The so-called “Five Forms” (Ng Ying 五形 ) are: Dragon (Lung 龍), Snake (Se 蛇), Tiger (Fu 虎), Leopard  ( 豹 Paau), and Crane (鶴 Hok).

The core nature lies in the cultivation of Essence  (精 Jing), Strength (Lik 力), Breath/Internal Energy (Hei 氣), Bones (Gwat 骨), and Spirit (San 神). Each form has its unique brilliance, and each method has its distinct function.

Dragon trains the Spirit. One must silently observe the breath descend into the “Cinannbar Field” (Daan Tin 丹田), then extend and permeate the entire body. The hands, feet, and heart/mind support and respond to one another. Thus, the practitioner moves like a “Divine Dragon Returning to the Void”（San Lung Faan Hung 神龍返空), mysterious and unpredictable in momentum.

Snake trains the Breath/internal Energy.  Its function lies in softness. One first “Stabilizes the Golden Bridge Hand” (Ding Gam Kiu Sau 定金橋手), drawing Energy to the fingertips, making them like steel or iron. Rising and falling movements imitate a snake flicking its tongue. Its essential focus is purely on the regulation and use of Internal Energy.

Tiger trains the Bones. With a “Stretched Waist and Rooted Stance” (Taan Yiu Lok Ma 灘腰落馬, all rising and falling techniques emphasize dual striking (Seung Gik 雙擊, seizing (Kam 擒), pressing (Bik 逼), controlling (Chi 持), and raking (Pa 扒)  methods, forming effective “Short-Range Self-protection Techniques” (Wu San Dyun Sau 護身短手). Power resides in the waist, stance, bridge hand, and fingertips.

Leopard trains explosive strength. Its function also depends on the Breath/Internal Energy—” when the breath/internal energy is full, strength is abundant”（Hei Juk Jak Lik Keung 氣足則力強). The footwork must be active, lively, and quick in advancing, retreating, attacking, and evading. The fists and fingers must hook and bend like “bronze hooks or iron coils” (Ngau Tung Wat Tit 勾銅屈鐵). When punching, one must rely entirely on piercing, striking, crashing, and probing techniques（Biu 標, Miu 描, Chung 衝, Jong 撞, Taam 探. To mistake it for a brute-force style is a great error.

Crane trains the Essence. Its method emphasizes stillness (Jing 靜) often striking from the side or at off-angles. When advancing, it is like a “graceful figure striking water in the void” (Ji Hung Gik Seui 姿空擊水); when retreating, the” mind remains calm and the spirit composed” (San Haan Ji Ha 神閒志暇)—”winning through stillness”  (Yi Jing Jai Sing 以靜制勝).

However, what I have described is merely a general outline. The truly marvelous principles cannot be revealed in haste.

• Jyu Yu Jai 朱愚齋, Secret Transmission of Luk A Choi (Luk A Choi Bit Chyun 陸阿採別傳)

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