• GENERAL
  
• WUDANG SANFENG
  
• ZHAOBAO
  
• CHEN
  
• YANG
  
• WU (Wu Yuxiang)
  
• WU (Wu Jianquan)
  
• SUN
  
• HULEI
  
• OTHERS INTERNAL STYLES
  
  • XINGYI QUAN
  • BA GUA ZHANG
  • LIU HE BA FA
    
• WEAPONS
  
  • SWORD
  • SABER
  • SPEAR
  • STICK

WUDANG ZHAO BAO TAIJIQUAN (ZHAOBAO)

ZHAO BAO CHARACTERISTICS (III)

THE SEVEN RULES

That is to say, at the beginning of practicing this form, one has to concentrate on making the precise and fluid form of the circles that are contained within each movement.
2 Three verticals: Straight head, straight body, roll with ankle straight.

It is necessary to keep the head upright and the trunk of the body as with the leg (tibia and fibula '), perpendicular with the ground, that is, that the knee and the ankle must be under the same straight line.

3 Four alignments: Leg, foot, hand and body, all go in the same direction.

This means that the leg, properly aligned knee and ankles, the hand, properly aligned elbow and wrist, and the body, all aim towards the same direction, when executing a movement.
4 Six correspondences: The hand corresponds with the foot, the elbow with the knee, the shoulder with the hip, the heart with the mind, the "energy" (qi ') with force, the sinews with the bones.

5 Eight pursuits: The eight small joints (two elbows, two hands, two knees and two feet), follow the four great ones (two shoulders and both sides of the hips)

6 Not to omit, not to stop: If the left hand moves and the right does not, that is to omit. If the position is not yet finished, but the hand or the foot already has arrived at their aim, this is called to stop.

7 It doesn’t flow like water: movement and calm follow one another

THE SEVEN LEVELS OF GONG-FU (MASTERY)

Seven levels exist that we could call "mastery" which follow one another throughout the learning of this style. They are explained In the article that Zhang will publish next, as well as in the book that he will publish in China around April.

Many different ways exist, within this style, for the practise. The one that Zhang Xiumu practises and teaches in Barcelona is one among the ways the "da jia" (large frame, or large structure) can be practised. There is also "xiao jia" or small frame. There is even a higher level (even though it´s hard to imagine it), Zhang Ye (the one in the three pictures,- in characteristics (II)-, blue background) performs a lower frame (81 forms alow it).