Du Li Zhuang 独立桩

Why on one leg

The combat stances (Ji Ji Zhuang) share one purpose: Hun Yuan Li should be available not only in a comfortable, wide stance but in any position. Du Li Zhuang (独立桩, “free-standing post”) takes this furthest. The standing leg carries alone, the free leg hangs in the air — and yet the same force is sought as in the two-legged Hunyuan Zhuang. The limbs work further away from the body, and the sense of balance is constantly challenged. What can stay hidden in a wide stance — a residue of tension, a force that only comes from one direction — shows at once on one leg.

Points of reference

Three reference points help at the start:

• The seat rests as if on a high stool; the standing knee stays slightly bent.
• The free foot holds an imagined ball against the shin; the inner edge of the sole faces forward, the toes point outward.
• Head, front hand and standing foot lie on one line; the gaze goes over the front hand.

The back of the body leans as if against a tree or a wall. In the image, the front of the body embraces that same tree — one stands merged with it.

Six directions, one tree

The search for force (Mo Jin) follows the same pattern as in Hunyuan Zhuang: one main direction, two supplementary forces, barely visible movement that stops as soon as it can be felt. Each direction has its own tree image:

• Forward: press gently against the tree. Back: draw it back with you.
• Opening: the tree splits into a fine crack. Closing: close the crack without overdoing it.
• Up: pull the tree up until the ground cracks. Down: plant it back, the cracks heal.

Only when the resistance throughout the body is strong and stable do the directions change without fixed order (Da Luan Cheng Xu). At the end stands the simultaneous feeling of all six directions (Liu Mian Li Tong Shi).

Common mistakes

• Pushing with strength instead of the image. The rule puts it briefly: “用意志，不是强力” — with the will, not with strength. Wherever tension appears, the image is suspended until muscles and joints are loose again.
• Balance by clawing. In the backward and opening Mojin the standing toes may carry a slight digging intent — meant is a direction, not a cramped foot.
• Keeping the tired leg up. When the free leg tires it may hang lower; the image stays the same. Sides are switched.
• Starting too early. Without a sound Hunyuan Zhuang the force that is to be tested here is missing.

From stance to kick

The path leads through a preliminary stage: in 单腿一拓桩 (Dan Tui Yi Tuo Zhuang) the free leg still rests on a support of 60–70 cm. Only then does the leg stand free. In the sources of the Yao line, Du Li Zhuang counts as direct preparation for kicks — meaning low kicks at short range: kicking, stamping, point kicks against ankle and knee (Sanshou).

This is not undisputed within Yiquan. Peter Zhu rejects kicks altogether because they would need too much distance. His objection applies to high long-range kicks; the Yao line does not practise those.

The one-leg stance belongs closely with Mocabu: both express the principle “the root lies in the feet”. The one-leg stance trains leg strength while standing, Mocabu in movement.