17/10/2025
Sanwar Hossain
Xing Yi Quan & the Nei Gong Classic
The Nei Gong Zhen Chuan (内功真经) “Authentic Classic of Internal Energy,” or “Classic of Internal Power,” is an important text in the Nei Jia (internal schools) of martial arts. Although not, on the surface, specifically about Xing Yi Quan, this text is highly regarded by practitioners of Xing Yi in Shanxi province. Practitioners of Song style Xing Yi in particular consider this text vital to their practice. Xing Yi practitioners employ the principles and images discussed in the text, combined with the theory of the Six Harmonies (Liu He), Eight Necessities (Ba Yao) and the Eight Character Rhyme (Ba Zi Jue) – this last is sometimes referred to as the “24 Key Points”), as critical guidelines for practicing the martial skills in Xing Yi such as the Five Fists, Linking Forms and Twelve Animals. This combination of theory and practice teaches the student to regulate the meridians, harmonize yin and yang and develop the emission of an explosive and elastic force (Fa Jin) that is characteristic of Xing Yi Quan.
The famous boxer Song Shi-Rong in particular is purported to have practiced Xing Yi in accordance with the principles outlined in the Nei Gong Zhen Chuan, and authorship of the book is sometimes attributed to him. Song family practitioners refer to the Nei Gong Zhen Chuan as Nei Gong Si Jing (“Four Classics of Internal Training/Power”) referencing the division of the text into four distinct parts, or “books”:
Nei Gong Si Jing (Four Classics of Internal Training)
内功经 Nei Gong Jing (Internal Energy/Power Classic)
納卦经 Na Gua Jing (Received Trigram Classic)
神运经 Shen Yun Jing (Transported Spirit Classic)
地龙经 Di Long Jing (Earth Dragon Classic)
One begins with the Nei Gong Jing followed by the Na Gua Jing. The Shen Yun Jing perfects the principles of the first two books through the application of the Spirit (Jing Shen) to reach the higher levels of internal boxing and finally the Di Long Jing discusses specific applications including the “lower attack and the use of the legs and hips. By following the methods outlined in the Four Books of the Nei Gong Zhen Chuan, combined with the other theories of training mentioned above, the Xing Yi practitioner is able to issue a very distinctive kind of force, that is explosive and elastic at the same time.
There are several difficulties in understanding and practically applying the concepts contained in the Four Books of the Nei Gong Zhen Chuan. The first difficulty is that at times the language is abstract – this is in part due to the use of Yi Jing (I Ching) concepts that can be complex and abstruse. The second difficulty is that the text is trying to explain concepts that can be sensed inside, but not easily explained in words hence the use of symbols, allusions to classical texts and Daoist imagery. A third difficulty is some concepts that are introduced in one of the four books are more fully explained in one of the others, making linear reading difficult. Finally, it seems clear that some of the obscurity is deliberate secrecy, a way to confuse outsiders who are not receiving the transmission and explanation directly from a Master practitioner. Hence, in looking at these texts there will be some necessity of skipping around to link connected concepts that are separated in the different books.
The Foundation
The Nei Gong Jing (Internal Energy/Power Classic), the first of the books contained in the Nei Gong Zhen Chuan (or Nei Gong Si Jing), gets to the heart of what is important in training internal martial arts with its very first clauses:
Real Knowledge of Nei Gong Requires a Thorough
Understanding of the Vessels and Collaterals.
In Front is the Ren (Conception Vessel) and in the Back is the Du (Governor Vessel).
Between These the Qi Turns Constantly.
The text begins by saying that the first (and perhaps most important) thing is to understand the internal circulation of Qi, particularly as it moves through the Du and Ren vessels – this movement is sometimes called the Small Heavenly Circulation or the Microcosmic Orbit. The text tells us that Qi “turns” constantly through these vessels, although the characters, a doubling of the character Gun (滚滚) can literally mean, “to roll” or “boil.” Hence, from the very beginning, it is understood that the internal movement of Qi does not move in lines, but in spirals. Encouraging circulation or Free-flow through the Ren and Du Channels is part and parcel of traditional Chinese medicine and Daoist meditation and inner alchemy (Nei Dan) practices. Hence the assertion of famous Xing Yi Masters like Liu Qi Lan that Daoist mediation and Xing Yi Quan are the same.
In Daoism, seated meditation is combined with regulating breathing. In boxing the movements of the hand and foot are used to regulate breathing. Lifting and dropping, advancing and retreating, should conform to the standard rules and the movements of your hands and feet should be harmonious and smooth. Inside and outside, spirit and form harmoniously combine with regulated breathing. The smooth and continuous rotation of the body movements infinitely in all directions without stagnation one Qi spreading and circulating without limit is called “cessation of breathing.” It is also called “being reborn as an immortal.” Although the two seem different, one seeks tranquility from motion and the other seeks motion from tranquility – their internal theory is the same.[1]
The Ren and Du Meridians are often viewed as a single entity, or a single meridian – two branches of a single source. The importance of these two channels that are one is stressed in the writings of Li Shi Zhen, the famous Ming Dynasty physician: If a person can open these two vessels than all of the hundreds of vessels can all be open.[2] So, if one can open and enhance the circulation through these two vessels than circulation in the other energy channels is immediately improved.
The Ren and Du Vessels are the key area in the body where the yin and yang energies often described as Water and Fire intersect and merge. Water and Fire, and their relationship to the Ren and Du channels, are discussed more fully in the second book, the Na Gua Jing (Received Trigram Classic), which uses Yi Jing (I-Ching: Book of Changes) imagery to aid understanding. The Na Gua Jing tells us specifically how to cultivate the Ren and Du and Water and Fire, but it is necessary to flesh out the foundation a bit more before jumping ahead.
Returning to the book the Internal Energy/Power Classic, the next clause says:
Jian Jing (GB 21) and Qu Chi (LI 11) Fa Jin in an Orderly Manner.
The explanation of this line is as follows:
Jian Jing (GB 21) is located in the middle of both shoulders and Qu Chi (LI 11) is situated in the middle of both elbows. They are the acupoints from which to emit whole body power. When using this skill, one must not be excessively fierce. It [Fa Jin] must be done naturally and easily. “Orderly” refers to the idea of entering fluidly.
The Jian Jing acu-point is located at the high point of the trapezius muscle and the LI 11 point is located midway between the elbow crease and the tip of the olecranon of the elbow. However, the text is not talking about the anatomical surface location of the point, but about the place where the Qi resides inside each point. Acupuncture points are like caves. The entrance helps us find the cave, but we are seeking the depths of the cave. Jian Jing is particularly interesting here because its name literally means “Shoulder Well.” Shoulder Well refers to the shoulder girdle and the space underneath the scapula and behind the chest wall. What martial arts practitioners refers to as the root of the shoulder where energy is stored and released. The shoulder girdle is intimately connected with the scapula and the back muscles and their connection to the lower body. Similarly, Qu Chi is located inside the elbow joint.
In order to deliver or to release power (Fa Jin or Fa Li) these acupoints must be connected, and if we skip ahead to the Na Gua Jing, we learn they must be connected to the sole of the foot specifically KID 1 (Yong Quan: “gushing spring” or “surging fountain”).
This requires that the Jianjing (GB 21) acupoints be dropped down, adhering the two shoulders to the interior, while the two sides of the back expand outward. Maintain the image that from within the bones of the back, the Jin (power) issues outward.
In settling Jian Jing, it is necessary to drop the acromian directly downward, bringing together the bone tips of the back. In descending Jian Jing, one should lower it from the back bones all the way down to the sole [Yong Quan].
Qu Chi (LI 11) should be lower than the shoulder, while the hand and wrist remain at the level of the mouth.
As the back exerts power downward the Qi of Yong Quan (Kid 1) moves strongly upward. These actions are assisted by the groin and the Kua, which are lifted and round like and arch. So, these three acupoints connect. However, as the text advocates: When using this skill, one must not be excessively fierce. It [Fa Jin] must be done naturally and easily. So everything must happen naturally the sinking and rising of the Qi stimulated by sinking the shoulders and lifting in the Kua and groin must all be natural without excess tension or force. The intention must be applied lightly when working with these alignments.
Source: Tom Bisiou
