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In the article, Wing Chun – A Principle Based Martial Art, I demonstrated that Wing Chun is a principle-oriented martial art that extends beyond a collection of techniques by having a set of guiding principles at its core.  I also outlined how the role of the Wing Chun Sifu is to help the developing Wing Chun find their own path by encouraging the student to learn the technique whilst seeking the principles beneath.  The fundamental principles can then be realised through a deeper analysis of performing the forms.  But this begs the question – are these principles written down anywhere for the developing student or Sifu to access?

The Oral Tradition of Chinese Martial Arts

Chinese martial arts exist primarily as an oral tradition with little of value historically being captured in writing.    The essence of the art was traditionally conveyed through direct contact between the teacher and a student.  Shaolin Kung Fu continues to be taught mainly from oral formulas handed down from generation to generation.   The process of teaching and learning Shaolin Kung Fu requires the master to teach disciples by personal example in addition to oral instruction.

Wing Chun began to appear in independent documentation during the lifetime of 19th-century Wing Chun master Leung Jan, facilitating verification of its subsequent history and divergence into the many lineage branches.  More recently, Wing Chun has been reaching the public through the early efforts of masters Moy Yat, Wang Kiu, Sifu Augustine Fong and Grandmaster Ip Man.

Within the oral tradition within Wing Chun, the proverb ‘Wing Chun Chuen Jing Tung’, translated as ‘Wing Chun authentically passing down’, refers to the genuineness of the martial art as a result of the master passing on the true system of Wing Chun unchanged by their own interpretation.   In order to ensure the core system of Wing Chun could be preserved being passed down through this ancient, oral tradition it was captured in poetic stanzas called the Kuen Kuit that could easily be communicated and shared.  

These Kuen Kuit are proverbs which encapsulate the wisdom accumulated through generations of martial arts experience in the Wing Chun family.  Over hundreds of years the Grand Masters came across the same experiences and principles which they formulated into maxims to pass to their disciples when they came into a similar situation.   These sayings and rhymes are intended to provide insights into the underlying principles and concepts found in the Wing Chun system.  The Kuen Kuit were eventually captured in written form, rendered in beautiful Chinese calligraphy.

The original Wing Chun Kuen Kuit are believed to have come from southern Chinese secret societies of the nineteenth century.  Moy Yat suggests it was during the Ch’ing dynasty that many of the proverbs were part of secret codes and rituals developed by the rebels dedicated to overthrowing the Manchus.   These were refined over the passing years, within unrelated or inapplicable sayings eventually being discarded.   The remaining few are described as being ‘truly intrinsic’ to Wing Chun Kung Fu.

In more recent years we have seen an explosion of Wing Chun in the West and across the world, with a wealth of written and video graphic material readily available through the internet.   There are some genuinely great books and videos out there, but there is also a lot of shockingly bad material.  There are lots of self-professed Wing Chun experts readily sharing  despite clearly having limited ability.  This is often confusing for the student new to Wing Chun, compounded by often significant variation between lineages, and even between Sifu’s within the same linage. 

Before he passed in 1972 Grandmaster Ip Man committed the Sil Lim Tao, Chum Kiu and Muk Yan Jong (Wooden Dummy) forms to video, recording these to capture and preserve his Wing Chun.   An additional legacy Ip Man left behind was a set of 51 carved stones (Chops), capturing the Kuen Kuit.  

Ip Man’s Kuen Kuit – The Wing Chun Chops

Ip Man commissioned his student Moy Yat, who was also an artist, to carve the Kuen Kuit of Wing Chun.  The seals, referred to as ‘Chops’, provide the history and principles of the Wing Chun style captured in stone.  They are respected as both a work of art and for their content in recording the maxims of Wing Chun.

The chops consist of 51 different kinds of stone carved in 51 different styles.  It took 3 years to collect the stones and an additional 3 years to plan and carve them.

Previously on display in four custom made boxes at the Ving Tsun Museum in Ohio, the chops have been returned to the Moy family in New York*.

In addition to the main proverbs, the stone chops contain the Grand Masters’ names from the founder Yim Wing Chun to Grand Master Yip Man.  They also cover the main training stages and techniques of the martial art.  These are captured below.

Maxims of Wing Chun

• Retain what comes in, send off what retreats. Rush in on loss of hand contact.
• Do not be lax when your opponent is not advancing.
• Once your opponent moves, his center of gravity changes.
• Make the first move to have control. Attack according to timing.
• Timing is achieved through practice.
• A strong attitude and posture gives an advantage over your opponent.
• Being alert and adapting to the situation allows maximum results for minimum effort.
• The body follows the movement of the hands. The waist and the stance move together.
• Complement the hands with posture to make good use of the centerline.
• The eyes and the mind travel together, paying attention to leading edge of attack.
• Charge into the opponent. Execute three moves together.
• Strike any presented posture if it is there. Otherwise strike where you see motion. Beware of sneak attacks, leakage attacks and invisible centerline attacks.
• Soft and relaxed strength will put your opponent in jeopardy.
• Coordinate the hands and feet. Movement is together.
• Do not take risks and you will always connect to the target.
• Have confidence and your calmness will dominate the situation.
• Occupy the inner gate to strike deep into the defense.
• To win in an instant is a superior achievement.
• The Yin Yang principle should be thoroughly understood.
• The theory of Wing Chun has no limit in it applications.
• Be humble to request your teacher for guidance.
• Understand the principles for your training.
• Upon achieving the highest level of proficiency, the application of techniques will vary according to the opponent.

Wing Chun Training Proverbs

• There are not many sets of training exercises in Wing Chun. They are easy to learn but to master them requires determination.
• Learning the usual ways will allow later variations.
• Short arm bridges and fast steps requires practicing the stance first.
• Sil Lim Tau mainly trains internal power.
• Lan Sau in Chum Kiu is a forceful technique.
• Bui Jee contains life saving emergency techniques.
• The Wooden Man develops use of power.
• Fancy techniques should not be used in sticky hand practice.
• Sticky leg practice is inseparable from the single leg stance.
• The steps follow turning of the body like a cat.
• The posture complements the hands to eject the opponent.
• The Six and a Half Point Staff does not make more than one sound.
• The Eight Cut Sword techniques have no match.
• The thrusting and fast attacks are well suited for closing in.
• Eyes beaming with courage can neutralize the situation.
• Unknown techniques are not suitable for training practice.
• Those who completely master the system are among the very few.

Seventeen Keys to Wing Chun

• Be ferocious when clashing.
• Be fast with your fist.
• Be forceful when applying power.
• Be accurate with timing.
• Be continuous when applying Fan Sau.
• Do not use all your strength.
• Protect your own posture.
• Be alert with your eyes.
• Unite your waist and stance.
• Coordinate your hands and feet.
• Movements must be agile.
• Comprehend the principles of Yin and Yang.
• Remain calm.
• Be steady with your breathing and strength.
• Sink your inner Ch’i.
• Be commanding with your fighting demeanour.
• Be quick to end the fight.

Yee Jee Kim Yeung Ma

• Pull in the chest, push out the upper back, and bring in the tail bone.
• Fill the Tan Tien with Ch’i and distribute the strength to all parts of the body.
• Point the knees and toes inward.
• Form a pyramid with the center of gravity in the center.
• Fists are placed by the side of the ribs but not touching the body.
• Sink the elbows, the shoulders, and the waist.
• Hold the head and neck straight and keep the spirit alert.
• Eyes are level, looking straight ahead, and watching all directions.
• The mind is free of distractions and the mood is bright.
• There is no fear when facing the opponent.
• Yee Jee Kim Yeung Ma is the main stance.
• Develop a good foundation for advanced techniques.

Sil Lim Tau

• Sil Lim Tau comes first; do not force progress in training.
• A weak body must start with strength improvement.
• Do not keep any bad habit.
• Yee Jee Kim Yeung Ma – train the Ch’i by controlling the Tan Tien.
• To maintain good balance of strength, grip the ground with the toes.
• To release Ch’i from the Tan Tien, will enable proper release of power.
• Sink the elbow and drop the shoulders; guarding the centerline to protect both flanks.
• There are one hundred and eight moves, all practical and real; thousands of variations can be used, aiming for practical use and not beauty.
• Internally develop the Ch’i; externally train the tendons, bones and muscles.
• Taun Sau, Bong Sau, Fok Sau, Wu Sau, and Huen Sau; their wonder grows with practice.
• Each movement must be clear and crisp. Timing must be observed.
• Practice once a day, more will cause no harm.

Chum Kiu

• Chum Kiu trains the stance and the waist; the arm bridge is short and the step is narrow.
• Eyes are trained to be alert; the Ch’i flows in a perpetual motion.
• Strive to remain calm in the midst of motion; loosen up the muscles and relax the mind.
• Turning the stance with a circular movement, will allow superior generation of power.
• When the opponent’s arm bridge enters my arm bridge, use the escaping hand to turn around the situation.
• Pass by the opponent’s incoming arm bridge from above, without stopping when the countering move has started.
• Lan Sau and Jip Sau put an opponent in danger.
• Do not collide with a strong opponent; with a weak opponent use a direct frontal assault.
• A quick fight should be ended quickly; no delay can be allowed.
• Use the three joints of the arm to prevent entry by the opponent’s bridge; jam the opponent’s bridge to restrict their movement.
• Create a bridge if the opponent’s bridge is not present; nullify the bridge according to how it is presented.
• The arm bridge tracks the movement of the opponent’s body; when the hands cannot prevail, use body position to save the situation.
• Using short range power to jam the opponent’s bridge, the three joints are nicely controlled.
• Where is the opponent’s bridge to be found? Chum Kiu guides the way.

Biu Jee

• The Biu Jee hand contains emergency techniques.
• Iron fingers can strike a vital point at once.
• The stepping in elbow strike has sufficient threatening power.
• The phoenix eye punch has no compassion.
• Fak Sau, Ginger Fist, and Guide Bridge; their movements are closely coordinated and hard to defend and nullify.
• Springy power and the extended arm are applied to close range.
• The situation is different when preventing from defeat in an emergency.
• The Biu Jee is not taught to outsiders.
• How many Sifu pass on the proper heritage?

The Wooden Man

• There are 108 movements for the Wooden Man; repeated practice brings proper use of power.
• Steps vary and always maintain close contact with the Wooden Man.
• Power starts from the heart and shoots towards the centerline of the Mok Yan Jong.
• Up, down, back, and forth, the movements are continuous.
• Power improvement cannot be predicted.
• The arm bridge sticks to the hands of the Wooden Man while moving; adhesion power when achieved will be a threatening force.
• Power can be released in the intended manner; use of the line and position will be proper and hard to defeat.

The Kuen Kuit have since been reproduced in book form within the English language in 1982.   

Moy Yat and C.N. Kwong.  VING TSUN KUEN KUIT. Paperback – January 1, 1982

*A big thank you to Wayne Belonoha for kindly sharing the update of the movements of the chops (August, 2021)