The art Xing Yi Quan is usually considered to be the oldest internal art of Chinese of boxing.
Tradition agrees to trace back its origin to the famous Marshal Yueh Fei, but many believe that Ji Ji
Ke (or Ji Long Feng) should be considered the most likely instigator. Indeed we should take into
account the fact that the Chinese enjoy allocating/appointing the creation of arts and important
heritage to illustrious characters. We need to therefore define the origin of this art that is primarily
geographical and temporal. Indeed there is not one Xing Yi Quan but MANY Xing Yi Quan, which
vary in their movements, their emphasis on the use of intention, or sensation.
One may therefore try to define the various Xing Yi Quan in relation to their regions and their
temporality.

The art of Marshal Yueh Fei:

Marshal Yue Fei (1103-1142 or 1154 depending on sources) was a renowned expert in the art of the combative spear. His skill was matched only by his courage and he came eye to eye in dexterity with his sworn brother who was killed, attacked by surprise by villains without his spear. Vowing not to suffer the same fate, he developed a method of fighting from diverse heritages such as the famous treaties of marrow regeneration and the transmutation of tendons of Boddhidarma (Ta Mo), the art of archery, and his experienced practice of the art of the spear. He called this method "Yue San Shou" (the three hands of Yue). This method, efficient, and safe, differed from the others by the use of more flexible, natural, simple and fluid movements.

It met with such a rapid growth by its effectiveness that the marshal himself taught it to the officers of the Imperial Nan Song Guard. His method remained unchanged until the 1600s, period of revival of Taoist thinking in particular thanks to the famous Zhang San Feng, Master of the Three Winds, supposed founder of the natural styles of the Wudang Mountains Taiji, to whom, as for Yue Fei, we attribute the creation of Tai Ji Quan, purely and simply. Zhang San Feng, following/after a dream in which he observes a crane and a snake compete according to tradition (according to others he would have received the Tai Ji Quan asa gift of the Dark Emperor (Xuan Di)), will create/found the method of Wudang Bai, thanks to which he routed many robbers who terrorized the local inhabitants. He also, recommended flexibility and fluidity over crude and jerky movement. But like any legend, that of Zhang San Feng is fairly controversial, and we no longer know in what century he lived (some claim to have seen him over the last 6 centuries, which would make him an Immortal) or where his reality can be situated. The fact remains that, around the 1600s, another Taoist, Ji Ji Ho of the Zhong Nan Mountains merged, at the marshal’s school, the principles of Wudang Bai, and the prophylactic idea of the ancient Daoyin (or Qigong).

The fact remains that, around the 1600s, another Taoist, Ji Ji Ho of the Zhong Nan Mountains
merged, at the marshal’s school, the principles/precepts of Wudang Bai, and the prophylactic idea
of the ancient Daoyin (or Qigong).

Ji Ji Ho named this method many centuries before the famous Wang Xiang Zai Yi Quan (or mind
boxing). Ji Ji Ho transmitted this practice to Ji Ji Ke or Ji Long Feng, to whom some attribute directly the paternity of Xing Yi Quan, and who in turn modified the forms, establishing the theory of the five
elements (which, let us specify, is not his personal creation). It is very likely that it is the insertion
of the 5 elements in this practice that earned him the award of this authorship. Ji Long Feng in turn then gave this transmission to three main disciples who were Ma Xue Li, Qi Shou, and Cao Ji Wu.

First "regional" dismantling of Ji Long Feng’s school, Li Xue Ma will leave for Henan Province,
Cao Ji Wu for the Shanxi and Qi Shou will remain in Jiangsi. The name of Xing Yi Quan was
generally kept. One must remember that the term Xing Yi Quan however refers to a practice
generically divided into three main branches that are sometimes also known as Orthodox, natural or summarized.

• Master Ma Xue Li, and the Henan School:

The style of Ma Xue Li (1715-1790), of Muslim faith, will also possess the name of Xin Yi Liu He
Quan (Mind, heart and six harmonies boxing). A very conservative style, it will long be taught
solely to Muslims, thus suffering little outside influences. It therefore developed in a very linear
manner. Master Ma emphasized his teaching on the relentless repetition of the basic sequences, and the technicality of his movements, allowing the school to keep its identity intact to this day.
Originally from the Henan Province, such as famous Shaolin Temple, it will sometimes be subject
to confusion relating to the latter (the art of Shaolin featuring an internal branch called Shaolin Nei Bai and possessing a style known as Xin Yi). This confusion is further reinforced by the fact that its practice borders on that of the external and remains one of the most demonstrative styles. We may note that this branch counts only 10 animals instead of twelve.

• Master Qi Shou and Jiangsi School:

The Xing Yi Quan style of the Jiangsi School will extinguish itself quickly with the death of Master
Qi Shou. There is no noted progeny or lineage that may/could have been traced back and worthy of success. According to some sources, it nevertheless had a great influence on the martial arts’ styles of Southern China, especially in the works of sticky hands (Chi Sao for the arts of the south, or Tui Shou for Xing Yi).

• Master Cao Ji Wu and the Shanxi School:

This branch, given its geographical location, benefited from many external inputs. The Mongolian
wrestling and other passing-by arts in the region were confronted with the local Xing Yi, forcing the
people to pay more attention to seizures for example, as well as projections. It’s therefore very
naturally that this Xing Yi became more liberal than that of Ma Xue Li. The influence inscribing
itself in reciprocity since the Xing Yi will in turn influence many styles of Northern China.
Although the static work, a classic section of Xing Yi, was preserved, dynamic work and higher
martial postures, better suited to the amplitude of the movements, were added.
One can thus say that this Xing Yi Quan (which one will name Xin Yi Quan, in reality, Heart and
Mind Boxing) was influenced as much on/by the framework of the imitation’s body as by that of the intention/mind and by/of the openness of mind (being less conservative). Cao Ji Wu will transmit his art to the two very famous brothers Dai Long Bang and Dai Ling Bang.

Dai Long Bang and Dai Lin Bang, living off their own crops and carriage protection, were called on
by a certain Li Luo Neng (who will later become Li Neng Ran). The latter, having heard of their
strength, wished to learn from them, after an exchange which should be called friendly. He
therefore received the teaching of the two brothers, that he will then bring back to Hebei Province,
where he was born. It is to be noted that according to some historians, Dai Long Bang would be the creator of two additional animals: Taï, mythical bird related to our Phoenix, and Tuo, the alligator.

The boxing of the Dai family has long been kept secret and jealously guarded until today.

Li Luo Neng, who is said to be one of the greatest masters of martial arts that China has ever
known, and surely one of the most accomplished of the style of Xing Yi Quan, will begin his
teaching in Shanxi, with the brothers Dai Long Bang and Dai Lin Bang, learning first with their
children, he will rapidly acquire a remarkable technique and a respectable level, thus opening up a door for himself to the trade of security guard and hiring out his services to the most offering of
shopkeepers. More violent than the Dai brothers, he did not hesitate to display his art to give the
thugs a beating whilst attending his new activity. His reputation grew to a point that his name alone plastered on the coaches was enough to deter robbers. He took the time, once his work finished, to teach, notably two disciples Che I Zhaï and the famous Guo Yun Shen. However, during a convoy, the coach got attacked and after having suffered the wrath of the merchant for whom he worked, he gave him and all of his sons a beating, then took a blood feud with his students, except for the wise Che I Zhaï, against the robbers, supposedly killed all of them, and had the thirty heads delivered to the merchant. Following these troubles related to his professional activities, he returned to Hebei, his province of origin, accompanied by his disciples.

He then bought a farm and lived a quieter existence, dispensing his teaching. He changed his name to that of Li Neng Ran. He taught numerous talented students and disciples of unparalleled virtue. His trend will set the main outlines of Hebei Xing Yi Quan as we know it today (particularly the main use of the Santi posture). This trend will form the most popular Xing Yi Quan (Sun Lutang, Li Cun Yi, Guo Yunshen, Liu Qi Lan, or also Chen Pan Ling). On the death of Li Neng Ran, some taught whilst maintaining aspects of the teaching of the Master, therefore specific to the Hebei style. Others will return to a more orthodox teaching, developing the Henan Xing Yi Quan or will modify their practice according to their own concepts (Guo Yunshen).