Chapter 1248 In-depth explanation

Swordsmanship and marksmanship are unique martial arts in China. They contain the principles of yin and yang, and emphasize the combination of hardness and softness.

However, before the kung fu is perfect, people who pay attention to routines and patterns are the most important. If they have not practiced their foundation well, they only need to perform on the spot. They cannot learn martial arts well, at most they can only have half a bucket of water.

Zhang Yueqiu not only told Lian Feiyi, but also warned Chang Shirui that he was not optimistic about his character, but still hoped that more people could inherit the inheritance of the ancient Chinese civilization and not cut off these skills.

The basis of swordsmanship lies in the proficiency of the moves, that is, the neatness of the body is required to conform to the exemplary movements in the textbook. Each movement posture during swordsmanship must be accurate, consistent and symmetrical according to certain specifications.

Only by having a strict structure, clear lines, and meticulousness are the essence of swordsmanship.

It’s like if you want to write a gorgeous article, you must learn to practice your words well, otherwise how can you write an article?

The introduction to the opening chapter of "Basics of Swordsmanship" mentions: "The five body titles can be called form preparation."

"Five Bodies" means the trunk of the body, the two upper limbs and the two lower limbs, which are a total of five bodies. They are also called "five bones" or "five tendons".

Sword art, every movement, and every posture are all composed of these five lines combined with sword weapons. If the structural combination of these five lines is not formal and uneven, it cannot be considered perfect.

How can the motion-like shape be made to be symmetrical, symmetrical and complete?

Zhang Yueqiu read the original text in the book: "The shape is square and square, round and square, and is equally balanced, and is held in a balance, embrace each other, look left and right, and offer your heart to all sides."

At the same time, Chang Shirui, who cooperated with his sword dance, made Lian Feiyi see it clearly, and also feasted his eyes on martial arts and sword techniques.

Each movement must take into account the front, back, left, left, and high, and the overall consistency is coherent and agile, without any hardness or force. It seems that this is a graceful dance, not a killing skill.

If the motion-style shape cannot be "integrated", it will not only look ugly, but also be difficult to exert force.

For example, if the simple action of "stinging a sword in front of the lunge" is done to shrugg, bend, and bend your legs, shrink into a ball, and not stretching well, its image must be very ugly.

At the same time, because the legs are bent, the waist is bent, and the shoulders are shrunk, it is difficult to use force to push the legs, mainly to the waist, to the shoulders, to the arms, and to the sword. The force of stabbing the sword cannot be fully exerted by relying on the reaction force on the ground.

Therefore, when practicing swordsmanship, the body must be upright and symmetrical, and achieve the word "integrity".

At least, Lian Feiyi still cannot reach this level. His swordsmanship level is only the middle level, and he can barely set every basic movement as a standard.

However, if he was allowed to use all the actions coherently, such as changing from "tick" to "thorn", there would be a brief pause and retention in the middle, revealing the empty door and flaws.

This is enough to deal with ordinary people, but when you meet a master, you will be fucked by someone in one move.

Lian Feiyi can only use a certain move alone at present, and it takes about one second to prepare. From judging to attack and exerting force after hitting, he cannot achieve the same unity as Zhang Yueqiu.

And even if you simply compare the strength between the two, it is a clear judgment.

After all, Zhang Yueqiu is a master of the third-level swordsmanship, and his force can be called strong muscles and bones. Strong muscles and bones are the "five bones" that form the movement posture. Each line must be vigorous, with only skin and flesh but no muscles and bones.

The body movements become empty and want to collapse. Even the sword technique of the smudge does not pay attention to the strength of the muscles and bones. It is just that the sword technique of the sword technique of the more skilled sword body appears to be implicit and hidden. The so-called "smudge wrapping needles" are soft and hard, and do not expose strength to the outside.

Therefore, any sword technique can be considered to be complete in shape and quality, otherwise it is just a general skill, not a unique skill.

How can we make the "Five Bones" powerful? Zhang Yueqiu did not hide his own ideas and came with Lian Feiyi one by one.

To make the "five bones" powerful, we must start with the "bone method" in boxing.

In order to strengthen the effect of the explanation, Zhang Yueqiu used a lunge forward stab. The sword technique was simple and direct, but it was as fast as a wind and was full of force. You could even hear the roar in the air.

In this movement, the strength of the line on the torso is that its head is "topped" upwards, its chin is "retracted" inwards, its back is "pulled" upwards, its chest is "opened" outwards, and its waist is "collapsed" downwards.

The strength of the two lines on the upper limbs is also the front leg "punch" in front of the knee, the outside of the hip, the "sink" under the hip, the back of the knee of the hind leg "stretched" under the hip, the "sink" under the hip, the toes tightly "button", the heels "punch" and "step".

In this way, the five lines are under tension due to the force of stretching and contracting of the tendon ligaments, showing a tense momentum, and only then can they appear vigorously.

This technique is not only beautiful but also practical, which greatly admires Lian Feiyi.

Chang Shirui couldn't move his eyes away, his eyes glowing, staring at Zhang Yueqiu's movements. He originally thought that Lian Feiyi was already very powerful, but compared with a person like Zhang Yueqiu, it was so far away!

Zhang Yueqiu had a casual face, a slight smile, and could dance with a sword, but showed extraordinary sharpness and strong mental strength.

This is the real swordsman. Not only is he outstanding in his skills, but he also needs to be full of energy in his heart.

The physical movements of swordsman generally have their intentions. To express the intentions of movements perfectly, the heart must participate in activities. This characteristic determines that the physical movements of swordsman must be "heart-moving and following", and it moves with the activity of the inner consciousness.

However, it is not easy to integrate your emotions and will into the sword technique.

The sword technique contains energy and spirit, which is already a quality that only high-level swordsman possesses. Lian Feiyi is naturally a little short of that. Without a year, he cannot reach this level.

It’s not that he is not strong in his mind, but that from familiarity to mastering, from mastering to refining, it takes a process.

If you cannot integrate your will into your sword technique, it will lead to the body's movements and postures being loose, and the muscles and bones cannot be strong and vigorous. As the saying goes, "If the mind is not strong, then there will be no strength."

After all, a person's mind cannot be tense all the time, and there are always fluctuations and flaws. Only by overcoming these instincts can he reach the level of a high level and become a real swordsman.

Only by becoming a "swordsman" can the movement of the sword contain the power of emotion.

Before this, even if you are proficient in skills, it is difficult to express your intention. If you do not have this intention, your movement will lose your anger.

Therefore, practicing swordsmanship requires the strength of the mind, and the strength in the heart and the strength of the body movements must be combined internally and externally to become a "combination force". Only in this way can the strength be strong and the movement is intentional.

At this point, Chang Shirui, who has weak will and confused thoughts, is a congenital deficiency.

With his personality and age, his spirit is always not easy to concentrate, so Zhang Yueqiu thinks that he is not suitable for practicing swordsmanship. However, his personality is always worthy, but it depends on Chang Shirui's own efforts.

There are wooden walls around the quiet room. Zhang Yueqiu is not wearing any shoes and dances with the sword on the wooden floor.

This kind of sword dance has both skills and charm, and more importantly, its momentum is coherent.

Lian Feiyi saw in "Basics of Swordsman" that when the swordsman's swordsman's swordsman's swordsmanship exceeds the middle and reaches the high level, it proves that the foundation is solid and can enter a new level.

In other words, you can learn different styles of sword techniques and then condense your own sword intent from it.

However, entering the first level of the high level has very strict standards, which is that you must use all the sword movements in a complete way. No matter which way you go, it must be consistent and there must be no stagnation.

If you want to enter the high level of swordsmanship, you must go all the way through swordsmanship, and all the movements are "always continuous and continuous, with constant qi and meridians".

Continuous and continuous is certainly the characteristic of the cotton sword body sword technique, but other sword techniques also have this kind of continuous and corresponding requirement. For sword techniques such as the craft sword body, the so-called "connection" does not mean that the entire sword movements are practiced in one go like the cotton sword body sword technique, without any interruption in the middle.

Instead, it is required that between each move and one move, one must "disconnect the form and intention" and "disconnect the momentum and energy", and be good at using inner mind activities to connect the intentions of the front and back movements through eyes, so that the swordsmanship of the entire routine can be connected, without any force.

Zhang Yueqiu used a move to "raise fire to burn the sky" to explain to Lian Feiyi.

This is a still action of raising the sword upright, and in form it and the subsequent action have been interrupted.

However, if you stare at the distance and have the awareness of waiting for opportunities to move, then this action is connected from the "intention" to the subsequent action.

The "heart movement and body follow" mind activities also play an important role in connecting movements. You should pay attention to this point when practicing swordsmanship.

Lian Feiyi, who is already a second-level middle-level swordsman, lacks this kind of high-level knowledge. If he is allowed to understand and dig by himself, it will take a lot of time.

"In fact, it would be better if you can understand these skills by yourself." Zhang Yueqiu stopped Jianwu and said to Lian Feiyi, "The ancient martial arts masters would not explain every detail clearly, but let the disciple understand it by themselves. Do you understand what the reason?"

Before Lian Feiyi could speak, Chang Shirui answered first, "Are you accused of being mysterious? Or are you afraid that the disciples of the church starved to death?"

This view made Zhang Yueqiu laugh and cry, "Where did you hear it?"

"Now, many novels are written on the Internet..." Chang Shirui said directly without thinking.

"It's not the case at all." Zhang Yueqiu refuted this view. He pointed his head with his index finger, "Martial arts focuses on thinking. What is really important is not the knowledge, but how you learn to think and prove it."

"That's why there is a master who leads his way to practice. As a master, of course, he can explain every issue transparently, but what's the use? If the disciples he taught only learn martial arts, he is at best a middle-level third-level master."

Zhang Yueqiu is disdainful of such people and can't even think independently. He knows that if he asks his master to pick him up, he will be a second-rate at most in his life and will never reach the first-rate level.

As for the master, it is even more out of reach.

The essence of swordsmanship lies in understanding your body and your sword. The body has its limits, which also means that your attack and defense also have its limits.

Continuous training is to improve this limit, and at the same time, you can learn to target your opponent's limits. Beyond the limit, there are weaknesses, life and death.

The martial arts associations currently held in various places, or the folk martial arts halls managed by the General Administration of Sports of China, are actually getting further and further away from the real traditional martial arts.

The movements only focus on beauty, and the apprentice rarely lets the apprentice think about it on its own during practice. Instead, every key point is explained clearly and without leaving room for thinking.

In this way, although a group of middle-level swordsmen or warriors can quickly get a long time ago, what should I do if I can get the next step? Can people who are used to being fed to others open up new ways?

Seeing that Lian Feiyi was in deep thought, Zhang Yueqiu said again, "What I show is my sword technique and sword intent. If you want to have your own sword technique, you must think and seek it yourself."

Sword art is not the same, it contains countless changes in yin and yang.

Like other martial arts events, swordsmanship sports include movement, stillness, virtuality, strength, flexibility, speed, stretching, tension, tension, ups and downs, slightness, heaviness, ups and downs, as well as various opposing factors such as internal and external, up and down, forward and bias, left and right, and movements can be done better.

One of the opposite factors cannot exist in isolation. Without movement, there is no so-called tranquility; without emptiness, there is no so-called reality; without hardness, there is no so-called softness.

Chinese martial arts particularly emphasizes: if you want to move, you must be calm, if you want to be solid, you must be empty, if you want to be hard, you must be soft...

For example, when stabbing the sword with force, the tendons on the arm are relatively relaxed when the sword is stabbed forward from the waist side, the hilt of the sword is not tightly held, and the shoulders are not too sinking. This is the "soft" situation.

When the elbow joint passes through the waist from back to forward, the hilt of the sword is tightened, the shoulders sink, the tendons of the arm become tense, and then there is "hardness".

Only with slackness can one feel nervous. If the sword holding the sword is in a tense state from the beginning, then when the sword is to be tense and powerful, it cannot be nervous and powerful.

In this way, "hardness" cannot be produced.

The so-called "doubleness means stagnation". If there is any side of the opposite side of yin and yang, if there is any side of "heavy", it will lose movement, lose movement, and lose change.

At the same time, any yin and yang opposition factors must be transformed into each other during the same movement process. They cannot be divided into two movement processes, otherwise the unity of opposition will be lost.

When practicing sword skills, the direction and back of the method, the ups and downs of the sword force, the severity of the movement, the tempo of the rhythm, etc. must be used to make it yin and yang.

The differences in each person's style are reflected in these details, which is essentially different from Western martial arts and martial arts. The West also has swordsmanship, but it usually emphasizes standardized "fighting skills".

The only change in pursuing individual differences and pursuing a monotonous effect is the difference in Linji decisions in battle. In this regard, no country in the world emphasizes overall coherence like China, and also requires emotions and will in its skills.

Only Japanese martial arts have been affected a little, but there is actually a big gap.
To be continued...