to what many would call “street fighting.” The hands are the most readily available for attack and defense of the upper body, and protect the stylist by employing ruthless techniques designed to inflict serious injury. The legs are moved quickly into range through footwork to protect and defend the body, and kicks are kept low, short and quick so as to never leave the Southern Mantis combatant off balance and vulnerable.
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Piguaquan (Chop-Hanging Fist)
Is a style that features explosive, long-range power. It originated in Cangzhou, a prefecture in Hebei Province of North China. Piguaquan’s power is from the accelerational force of the arms which are often in rotation. Piguaquan and Bajiquan are often taught as complementary martial arts. Piguaquan’s power is from the accelerational force of the arms which are often in rotation. The hip movement in Piguaquan is more subtle and gentle compared to Bajiquan, because you only need enough to guide the big chops whereas in Bajiquan, the hammers, punches, elbows and swings rely completely on the quick and powerful rotation of the hips, and sink to bring its power out.

Qigong (Life Energy Cultivation)
Is a holistic system of coordinated body posture and movement, breathing, and meditation used for the purposes of health, spirituality, and martial arts training. With roots in Chinese medicine, philosofy and martial arts, qigong is traditionally viewed as a practice to cultivate and balance qi (chi), translated as “life energy”. Daoyin Yangsheng Gong is a qigong style created by Professor Zhang Guangde of the University of Physical Culture of Beijjing. This system is used to maintain a good general state of health and to improve specific illnesses and diseases.

Qinna (Lock Catching Technique)
Also know as Chin Na due to its pronunciation, is the set of joint lock techniques used in the Chinese martial arts to control or lock an opponent’s joints or muscles/tendons so they cannot move, thus neutralizing the opponent’s fighting ability. Qinna features both standing and ground-based grappling techniques. While techniques of Qinna are trained to some degree by most martial arts worldwide, many Chinese martial arts are famous for their specialization in such applications. Styles such as Eagle Claw, Praying Mantis, the Tiger Claw techniques of Hung Gar, and Shuai Jiao are well known examples.
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Rougong Men (Flexible Skill System)
Also know as Yau Kung Moon (Style of Flexible Power). This style was introduced to the public in 1924. Prior to that time, the history extends back into the Tang Dynasty (618 – 907 A.D.) in the Sil Lum Temple of Honan province. The style was originated by a Buddhist monk named Ding Yang, who being very humble and withdrawn, gave no name to the style. It employs many upper body techniques and most kicks are kept low.
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San Huang Pao Chui (Three Emperor Cannon Punch)
Is a style attributed to the Three August Ones: Fuxi, Shennong, and Gonggong. The spread of San Huang Pao Chui was due in part to its early association with Shaolin. San Huang Pao Chui was one of the earliest styles to be imported intact into the martial arts curriculum at the Shaolin Monastery. According to legend, the Shaolin monks learned San Huang Pao Chui from a martial artist of Mount Emei.
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Shequan (Snake Fist)
Proponents claim that adopting the fluidity of snakes allows them to entwine with their opponents in defense and strike them from angles they wouldn’t expect in offense. The sinuous, fluid motion of the snake lends itself to the practical theory that underlies the “soft” martial arts.
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Shuai Jiao (Jacket Wrestling)
It was developed in Beijing, Tianjin and Baoding of Hebei Province in the North China Plain. Over 6,000 years ago, the earliest Chinese term for wrestling, Jiao Di (Horn Butting), refered to an ancient style of military Kung-Fu in which soldiers wore horned headgear with which they attempted to butt, throw and defeat their enemies. Later on, Jiao li supplemented throwing techniques with strikes, blocks, joint locks and attacks on pressure points. The term Shuai Jiao was chosen by the Central Guoshu Academy (Zhong Yang Guo Shu Guan) of Nanjing in 1928 when competition rules were standardized.
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Taizuquan (Emperor Taizu Fist)
Is often segregated into the Zhao Taizu (referring to Zhao Kuangyin, First Emperor of the Song Dynasty) and Ming Taizu (referring to Zhu Yuanzhang, First Emperor of the Ming Dynasty). Whereas Zhao Taizuquan is often referred to as Changquan (Long Fist), Ming Taizuquan is also known as Hong Quan. Is a very thorough system of combat and requires the development of skills across the full human arsenal. The general basics and training within Taizuquan includes many different aspects that are continuously developed over the training period consecutively with the study of structure and forms.
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Tanglangquan (Praying Mantis Fist)
It was created by Wang Lang. This fighting style involves the use of whip-like circular motions to deflect direct attacks, which it follows up with precise attacks to the opponent’s vital spots. One of the most distinctive features of Northern Praying Mantis is the “praying mantis hook”: a hook made of one to three fingers directing force in a whip-like manner.
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Tan Tui (Pong Leg)
This term may refer to a particular style, or to forms found in many different styles. As a form, Tan Tui can be found in many Northern styles. Little is known of Tan Tui as a complete style. Tan Tui is deeply rooted in China’s Hui ethnic group.
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Tien Shan Pai (Tien Shan Mountain System)
It is a northern style which stresses rhythm, the demonstration of power accentuated by solid thuds made by the hands, the emitting of power from the entire body, the coordination of the hands and feet as well as blocks and strikes, high kicks and low sweeps, as well as locking and throwing techniques. Tien Shan Pai self-defense is characterized by angular attacks coupled with multiple blocks. If one block fails, the second can cover. Footwork is considered essential to countering attacks. According to the legend, the style originated in the Tien Shan mountains of northwestern China.
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Tongbeiquan (Spreading Power from the Back Fist)
This style is known for engaging opponents from maximum distance. Tongbeiquan’s basic precepts are Taoist in nature and many of the training methods in Tongbeiquan are similar to those of the internal styles.

Wudangquan (Wudang Fist)
Is a style named after the Wudang Mountains. It utilizes the focused mind to control the waist, and therefore the body. The name Wudang comes from a popular Chinese legend that incorrectly purports the genesis of Tai Chi Chuan and Wudang Sword by an immortal, Taoist hermit named Zhang Sanfeng who lived in the monasteries of Wudang Mountains.
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Wuxingquan (Five Animals Fist)
Tiger, Crane, Leopard, Snake, and Dragon, appears predominantly in Southern styles, especially those associated with Guangdong and Fujian Provinces. An alternate selection which is also widely used is the Crane, Tiger, Monkey, Snake, and Mantis. The Five Animal martial arts supposedly originated from the Henan Shaolin Temple, which is north of the Yangtze River. Many other animal styles have been developed since the original five: tiger fist, panther, praying mantis fist, horse, cobra, bull, wolf, deer, bear, boar, eagle claw, python, scorpion, elephant, lion, frog, duck, dog, crow, tiger cub, chicken, hawk, turtle, swallow, lizard, crab.
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Wuzuquan (Five Ancestors Fist)
Is a Southern style that consists of principles and techniques from five styles: the breathing methods and iron body of Bodhidharma, the posture and dynamic power of Luohan, the precision and efficient movement of Emperor Taizu, the hand techniques and the complementary softness and hardness of Fujian White Crane, and the agility and footwork of Monkey. These five styles and their characteristic techniques were combined during the creation of the Five Ancestor System. They were consolidated by a sixth influence, Xuan Nu, also known as Hian Loo and “The Lady in the Green Dress”, who introduced the most deadly of its techniques, Dim Mak, lethal strikes to the pressure points of the body.
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Xiajiaquan (Chivalrous Fist)
Is a style classified as Nanquan , as practiced in Guangdong. It originally came from Mount Emei by Li Huzi and was handed over to the monk Wang Yinlin in Qingyunsi Temple at Dinghushan Mountain in Guangdong.
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Xingyiquan (Form-Intention Fist)
It is characterized by aggressive, seemingly linear movements and explosive power that’s most often applied from a short range. A practitioner of Xingyiquan uses coordinated movements to generate bursts of power intended to overwhelm the opponent, simultaneously attacking and defending.
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Ying Zhao Pai (Eagle Claw System)
It is known for its gripping techniques, system of joint locks, takedowns, and pressure point strikes, which is representative of Chinese grappling known as Chin Na. The style is normally attributed to the famous patriotic Song Dynasty General Yue Fei.
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Yiquan (Intention Fist)
Also known as Dachengquan, is a system founded by the Chinese Xingyiquan master Wang Xiangzhai. Yiquan is essentially formless, containing no fixed sets of fighting movements or techniques. Instead, focus is put on developing one’s natural movement and fighting abilities through a system of training methods and concepts, working to improve the perception of one’s body, its movement, and of force.
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Yuejiaquan (Yue Family Fist)
Is a style attributed to Yue Fei, a noted General and patriot from the Song Dynasty. Legend claims Yue taught the style to his soldiers who passed it down for generations after his death. It contains mostly military-oriented attacks, and is based primarily upon the principles of combining internal and external techniques, theory and application. Its various techniques derive from its principal philosophy of the positive and negative and the five elements of the heart, liver, lung, spleen and kidney in the human body.
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Zhoujiaqan (Zhou Family Fist)
Also known as Jow Gar, was founded by Jow Lung who was born in April 16, 1891 in Sa Fu Village of the Canton Province, and died in 1919. At the time of its inception, this particular style of Kung Fu was labeled as having the head of Hung Gar, the tail of Choy Gar and the patterns of the Tiger and Leopard, or simply Hung Tao Choy Mei.
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Zi Ran Men (Natural System)
The style traces its lineage to Dwarf Xu, who based it on ancient Taoist philosophy, Traditional Chinese Medicine and, most importantly, the philosophy of “One and Zero”. It combines physical training, Qigong, meditation and combat techniques. Through training, Zi Ran Men is said to enhance the spirit of the mind, regulate the circulation of Qi and develops physical sensitivity. According to practitioners when the body is in harmony, you will live a long and healthy life. The main principle of Zi Ran Men is to overwhelm the opponent by attacking continuously, using every part of the body to strike.[4] Zi Ran Men make use of four fundamental techniques: Tun (contraction), Tu (expansion), Fu (floating) and Chen (sinking). These techniques are generally expressed through movement of the spine.
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Zuiquan (Drunken Fist)
Is a category of techniques, forms and fighting philosophy that appear to imitate a drunkard’s movements. The postures are created by momentum using the body weight and fluidity in the movements. It is considered to be among the more difficult Wushu styles to learn due to the need for powerful joints and fingers. While in fiction, practitioners of Zui Quan are often portrayed as being actually intoxicated, Zui Quan techniques are highly acrobatic and skilled and require a great degree of balance and coordination, such that any person attempting to perform any Zui Quan techniques while intoxicated would be likely to injure themselves.
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