With high probability we can assume that the Six Combinations Praying Mantis style (liuhe tang lang quan), as well as other styles, origins from the Seven Star Praying Mantis style (qi xing tang lang quan). It is master Jin Ye (Jin Shi Kui), who lived during XVIII and XIX Century, that is said to be its creator. He was acquainted with many gong fu masters and thanks to that he introduced many other techniques into liu he tang lang. The next great master of liu he tang lang was master Wei De Lin from Zhao Yuan in Shandong Province. Because of having three fingers of his left hand conjoined he was called “Duck’s Hand”. His best student was Lin Shi Chun, who, by many sources, is said to be the creator of Six Combinations Praying Mantis style. As a youngster Lin Shi Chun practiced liu he quan style, taught by his grandfather.
Some sources (mostly Japanese) claim that liu he tang lang quan was created by combining Mantis style techniques with liu he duan chui. It is assumed that it was Lin Shi Chun, who had added techniques of liu he duan chui to the Mantis style.
Regarding liu he duan chui, it is referred to as “an extract from one hundred martial art styles”, which means that it combines together methods of many styles. Therefore in liu he tang lang quan one can recognise many fighting techniques from other styles, such as xingyi quan, taiji quan, tongbei quan and bagua zhang.
Lin Shi Chun brought fame on liu he tang lang when during a fair, using just one hand, he protected himself from an assault by a group of twenty robbers. The style became fully developed thanks to master Deng Zi Cheng (1880 – 1956 ?). Before becoming a student of Master Lin, master Deng used to practice san tong quan and luo han quan styles and mastered the style of hard qi gong, namely “the iron palm” (tie sha zhang yin gong). His skills in free fighting, caused many people to start taking interest in liu he tang lang.
The characteristic features of Six Combinations Praying Mantis style are “soft moves”. In the style of Seven Star Praying Mantis there are many “hard moves” (great power is clearly noticeable) whereas in liu he tang lang soft moves are more noticeable than in mei hua tang lang quan. The characteristic feature is “the move of taiji”, which is evident in the technique. Many hand moves are drawing circles in the air, and even though they are soft, when they come in contact with the opponent, a hard move is formed. “Invisibly hard” and “invisibly soft” moves are necessary here. Their characteristic features can be expressed in a “grid of five signs”:
1. Huo - vitality,2. Shun - order,
3. Gang - hardness,
4. Rou - softness,
5. Hua change.
A shortened lineage of Six Combinations Praying Mantis
It is commonly accepted that the style contains twelve forms, which are divided into three groups. The first group of five forms are the basic forms (chuji taolu), second group (four forms) are intermediate forms (zhongji taolu), whereas the third group consists of advanced forms (gaoji taolu). They significantly differ from the ones of the Seven Star Praying Mantis style and the style of Plum Blossom Praying Mantis which are the most popular of the tang lang men styles. The main difference is the way of generating force ( this move is characteristic for xingyi quan) as well as the technic of bu fa which means the way of moving.
Below I am presenting fragments of three forms - one from each of the groups.
Chu ji tao lu – ZHAN DUO
One of the basic form teaching the basics of the style, positions and developing strength.
Zhong ji tao lu – TIE CI
Intermediate form „fixed cut” also called „iron wings” (tie chi), which is short, its main hand techniques are “holding, joined rings”, “swinging, sticky break through”. The hand is projected with its fingertips stretched. This form also contains “the hand of pushing palm” which is performed in both attack and defence.
Gao ji tao lu – SHUANG FENG
This form is commonly known as “the striking fist” and is relatively long with predomination of techniques using hands.
