My Ying Zhao Fan Zi Curriculum – Eagle Claw Fan Zi

I have been studying and practicing Ying Zhao Fan Zi (鷹爪翻子) for more than 40 years. My journey in the style began first with Sifu Benson Lee and later continued with Grandmaster Shum Yee Leung (岑譽亮, 1933-2025) – Cen Yuliang in Pinyin. Grandmaster Shum called his school Ying Jow Pai (鷹爪派), Eagle Claw System, and this brand is now recognized due to the many books he published and the training videos he released, which made Eagle Claw available to audiences worldwide.

Grandmaster Shum’s Ying Jow Pai curriculum was extensive and consisted of more than 75 forms. He told me that at one time his curriculum included more than 100 forms.

During my training I learned many empty-hand, weapon, and partner sets as well as Qinna and the 7 Eagle Claw fighting principles. I list below what I have learned and will then discuss the scope of my Ying Zhao Fan Zi curriculum at the Chinese Martial Arts Center. I will not include the Jing Wu or Northern Forms I learned with the exception of the Fu Hu Quan form.

I am providing the Pinyin for these forms, which I prefer to use, as well as the Chinese characters, the English translation, and the Cantonese; Cantonese is what Grandmaster Shum used in his teaching. Where there is an (*), I have notes that follow with further explanation.

Empty-Hand Forms:

Luohan Quan (羅安拳) – Arhat Fist, Law Horn Kuen*
Xiao Mian Zhang (小棉掌) – Small Cotton Palm, Sui Min Jeung*
Da Mian Zhang (大棉掌) – Big Cotton Palm, Dai Min Jeung
Xiao Hu Yan (小虎眼) – Small Tiger Eye, Sui Fu Ngan
Mei Hua Quan (梅花拳) – Plum Flower Fist, Moi Fa Kuen*
Tai Zu Quan (太祖拳) – Emperor Fist, Tai Jo Kuen*
Ba Bu Quan (八步捶) – Eight Step Punch, Bat Bo Chui*
Xiao Xiong Quan (小雄拳) – Small Hero Fist, Sui Hung Kuen
Da Xiong Quan (大雄拳) – Great Hero Fist, Dai Hung Kuen
Wu Hua Pao (五花豹) – Five Flower Leopard, Ng Fa Pow*
Wu Hu Quan (五虎拳) – Five Tigers Fist, Ng Fu Kuen
Fu Hu Quan (服虎拳) – Subduing the Tiger Fist, Fook Fu Kuen*
Xing Quan (行拳) – Walking Fist, Hung Kuen*
Lian Quan (連拳) – Continuous Fist, Lin Kuen*

Luohan Quan was the first Eagle Claw Form I learned, and it remains one of my favorites. I first learned this form from Sifu Benson Lee during his first visit to my school in Parma, Ohio. I later received corrections from Grandmaster Shum.

I first learned Xiao Mian Zhang (Sui Mi Jeung), Mei Hua Quan (Moi Fa Kuen), Tai Zu Quan (Tai Jo Kuen), Ba Bu Quan (Bat Bo Chui), and Wu Hua Pao (Ng Fa Pow) from Sifu Benson. I continued to receive refinement on these forms over the years from Grandmaster Shum.

Fu Hu Quan, or Subduing the Tiger Fist, is not an Eagle Claw Form. This form was taught widely at Jing Wu. Sifu Alex Kwok was the first to point this out to me. This was later confirmed by Sifu Cam Hung Marr and other teachers who taught Jing Wu forms. I have retained this form because of the breathing that is combined with the movements of the form. The form also changes pace, slow and fast. The Fa Jin (發勁), or release of force, trains the gathering and issuing of force. I value Fu Hu Quan highly.

A word on Wu Hua Pao: I believe that this is best Eagle Claw Form for competition. This form is dynamic and explosive, contains advanced skills, and is not too lengthy. Some Eagle Claw forms are quite long, and to me, this detracts from the performance. In competition one must maintain the same level of execution throughout.

When I first learned Wu Hua Pao, I was a bit overwhelmed. Many of the skills were new to me but I loved the form from the outset. Because of the challenging physical requirements, this form is most suitable for younger practitioners. I don’t believe in performing a routine that you cannot execute at a high level. I have seen older practitioners attempt forms that their physical body can no longer handle; it is clearly inappropriate.

Xing Quan (Hung Kuen) is considered the Father Form of Eagle Claw. It consists of 10 rows. Each row is equivalent to a small form. The 10 rows contain a variety of kicking techniques, sweeps, and hand skills. Xing Quan was later expanded to 12 rows.

Lian Quan (Lin Kuen) is considered the Mother Form of Eagle Claw. It predominantly features hand skills and few kicks. Within its framework are all the major hand skills of the Eagle Claw system. Lian Quan can be practiced even at an advanced age.

Grandmaster Shum published books on both Hung Kuen and Lin Kuen. Now that he is no longer with us, these two books are even more treasured. All my senior students have copies of these books.

In the late 1980s, at my request, Sifu Alex Kwok brought me some Eagle Claw books from China. One book featured drawings and included both Xing Quan (Hung Kuen) and Lian Quan (Lin Kuen). The Xing Quan set had 12 rows. The second book contained Xing Quan along with photos. The books include historical material as well as training methods. I had the books translated and I was able to gather information not previously available in the West. The authors are important people in the Ying Zhao Fan Zi Lineage and I will write a future post dedicated to my Eagle Claw book collection. I gave copies of these 2 books to Grandmaster Shum.

Both books, pictured on the left, were published in 1986.

The first book on Ying Zhao Fan Zi Quan (鷹爪翻子拳) is significant as it was authored by Chen Guoqing (陳國慶), the nephew of Chen Zicheng (陈子正).

The second book on Ying Zhao Pai Fan Zi Men – Shi Lu Xiang Quan (鷹爪派翻子門十路行拳) was authored by Li Peixian (李佩弦) and Jian Shiken.

Sifu Alex Kwok is my primary Mizong Luohan (迷踪羅漢) teacher. Over the years, he has helped me with translations and in procuring material that pertained to Ying Zhao because he was interested in fostering my knowledge of Chinese martial arts. He never objected to me studying other styles.

Note: I have learned many other empty-hand forms which, for various reasons, I have not retained as my cup was overflowing.

Weapon Forms:

Liu He Dao (六合刀) – Six Harmony Saber, Lok Hop Do
Shaolin Gun (少林棍) – Shaolin Staff, Siu Lum Gwan
Damo Jian (達摩劍) – Bodhidharma Sword, Dat Mo Gim
Mei Hua Qiang (梅花槍) – Plum Flower Spear, Mui Fa Cheung*
Shuan Tao Qiang (雙頭槍) – Double Headed Spear, Seung Tau Qiang
Chun Qiu Da Dao (春秋大刀) – Spring and Autumn Big Knife, Chung Chow Dai Do
Hu Tao Shuang Gou (虎頭雙鉤) – Tiger Head Double Hooks, Fu Tau Soeng Ngau
Yun Shan (雲扇) – Cloud Fan, Wan Sin*

I first learned Mei Hua Qiang from Sifu Benson Lee. The other weapon forms I learned from Grandmaster Shum. Grandmaster Shum taught the Yun Shan, the Fan Form, to my advanced women students during one of his visits to Florida.

Hand and Weapon Partner Forms:        

Dui Mian Zhang (对棉掌) – Partner Cotton Palm, Doi Min Jeung
Dui Bai Ling Ba (对百零八) – 108 Partner Form – Yat Ling Baat*
Lei Fung Dui Gun (雷風对棍) – Thunder Wind Partner Staff, Lei Fung Doi Gwan*
Dan Dao Dui Qiang (單刀对槍) – Single Saber vs Spear, Dan Do Doi Cheung
Shuang Dao Dui Qiang (雙刀对槍) – Double Saber vs Spear, Seung Do Doi Cheung
San Jie Gun Dui Qiang (三節棍对槍) – 3-Sectional vs Spear, San Jeet Gwan Doi Cheung

I learned Lei Fung Dui Gun at my main school in Ohio in the late-1980s from Sifu Benson Lee, and another senior, Mark Shan also visited at that time. Mark assisted Benson Lee in teaching the form. This made learning the form much easier for the students. This was during a summer Kung Fu Camp which I hosted. Thunder Wind remains one of my favorite weapons fighting sets, and the only Partner Staff Form that I teach to this day.

Benson Lee taught Dui Bai Ling Ba, the 108 Partner Form, at my Clearwater, Florida School to my intermediate and advanced students in the early 1990s.

Note: Grandmaster Shum always encouraged me to learn more weapon forms. However, since I already had learned many weapon forms from Sifu Alex Kwok, I did not want to collect forms which I might not be able to practice.

Eagle Claw Qinna (鷹爪擒拿)

The 108 Qinna techniques known as Bai Ling Ba Qinna (百零八擒拿) and Bak Ling Bat Kam Na in Cantonese, are the core of Eagle Claw Gong Fu. The first 40 locks taught by Grandmaster Shum are practiced with a partner and include an exchange of three techniques before Qinna is applied. These should be practiced on both left and right side.

The time required to become proficient in the execution of Qinna is considerable, and one must determine which Qinna techniques are suitable for your skill level and body type. I have learned Qinna from various styles but retain that Eagle Claw Qinna to be the most refined.

Ying Zhao Ge Duo (鷹爪格鬥) – Eagle Claw Fighting

The essence of Eagle Claw combat is contained within the Seven Fighting Principles. This formula consists of a pairing of two characters. Each principle contains four characters/words mnemonics. They were first published on my website, using the Pinyin spelling more than 25 years ago. They were also published with Pinyin in the 2000 Fall Issue of the Journal of Chinese Martial Arts in an article featuring Grandmaster Shum. I am now also including the traditional Chinese characters for these mnemonics.

Zhua Da – Qin Na (抓打擒拿) – Grab and strike – Seize and control
Fen Jin – Cuo Gu (分筋錯骨) – Separate the tendons – Break the bones
Dian Xue – Bi Qi (抓打擒拿) – Dot the Cavity – Stop the flow of air and Qi
Zhao Nie – Xiao Feng (爪捏曉封) – Claw and press – Block and redirect
Shan Zhuan – Teng Nuo (閃轉騰挪) – Evade by dodging – Jump away to avoid
Diao Cao – Reng Luo (刁糙扔落) – Attack by pressing – Brush off and push
Nei Shou – Zhong Die (內手重跌) – Yield the hand – Fall away smoothly

In a future post I will discuss the interpretation of the Seven Fighting Principles, which will provide more details on their applications. Ultimately the various skills are not fixed, they should be adaptable and interchangeable

The 1-2-3 principle in Fighting

While employing the first technique the master would determine the opponent’s expertise level. The second technique would assess ability. The third technique would be the application of an appropriate technique to subdue the opponent.

The renowned Eagle Claw master Chen Zicheng was known to never use more than 3 techniques in a fight.

Note: The 1-2-3 principle in fighting is not unique to Ying Zhao Fan Zi. It is also found within Mizong Luohan and some other Long Fist style.

Zhao Fa (爪法 ) – Claw Methods

Eagle Claw Gong Fu contains many training methods used for developing a strong claw, which is representative of the main characteristic of the style. By shaping and reshaping the Eagle Claw while executing basic drills and in Tao Lu (套路) – Forms, you develop claw strength. Fingertip push-ups, squeezing hand grips, holding jars, tossing and catching pellet-filled bags are all methods that aid in developing strength in hands, fingers, wrists, and forearms.

Nei Gong (內功) – Internal Skill

Nei Gong, or Internal Skill, has a dual purpose in Eagle Claw: health preservation and martial training. While Grandmaster Shum referred to this training more as Qi Gong (氣功) – Vital Energy Work, I prefer to use Nei Gong since it incorporates health exercises and breath control which require mental focus and concentration. Nei Gong emphasizes smooth breathing. When breathing is smooth and natural, the movements will be deep and powerful and promote the circulation of Qi (氣).

Dian Xue (点穴) – Striking Vital Points

Dian (点) means Dotting and Xue (穴) means Cavity. Dian Xue, in Cantonese, is often referred to as Dim Mak, the Touch of Death. The body contains many cavities, and within these cavities lie vulnerable points. Grandmaster Shum had deep knowledge of these points, and he taught them during special training sessions for his senior students. Like the claw itself, Dian Xue is a specialty of Eagle Claw Gong Fu. It is not taught lightly and should be practiced with prudence because some vital points can be fatal. When attacking the cavity, Xue, one can use pressing or striking. Striking, of course, has more dire consequences.

My Eagle Claw Curriculum Today

I have listed a portion of the entire curriculum taught by Grandmaster Shum and have indicated what I learned and what I currently teach; I will offer my personal views as to why. I am providing the Pinyin for these forms; you can reference the English translation and Cantonese names above:

I currently teach 10 empty-hand forms to selected senior students. These are: Luohan Quan, Xiao Mian Zhang, Da Mian Zhang, Tai Zu Quan, Ba Bu Quan, Wu Hua Pao, Wu Hu Quan, Fu Hu Quan, Xing Quan, and Lian Quan.

For weapon forms, I teach Liu He Dao, Damo Jian, and Shaolin Gun.

I teach two partner forms: the 2-person empty hand form, Dui Bai Ling Ba, and the 2-person staff form, Lei Fung Dui Gun.

I teach the Eagle Claw Qinna to all students and the Seven Fighting Principles to advanced students. I have not taught children for many years now. I only accept students who are at least 13 years old and then only if they can keep up with my adult classes.

As to “why?” I have been teaching professionally on a full-time basis since December of 1981. I recently celebrated the 45^th Anniversary since I opened my first school. I turn 70 in July of 2026, and my primary objective now is to preserve my body, maintain a sound lucid mind, foster my health, and practice what is not physically detrimental. My goal is to continue to practice and teach until the end of my days.

Students are not the same as they were back in the 1970s and 1980s. Even in the 1990s there were noticeable changes regarding a student’s commitment and dedication to training. These changes have become more pronounced with each passing decade, and not for the better. Until the mid-to-late 1990s, my advanced classes ran for two hours or more and students would continue to practice until I finally told them, “You don’t have to go home … but you can’t stay here.” As a martial arts teacher, I yearn for those days, but we live in a world that is in an ever-increasing hurry. We must adapt to the times.

Teaching Too Much, and Teaching Too Fast

There is a Chinese saying that applies to Gong Fu. Xue De Kuai, Wang De Kuai (学得快, 忘得快), which means Learn Quickly, Forget Quickly. I can attest to that, and I feel that there is a difference between collecting forms and truly knowing even a single form. In the past, masters would say, Yi Tao Lu, San Nien (一套路，三年) – One Routine, Three Years. This means that one should spend three years practicing a single form to be able to draw the essence of the form and to apply it. If only we could hold true to this adage.