Post on 08-Mar-2021
ENCYCLOPEDIA OF
TAEKWON-DO
GEN. CHOI HONG HI
VOLUME VIII
TABLE OF CONTENTS (Mokcha)
TENETS OF TAEKWON -DO (TAEKWON-DO JUNGSHIN) . 8
Explanation of Tenets
Courtesy (Ye Ui)
Integrity (Yom Chi) .
Perseverence (In Nae)
Self Control (Guk Gi) •
Indomitable Spirit (Baekju/ Boolgool)
PATTERNS (TUL) ... ..
Interpretation of Panerns
GENERAL INFORMATION
•
•
•
•
TECHNIQUES FOR THE BEGINNER OF 10th GRADE
HOLDER . . . . . . . . . . . . . . . .
FOUR DIRECTION PUNCH (SAJU JIRUGI)
FOUR DIRECTION BLOCK (SAJU MAKGI)
10
10
11
11
12
12
13
15
20
23 35 71
ADDITIONAL TECHNIQUES FOR PATTERN CHON-JI .111
PATTER N CHON-JI . . . . . . . . . . . . . . . . .119
ADDITIONAL TECHNIQUES FOR PATTERN DAN -GUN .163
PATTERN DAN-G UN . . . . . . . . . . . . . . . .169
ADDITIONAL TECHNIQUES FOR PATTERN DO-SAN .217
PATTERN DO-SAN .225
SYNOPSIS . . . . . . . . . . . • . . . . . . . . .281
'
T~ekwon-Do In Korean Character
6
GEN . CHOI HONG HI President
International Taekwon-Do Federation
8
THE TENETS OF TAEKWON-00 (Taekwon-Do Jungshin)
TAEKWON-00 AIMS TO ACHIEVE
Courtesy (Ye Ui) Integrity (Yom Chi) Perseverance (In Nae) Self - Control (Guk Gi) Indomitable Spirit (Baekjul Boolgool)
•
8
9
EXPlANATION OF TENETS
Needless to say. the success or failure of Taekwon- Do training depends largely on how one observes and implements the tenets of Taekwon-Do which should serve as a guide for all serious students of the art.
COURTESY (Ye Ui) Taekwon-Do students should attempt to practise the following elements
of courtesy to build up their noble character and to conduct the training in an
orderly manner as well.
1) To promote the spirit of mutual concessions
2) To be ashamed of one's vices, contempting those of others
3) To be polite to one another 4) To encourage the sense of justice and humanity 5) To d istinguish instructor from student, senior from junior, and elder
from younger 6) To behave oneself according to etiquette 7) To respect others' possesions 8) To handle matters with fairness and sincerity g) To refrain from giving or accepting any gift when in doubt
10
INTEGRITY (Yom Chi)
In Taekwon-Do, t he word integrity assumes a looser definition than the one usually presented in Webster's dictionary. One must be able to define right
and wrong, and have the conscience. if wrong, to feel guilt. Listed are some examples, where integrity is lacking:
1. The instructor who misrepresents himself and his art by presenting improper techniques to his students because of a lack of knowledge or apathy.
2. The student who misrepresents himself by "fix ing" breaking materials before demonstrations.
3. The instructor who camouflages bad techniques with luxurious training halls and false flattery to his students.
4. The student who requests rank from an instructor, or attempts to purchase it.
5. The student who gains rank for ego purposes or the feeling of power. 6. The instructor that teaches and promotes his art for materialistic gains.
7. The student whose actions do not live up the words. 8. The student who feels ashamed to seek opinions from his juniors.
PERSEVERANCE (In Nae)
There is an old Oriental saying, " Patience leads to virtue or merit" "One
can make a peaceful home by being patient for 100 times. " Certain ly, happiness and prosperity are most likely brought to the patient person. To achieve something, w hether it is a higher degree or the perfection of a
technique. one must set his goal. then constantly persevere. Robert Bruce learned his lesson of perseverance from the persistant efforts of a lowly spider. lt was this perseverance and tenacity that finally enabled him to free Scotland
in the fourteenth century. One of the most important secrets in becoming a leader of Taekwon-Do is to overcome every difficulty by perseverance.
Confucious said; "one who is impatient in trivial matters can seldom achieve success in matters of great importance."
,,
SELF-CONTROL (Guk Gi)
This tenet is extremely important inside and outside the do jang. whether conducting oneself in
free sparring or in one's personal affairs. A loss of selfcontrol in free sparring can prove disasterous to both
student and opponent. An inability to live and work within one's capability or sphere is also a lack of self control.
According to lao-Tzu " the term of stronger is the
person who wins over oneself rather than someone else."
INDOMITABLE SPIRIT (Baekjul Boolgool)
" Here lie 300, who did their duty," a simple epitaph for one of the greatest acts of courage known to mankind.
Although facing the superior forces of Xerxes. leonidas and his 300 Spartans at Thermopylae showed the world the meaning of indomitable spirit . lt is shown when a courageous person and his prin
ciples are pined against overwhelming odds. A serious student of Taekwon-Do w ill at all times
be modest and honest If confronted with injustice. he will deal w ith the belligerent w ithout any fear or
hesitation at all. with indomitable spirit. regardless of whosoever and however many the number may be.
Confucius declared. "it is an act of cowardice to fail to speak out against injustice:·
As history has proven those who have pursued their dreams earnestly and strenuously with indomitable spirit have never fai led to achieved their goals.
12
'
uP ursue one's own &oal"
PATTERNS ( Tu!)
The ancient law in the Orient was similar to the law of Hamurabi, "an eye for an eye, a tooth for a tooth," and was rigorously enforced even if death was caused accidentally.
In this type of environment, and since the present system of free sparring had not yet been developed, it was impossible for a student of the martial arts to practise or test his individual skill of attack and defense against actual moving
opponents. Individual advancement was certainly hindered until an imaginative
practitioner created the first patterns. Patterns are various fundamental movements, most of which represent
either attack or defense techniques, set to a fixed and logical sequence. The student systematically deals with several imaginary opponents under
various assumptions, using every available attacking and blocking tool from different directions. Thus pattern practice enables the student to go through many fundamental movements in series, to develop sparring techniques, improve flexibil ity of movements, master body shifting, build muscles and breath control, develop fluid and smooth motions, and gain rythmical movements.
lt also enables a student to acQuire certain special techniQues which cannot be obtained from either fundamental exercises or sparring. In short, a
pattern can be compared with a unit tactic or a word, if fundamental movement is an individual sold ier's training or alphabet. Accord ingly, pattern, the ledger
of every movement. is a series of sparring, power tests, feats and characteristic beauty.
Though sparring may merely indicate that an opponent is more or less
advanced, patterns are a more critical barometer in evaluating an individual's technique.
The following points should be considered while performing patterns:
1. Pattern should begin and end at exactly the same spot. This will indicate the performer's accuracy.
13
2. Correct posture and facing must be maintained at all times. 3. Muscles of the body should be either tensed or relaxed at the proper
critical moments in the exercise.
4. The exercise should be performed in a rhythmic movement w ith an absence of stiffness.
5. Movement should be accelerated or decelerated according to the instructions in this book.
6. Each pattern should be perfected before moving to the next.
7. Students should know the purpose of each movement. 8. Students should perform each movement w ith realism. 9. Attack and defense techniques should be equally distributed among
right and left hands and feet.
All patterns in this book are performed under the assumption the student is facing "D" (see pattern diagrams).
There are a total of twenty-four patterns in Taekwon-Do.
The reason for 24 Patterns: The life of a human being. perhaps 100 years. can be considered as a day
when compared with eternity. Therefore. we mortals are no more than simple travellers who pass by the eternal years of an aeon in a day.
lt is evident that no one can live more than a limited amount of time. Nevertheless, most people foolish ly enslave themselves to materialism as if
they could live for thousands of years. And some people strive to bequeath a good spiritual legacy for coming generations. in this way, gaining immortality. Obviously, the spirit is perpetual while material is not. Therefore. what we can do to leave behind something for the welfare of mankind is. perhaps. the most
important thing in our lives. Here I leave Taekwon-Do for mankind as a trace of man of the late 20th
century. The 24 patterns represent 24 hours. one day, or all my life.
14
THE INTERPRETATIONS OF PATfERNS
The name of the pattern, the number of movements, and the diagrammatic symbol of each pattern symbolizes either heroic figures in Korean history or instances relating to historical events.
CHON-J I:
DAN-GUN:
DO-SAN:
WON-HYO:
YUL-GOK:
means literally "the Heaven the Earth". lt is, in the Orient, interpreted as the creation of the world or the beginning of
human history, therefore, it is the initial pattern played by the beginner. This pattern consists of two similar parts; one to represent the Heaven and the other the Earth.
is named after the holy Dan-Gun, the legendary founder of Korea in the year of 2,333 B.C. is the pseudonym of the patriot Ahn Chang-Ho (1876-1938).
The 24 movements represent his entire life which he devoted to furthering the education of Korea and its independence movement. was the noted monk who introduced Buddhism to the Silla Dynasty in the year of 686 A.D.
is the pseudonym of a great philosopher and scholar Yi I (1536-1584) nicknamed the "Confucius of Korea". The 38 movements of this pattern refer to his birthplace on 380 latitude and the diagram (±) represents ··scholar·.
JOONG-GUN: is named after the patriot Ahn Joong-Gun who assassinated
Hiro-Bumi lto, the first Japanese governor-general of Korea, known as the man who played the leading part in the KoreaJapan merger. There are 32 movements in this pattern to represent Mr. Ahn's age when he was executed at lui-Shung
TOI-GYE: prison (1910).
is the pen name of the noted scholar Yi Hwang (16th century),
an authority on neo-Confucianism. The 37 movements of the pattern refer to his birthplace on 370 latitude, the diagram (±) represents "'scholar'.
15
HWA-RANG: is named after the Hwa-Rang youth group which originated in the Silla Dynasty in the early 7th century. The 29 movements refer to the 29th Infantry Division, where Taekwon-Do developed into maturity.
CHOONG-MOO: was the name given to the great Admiral Yi Soon-Sin of the Yi
Dynasty. He was reputed to have invented the first armoured battleship (Kobukson) in 1592, which is said to be the precursor of the present day submarine. The reason why this pattern ends
with a left hand attack is to symbolize his regrettable death, having no chance to show his unrestrained potentiality checked by the forced reservation of his loyalty to the king.
KWANG-GAE: is named after the famous Gwang-Gae-Toh-Wang, the 19th King of the Koguryo Dynasty, who regained all the lost territories including the greater part of Manchuria. The diagram
(±)represents the expansion and recovery of lost territory. The 39 movements refer to the first two fiqures of 391 A. D., the year
he came to the throne. PO-EUN:
GE·BAEK:
EUI -AM:
16
is the pseudonym of a loyal subject Chong Mong-Chu (1400)
who was a famous poet and whose poem "I would not serve a second master though I might be crucified a hundred times" is known to every Korean. He was also a pioneer in the field of
physics. The diagram (-) represents his unerring loyalty to the king and country·towards the end of the Koryo Dynasty. is named after Ge-Baek. a great general in the Baek Je Dynasty
(660 A. D.). The diagram (I) represents his severe and strict military discipline. is the pseudonym of Son Byong Hi, leader of the Korean
independence movement on March 1, 1919. The 45 movements refer to his age when he changed the name of Dong Hak
(Oriental Culture) to Chondo Kyo (Heavenly Way Religion) in 1905. The diagram (I) represents his indomitable spirit, displayed while dedicating himself to the prosperity of his nation.
CHOONG -JANG:is the pseudonym given to General Kim Duk Ryang who lived during the Yi Dynasty, 14th century. This pattern ends w ith a
left-hand attack to symbolize the tragedy of his death at 27 in prison before he was able to reach full maturity.
JUCHE:
SAM -IL:
YOO-SIN:
CHOI-YONG:
YON -GAE:
is a philosophical idea that man is the master of everything and decides everything, in other words, the idea that man is the master of the world and his own destiny. lt is said that this idea
was rooted in Baekdu Mountain which symbolizes the spirit of the Korean people. The diagram (w) represents Baekdu
Mountain. denotes the historical date of the independence movement of Korea which began throughout the country on March 1, 1919. The 33 movements in the pattern stand for the 33 patriots who
planned the movement. is named after General Kim Yoo Sin, a commanding general
during the Silla Dynasty. The 68 movements refer to the last two figures of 668 AD., the year Korea was united. The ready
posture signifies a sword drawn on the right rather than left side, symbolizing Yoo Sin's mistake of following his king's orders to
fight with foreign forces against his own nation. is named after General Choi Yong, Premier and Commander-in
Chief of the Armed forces during the 14th century Koryo Dynasty. Choi Yong was greatly respected for his loyalty, patriotism, and humil ity. He was executed by his subordinate
commanders headed by General Yi Sung Gae; who later become the first king of the Yi Dynasty.
is named after a famous general during the Koguryo Dynasty, Yon Gae Somoon. The 49 movements refer to the last two figures of 649 AD., the year he forced the Tang Dynasty to quit
Korea after destroying nearly 300,000 of their troops at Ansi Sung.
17
UL-JI: is named after general UI-Ji Moon Dok who successfully defended Korea against a Tang's invasion force of nearly one million soldiers led by Yang Je in 612 A. D., UI-Ji employing hit
and run guerilla tactics, was able to decimate a large percentage of the force. The diagram {l_) represents his surname. The 42
movements represents the author's age when he designed the pattern.
MOON -MOO: honors the 30th king of the Silla Dynasty. His body was buried
near Dae Wang Am (Great King 's Rock). According to his will, the body was placed in the sea "Where my soul shall forever
defend my land against the Japanese." lt is sa id that the Sok Gul Am (Stone Cave) was built to guard his tomb. The Sok Gul Am
is a fine example of the culture of the Silla Dynasty. The 61 movements in th is pattern symbol ize the last two f igures of 661
A.D. when Moon Moo came to the throne.
SO-SAN:
SE-JONG:
TONG-IL:
is the pseudonym of the great monk Choi Hyong Ung (1 520-
1604) during the Yi Dynasty. The 72 movements refer to his age when he organized a corps of monk soldiers with the assistance of his pupil Sa Myung Dang. The monk soldiers helped repulse the Japanese pirates who overran most of the Korean peninsula
in 1592. is named after the greatest Korean king, Se-Jong, who invented
the Korean alphabet in 1443, and was also a noted meteorol ogist. The diagram (:£) represents the king, while the 24
movements refer to the 24 letters of the Korean alphabet. denotes the resolution of the unification of Korea which has
been divided since 1945. The diagram (I) symbolizes the homogenous race.
Since each pattern has a close relationship with the fundamental excercise, students, therefore, should practice the patterns according to the following graduation to attain the maximum resu lts with the least effort.
18
NAME OF TUL RANK ORDER OF BELT
CHON-JI . . . . . . . 9TH GUP
DAN-GUN .... .. . 8TH GUP DO-SAN .. . .. • .. 7TH GUP . .. . .. .
WON-HYO . .. .. . 6TH GUP . .. . . . .
WHITE/YELLOW STRIPE
YELLOW YELLOW{GREEN STRIPE GREEN
YUL-GOK . . ... . . 5TH GUP ..... . . GREEN/BLUE STRIPE JOONG-GUN ... . . 4TH GUP .. .. • . . BLUE TOI -GYE ...... . . 3RD GUP . . .. . . . BLUE/RED STRIPE HWA-RANG. . . . . . 2ND GUP . . . . • . . RED
CHOONG -MOO . . . 1ST GUP . ....... RED/BLACK STRIPE
KWANG-GAE PO-EUN . . . . . . . . 1ST DAN . . . . . . . BLACK GE-BAEK
EUI -AM CHOONG-JANG . .. 2ND DAN ... • . .. BLACK JUCHE
SAM-IL
YOO-SIN CHOI-YONG
YONG-GAE
3RD DAN . . . . . . . BLACK
UL-JI . . . . . . . . . . 4TH DAN . . . • . . . BLACK MOON-MOO
SO-SAN . . . . . . . . 5TH DAN . . . . . . . BLACK
SE-JONG TONG-IL ....... . 6TH DAN .. • .... BLACK
19
GENERAL INFORMATION
The purpose of this volume is to teach the beginner students (1Oth grade
to 7th grade) to perform their patterns w ith effective technique and realistic feeling. The student is, therefore, advised to pay special attention to the correct
execution and application of each movement before he attempts to practise his pattern.
Obviously, the pattern cannot be performed correctly without sufficient
knowledge of the fundamental movements involved. The student should refer to the relevant volume in this encyclopedia for more detailed information on
each motion. Th is book is also strongly recommended as a rev iew for all levels advanced beyond this stage.
The illustrations for all 24 of the patterns contained in this encyclopedia
assume that the student is standing on line AB and facing D.
LEGEND: r - present foot position with the exception of " Previous Posture"
cr - Previous foot posit ion
! - heel slightly off the ground
t - direction of foot uavel I
" Previous Posture"
" Other View" " Front View" " Top View" " t A 8 C t " o , , , .. . e c. " toward A,B,C, ... etc." " Front foot"
" Rear foot"
"Left chest" " Right chest"
20
- posture of immediate preced1ng movement
- view of posture from the opposite side - the performer's front - reader's view from the top - direction of attack or block to A,B,C, ... etc.
- direction of stance toward A.B,C, ... etc. - refers to the foot which is advanced to the
front.
- refers to the foot which is placed at the rear. - refers to the left half of the chest. - refers to the right half of the chest.
21
zz
TECHNIQUES FOR
THE BEGINNER OR
10TH GRADE HOLDER
23
IMPORTANT: Due to the distortion of distance apparent in photographs, the a.ngle of the
feet in stances may a.ppea•· sligbt.Jy out of position. l'he fttudent, therefore, is encouragoo w refer to the feet illustrations rather than the photograph itself.
Parallel ate nee
' J
Sitting s-tance
24
Walking Stance (GvRIIUII &gi)
Prone v;. ..
Baek VO.w
L-st&noo (Niu11ja Sogi)
J'ronl Viow
Back V.,w
25
S&.aDM ( Sogi)
Parallel lance (Narani &gi)
F~Vnl View
One shoulder wldd•
Parallel Ready Stance (Narani Junhi 8ogi)
Front View Daelc Vlo.w
28
Top V"10w
Side View
Righ1 Walking Stance
Fronl View
Walking Stance (GvRmm Sogi)
One and a half shoulder ,.·xhh ----- -
Back View
Fronl View
'
I I One •hould.r width I I
27
SU!c View
Walking Stance Forearm Low Block (O..n•un So Palmol< Najunde Mah;i)
FroniView
rrop View
* l. 1'he forearm reaches the same level as the lower abdomen of the defender .
2. 'l'he body become~ half facing the opponent.
28
Front View
Side View
Walking S&ance Middle Front Punch (Gtinn1<n So Kaunde Ap Jirugi)
Frool Viow
Top View
• l. 'l'he li~t fo1·m~ a. vertical line wit h the toes. 2. The fist rcnchos t he same level as t he
~houlder of the a.ttacker. 3. The fi~t is brought to the center of tho
attacker's body .
29
30
Walking Stance Knife-hand Low Block (Cullnun So &nkal Najunde ~lakgi)
Fronl View t'ronl View
• I. The knif~ hand 11!&Chl!ll t he same le,·el as t he scrotum of the defender.
ll. The hody hec-omes half facing ~he opponent.
TopV10w
Walking Stance Inner Foreann i\1iddle Block (Gunnun So An Palmok Kaumie Makgi)
Frool View
Side View
Front View
Top View
• 1. The fist r·eaches Lhe same level as the shoulder of the dofonder.
2. The body become$ ha.lf facing t he opponent.
3. The forea.rm becomes full facing tho opponent .
31
32
Supping (orward
4 I I I I I I I I I I I I ~
'
}) I I I I I I I I I I -\1
J
Sleppiug (Omlcyo Didigi)
Stoppln~ backward
4 "' I I
I
\) '"' I I I I I I I J
a \ I I I I
2J
• I. The bod~r must always be half faeing when stepping bnckwnrd and for"Ward.
2. Stepping is executec'l in an outwar·c'l cun•ed line.
:3. The knee of t,he stationary leg springs sUghtly up d urinA t he stepping mot ion.
Inside and Oull!ide blocks
Inside Block ( An lltafr9i)
Tbc: block is uecuced a1 lhe opponent's inner Coreann.
'!he block is <xecu~ •• lbe opponenfa inner tibia.
(An Mafr9i Wa Bakat Makgi)
Side View
Outside Block (BalMI Ma/cgi)
Side View
Side View
The block i:c CXtiCUW:d at the opponent's outer forearm.
The block is e xeculcd al !.be oppoMnt"a oac.r tibia.
33
34
• - ~
Taek'll'on-Do in Chlne10 Cltaracler
DIAGRAM ( Yon Jl{oo Son)
c
A---------------~-------------- B
D
36
Ready Posture (.Junbi .lo,.,)
l'arallol ready •••oce 10wanl D.
J
37
38
1. l\lo.-e the right foot to D, forming a righl walking manee toward D while executing a middle punch to D with the ri~;b1 lisl.
Rl~hl walk.in~ • ...,.,., middle punch loward D.
a, I I I I I
I I
I I
lt.
l
I I
I .. '
Applic.UOn
Opponent of the ~ante hc i&ht .
39
2. Move the right foot to A, forming a left walking stance toward B while executing a low block to B with the let\ forearm.
Left walking stance rorearm low hlook t<>ward B.
40
Keep me fortBrmS crOliSed in front ofrlte ri~bt chest., piBcing tht' bluekin~ one on the other.
Previous Posture
J.
• I. Block is executed at. t.he t.ibia. 2. The ball of the foot is usod us u
PlY Of,.
3. The outer forearm is the blocking tooL
• I I
~~
The body becomes half facing dte uppunenl.
Apptication
41
42
3. Move the rigM foot to B, forming a rigbl walking stance loward B while executint; a m iddle puucb lo B with the right fi~l.
Risht walkins stance middle punch IOword B.
---------C::::::,-.---- ----~ ..
~---
Application
Sbo..U.r opponenl.
43
44
4. Move the right foo' to D, fonning a left wanting stance toward C while executing a low block to C with the left foroo.rm.
,.----/ C2::8
I t I I I
I
Lefl, walkin~ !ftanoe forearm low block roward C.
Previous Posture
f
I \ \ ,
Applicalion
Top View
Ot.Mr View
45
:;. ~love lhe right foot to C. forming a ri~~ walking staooe toward C while executing a middle punch to C with the ripl fist .
1 "' I
I I I I I I I I I I I I I I I I I
!J Ri~L walking al&noo middle puneh coward C.
46
I
,. I I I I
~
' 1\ I
I I
\ '
Previous Posture
Side View
47
6. Move the right f~ to B, forming a left walking stance towanl A while executing a low block to A with tbe left forearm.
Left. walking ~~ance (or~arm low bloc:k LOward A.
~ I
( \ ,_
----?....-~
P~vious Posture
' I I
'
Top View
-
49
60
7. ) love the rig M foot to A, forming a rigM walking stance toward A while exeeu~ing a middle punch to A with the right fis~.
Ri~ht walking stance midd.le punch cowud A.
~--~-- --~ --- -·----------
Previous Posture
-Application
Shorter opponent.
51
62
END. Bring the ri~l foot baek to a ready posture.
J
Parallel ready st.anee
10ward D.
Previous Posture
Top View
R: ' '
Side View
53
54
I . Move lbe left fex>' to D, forming a let\ walking slance toward D while execu~ing a middle punch to D with the let\ fist.
Left walking s tance middle punch with the left fis t wward D.
' ~ I I I I I I I I I
~·
Side View
66
2. :'llo•·e tbe lell fool lo B, forming a right walking stance toward A while executing a. low block to A wilh the right forearm.
R~hl walkinl: stance forearm low block 10wanl A.
Keep the forearms cro~d in frcmt ofllu-, right. cheAt, placirtg dle blocking one oo the other.
i" ' I 'l)
Keep lhe body half faeing
57
3. Move the let\ foo~ to A, forming ll let\ walking stance toward A while executing a middle punch to A with the left fut.
un walking &tllnce middle punch with the loft fist toward A.
------------- ----~-- -.... ~
68
Previous PO$ture
.. ---e ------~
Applic~ioo
59
60
4. 1\l ove the left. foot to D, fonning a right walking stance toward C while executing a low block to C with the right forearm.
~---....,
Right walking slanoo low block with the right forearm toward C.
\ I I I I
i
I
I , ._, '
Previous Pos'ure
Side View
81
62
5. Move the Jet\ foot to C, forming a let\ walking stance toward C while executing a middle piUlch to C with the left fist.
u fl walkin& ••anoo middle punch wilb lhe left f101 coward C.
f "" I
I I I I 1 1 1
~~ I I I I I I
I ~
"' ' I I
i'
•
'\ I I
' I
SMle v;.w
63
64
6. Move the Jefl, foot to A, forming a right walking stauce toward (I while executing a low block to ll with the rigM foreann.
R.i&IJI walkin1 alanoo low blocl< ,.-ill> lhe ril!>l forearm toward B.
~---
\5 I , I
/ /
Previous PostUM
f ~
OU>or View
\ I I
' ..
81i
66
7. Move I be lea foot to lJ, fonning a left walking stance towanl B while executing a middle pWtch to B with the Jet\ fist.
Left walkin,SI&n06 midd.lo punch with lbo loft list 10wa.rd B.
~--- --~ -. -------------
Previous Pos&Ult'
,. ~' ---? "" - · ---
Application
67
END. Bring lhe left foot back lo a ready po•ture.
Parallel ready slanoe IOward D.
Pre\•iou." Po!'lture
...
Sido View
q /
/
69
70
DIAGRAM ( Yon Moo Son)
c
D
72
Ready Posture ( Junbi Jase)
Parallel r .. dy stanoo toward D.
' l
73
74
1. Move 'he right foot to C, forming a let\ walking stance toward D while executing a low block to D with the let\ knife-hand.
l
Len walking stance kni.fe:-band Jow block toward D.
"" I I I I I I I
(1/ J
Previous PoatUR~
1 .. \
AppUca1ion
Block U exeeu&ed al dle. inner tt."bi.a.
Keep the biiCk foroarm• ClO!Illed in fronl of lhe rib cage, plaeillj! lhe blocking one on the other.
Keep the body haltf&eillj! the opponenl.
75
76
~ I
2. ~love the right foot to D, forming a right walking stance t-oward D while executing a middle side block w D wilh the righl inner fore ann.
\ I I I I
l \ I I
I I
I
' l
Ris:ht walking !dance inner forearm middle side block toward D.
I
« I I
I I
I
.t
'
Pnwio\111 P011u.re
Side View
n
78
3. :uo,·e the righ& foot to A, forming a left. walking stance toward 8 wh ile executing a low block to 8 with t·he left knife-hand.
- - -, _,..- \
~le-- 1
Left walkln~ seance kniro.hand low block O<>warcl B.
I I
~
Pnrrio1» P .. laro
' Application
Top View
' I /
Block ;. executed
at the outer tibia.
Applieuion
79
4. lllove the righ~ foot to B, forming a right walking stance toward B while executing a middle side block to B with the right inner foreann.
Rigbl walking stance inner fore· arm middle s ide block loward B.
-----------C:;:::f_.. ... --- - .... ~ .. ,
80
----~ --
AppUc&lion Shor&er opponent
81
82
5. ~love lhe righl fool la D, forming a left walking s&aooe &award C while executing a low block 10 c wnh lhe left knife-hand.
6"'f ~--( -. ..... c::::J
I \ \ \
I
Lefl. wolkinc stance knife-b&od low blod< IOwonl C.
I
' ~,
P>nious Poot""'
Top \'iow
83
84
6. Move the right foot to C, forming a right walking stance toward C, at the same time executing a middle side block to C with the right inner forearm.
1 11 I I I
I I I , , I I I \ \ \ \
'r;
Right walking stance inner forearm
middle side block toward C.
f
f -t-1 I I \
/)
t 4\ I I I
Application
Side V"10w
Other View
86
86
7. Move the ri~ht fool lO 8 , for ming & left walking saoce tow&rd A while executing & low block to A with the left kn ife-band.
Loll walltln5 •tance knife-hand lo" block toward A.
~ I I I I \ -~~ ....... ___ _
Prcvjous Po$ture
' ~ I I I
Block is execuled at
the inner tl'bia.
Application
87
8. Move the right foot. to A, forming a. right wa.lking stance toward A while exeeut.iog a. middle side block to A witb the rigM inner foream1 .
Riglat walking slan<>e inner forearm middle side blocl< towonl A.
88
, ... ~ ........ ------- ---------- -~~
Previous Pos&u:re
~- --~ -b::,
-
Application
89
END. Bring the righ~ fool back to a ready posture.
90
Parallel ready st-ance 10word D.
Previous Posture
Side View
Top View
91
92
1. :Uo,·e the left foot to C, forming a right walking stance toward D while executing a low block to D with the right knife-band.
R~bl walkin« otanoe tow blo<,k whh lbe kDife .bancl lowanl D.
) I ' I I I I
\ \D
-1\l I , I
-lrt-'-
Applloo&ion
The block is executed at the oa&er &ibia.
Ktep both foreOI'Dill crossed in &ont of lhe rib ""«"• pl~~<>io' tho blocl<i:n' ooo on the other.
Keop the body half facing tl•• opponent .
93
2. Move 'be left foo' ~ D, Conning a left walking staoce ~ward D while executing a middle side block ~ D with the lell inner foreann.
Lef\ walkins- lt&ooe inner rore&rm middle •ido block low&nl D.
~ I
I I I
I r I I I
\ I I I
\ ' ' 'V
j
~ I
I I
'V
'<: I I I I
~ l
Prevlollll PoSiure
Applioation
95
96
3. Move the left foot to B, forming a right walking stance toward A while executing a low block to A with the right knife-hand.
Bqbl walking slance low block with a lmife-baod loward A.
....----/ '~ _. I "~ I
I I I I
~
- ---~..,
Appucalion
97
98
4. Move the left foollo A, forming a left walking stance toward A while executing a middle side bloc.k lo A with the left inner foreann.
------~------- --~-- --- ~
Lefl walk1J18 stanoo middle side b&oek with the inner fore· lll1U toward A.
Previous Pot&u.re
.; -----~ ,..~-----
Top View Appliolllioo
99
!). ~Io,·e the left fool to D, forming a r ight walking stance toward C while executing a low block to C with the right knife-band.
't'::::=> ,.. ---- - .... ,,
100
I I , ,
I
t \
Ri~hl walking •lan<:e low block wiUl a. knife-band toward C.
0 0 I
.;,.
'
Other Vtew
1
101
102
6. Move ~he left foot to C, forming a left walking stance toward C, at the same time executing a middle side block to C with the left inner forearm.
Left walking stanoo side block with the inner forearm toword C.
A' I I I \ I \ I I
\17 I I I I I I I I I
~
'
.,. J I I I
I
i
f ·" \ I \ I
Previous Ponu.re
Application
Side View
103
7. ~o,·e lhe len fool to .4., forming a right walking s tant-e toward 0 while exe<>ntin,; a low block to B wi1h lbe righl knife-halld.
fti_chl walkin~ •liWt.., low block wi&.h a kni_re ... band &oward B.
104
rr ' I I
I I
-""~ / ........ , __ ,.;
Previous PO$ture
t ~ \ I ...
'
105
8. Move the left foot to 8 , fonning a left walking stance toward 11 while executing a middle side block to 11 with the left inner forearm.
Left. w&lkin~ stanee middle aide block with lhe inner forearm IOward B .
~---- --~--- -----------
106
~ ----- ;.
Application
107
108
END. Bring the left foot back to & ready posture.
Paullel ready Slan<e
k>wud D.
Previous Po3l-ure
Back View
109
110
ADDITIONAL TECHNIQUES FOR
PATTERN CHON-JI
111
Front View
Top Viow
112
Ono and a half shoulder widlh
L-Staoce (Niunja &gi)
Righl L-slance
Sicle View
Let\ L-Siance
SM!o View
Side View
L-Stance Inner Forearm Middle Block
(Nivnja So An Palmok Kavnde Mala}i)
FI'Onl View FI'Onl View
Top View
• L The fiSt reaches the same level as the shoulder of the defender. 2. The ftst forms a. triangle witb the shoulders.
113
Forward Step-Turning ( Apvro Qmno Didimyo Dolt;i)
/ /
I I
l I
(
f
~ ~ I
/ /
I I
Clockwise 1urnlng
114
Ri«bl wallcins slanco lowud D.
I I
I I
~~ I
I I
I I
I
(
/)) /
Rackward Step-Turning (Dwiro Omgyo Didimyo Dolgi)
I I
I I
f
I~ I • I I
I I
I
/'1 /
I I I
G,l
Counter-clockwiae turnin«
115
116
BABKDU SAN (MT. BABKDU)
Symbolizes lhe spirit of lho Korean people.
117
DIAGRAM ( Yon .Moo Son)
c
D
12.0
Ready Posture ( J1mlli Jase)
Parallel ready stance toward D.
j
121
122
I. Move the left foot to B, forming a left walking stance toward B while executing a low blook to B with lhe left foream>.
Let\ woiJdns •tonce forearm low blf.M:.k tow~n.l B.
Top Vie..-
Application
Ktep the back ford.ruL' mN~ed in (ronl of lhf' righ& <hest . placing the left forearm on tltt other.
123
124
2. Move the right foot to B, fonning a right walking stance toward B while executing a middle punch to 13 wit.h the right fist.
Right walking stance middle punch toward B.
~----------------~ .. 1
Top VM.w
Pre"ious Pos1ure
-·
ApplicaUon
126
--I',
126
:J. ~lm·~ thr right foot to A. tumin,; clockwise to form a right walking stance toward A while executing a low block to A with the right forearm.
....................... "le---~ -------............. ,~
Riglu "'alkiog stance forearm low block toward A.
Front. View
127
4. Move the lefl. foot to A, fom1ing a left walking stance !<>ward A while executing a middle punch Ul A with the left fist.
Left walking stance middle
punch wward A.
---------------, .. e-- --~
128
Application
Top V'Je""
Top View
,(-- -
129
5. i\Io,·e the left foot to D, forming a left walking sta.nce toward D while executing a low block to D with the left forearm .
.,.,..---- ....... _,/ \
t::;::> I
130
I I I \ \ \
\ \ J '.>a.
Lcfi walking stance forearm low block toward D.
~"ioua Posture
-
131
132
6. llfove the right foot to D, forming a right walking stance tOward D while execut·ing a middle punch lo D with the right fist.
' I I I I I I I I I I
: ~ ' ' I
I I I I I
"' ' ~ ..
Rigbl walking stance middle punch toward D.
l
\
• I
\IIJ
, ) I I
' I v-
'
Top Vie,.
133
134
7. Move the right foot lo C, turning clockwise lo form a right walking stance toward C while executing n low block lo C with the right forearm.
11-..
/ 1
Rishl walkin! stance low bkx:k with •he righi forearm toward C.
I I
I I
I I
r\ I I I I I I
I
U;'
~ "' I I I I I
11'
I
I
\
Pl-evious Posture
Top \'iew
135
136
8. )love the left foot w C, forming a. left walking stance toward C while executing a middle punch to C with the left fist.
Left walking slance middle punch 10ward C.
f "' I I
I I I I I I I I I I I I I I I I I I I I
J
~
lJ
I
I
~
f /!' I I I
Other View
I
137
9. Move I he left foot to A, forming a right L-stance toward A while executing a middle block to A wi1h the left inner forearm.
--
' ' \ I I I I I
I /
Right L-.sta.noe inner forearm bloek IO,.ard A.
~~- r. "'-"/ Ul , ..
138
Keep lhe forearnu crossed in &onl of lbc rigM chest with bolh back r .. to facing upward, plaeing lhe blocking one under che otber.
Previous Posture
f rr I I I I
Top View
1:::." .... ;._
- - '\
,
139
I 0. ~love the right foot to A, forming a. right walking sta.nce toward A while executing a middle punch to A with the righl fist.
Righl walking stance middle punch toward A.
. ... ' <:------------ --~ ------- -- u
~
140
...
Applicalion
141
142
11. Move the right foot to B, turning clockwise to form a left L-stance toward B while executing a middle block to B with the right inner forearm.
Left L·•lanoo innor fortann middle block loward B.
Top View
Applicat ion
143
144
1!. Move lhe left foot to B, forming & left w&lking stance towanl B while executing & middle pw1eh. to B with the left fist.
(?' --- --- -----------~l
--
Left wal.lrio« ltiUIOC midd.le punch toward B.
--~ --
Previous Pos&ure
, -.... __
146
146
13. ~love lbe left fool to C. forming a right, Lstance toward C while executing a middle block to C with the left inner forearm.
Rj~h~ T.·-l'!1anre inner Corean.u
middle block tA>ward C.
•
, /'<' \ \ \ I
' I ~ ....... ~ ' _ .... ----
f~t'-1 1 I I
-
Previotu Posture
Top View
Side View
147
..
148
14. Move the right foot to C, forming a right walking stance toward C while executing a middle punch to C with the right. fist.
J -11 I I
Righ~ walking stance middle punch toward C.
I I I I I I I
flJ I I I I I I I I I I
~
,
'"' I I I I
1 1' I I I
1 '
Previo,.. Posture
Other View
149
160
15. :Uove the ri~M fooL Lo D, 'urning clookwi!le Lo
form a lea L-tilance Loward D while exeeuLin~ a middle b.loek wilb lbe right inner forearm.
I~ I
I I
I I I I
Le.l\ L · lls.&nOI! inner (oreU"m middle block lowud D.
I I I
'1! i I I I I I I
I I
I
t'
t
I I
I I
, : '¥
I I
I
\ '
'
Top View
161
152
16. Mo>-e lhe le!\ foo~ to D, formin« a le!\ walking slance toward D while executing a middle punch to D wilh &he let\ fisl.
~ I I I I I I I I I I
~ ~ I I I I I I
\ I
~ j
~.<on walktn,c "'"""" middle pun~4o k>ward D.
I I I I
I I I I I
~.
Appticalioo
Top Vilsw
163
154
17. lllove the right foot to D, forming o. right walking stance toward D while executing a middle ptmch to D with the right fist.
[j, I I I
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I v-
l Ri&hl walking slance middle punch Coward D.
_, ••
I
I ~
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J
!I l ' I
j
-t
'
Previous Posture
156
156
( I I
18. Move the right foo~ to C, forming a left walking stance toward D while executing a middle punch to D wilh the left fisl.
I I I I I I I I I
:l I I
' ' ' I I I I
I I
~ Lefl walking •tance middle punch toward D.
I I
I I
I a
\
--~~ "\ I I I I
Pnwious Posture
Side View
Applioalion
167
158
19. no'"e the left foot to C, forming a right. walking s tance toward D while executing a middle punch to D with the right fist.
ltighc walkin~ statt{!(' middle 1mnch toward (),
l -~ I I I I I I I
' (?: I I I I I I I I I
' \ 8
' I I I
' D
\ "' I I
I I
Previous Po11ture
Application
~ide View
159
&.~D. Brio,; t.he left foot back to a ready posture.
Paul~! ready Sla- t<>ward D.
160
~ I I I I I I I I I
"' ~
' "'
Side View
Top View
161
162
ADDITIONAL TECHNIQUES FOR
PATTERN DAN-GUN
183
164
Walking Stance High Punch (Gun1<un So Nopun.de J irugi)
Fronl View
Top View
Back VIew
Sido View
• l. The fist r&Mhes the eye level of the attacker.
2. The fist is brought to the center of the attacker's body.
L-Stance Krufe-hand Guarding Block
Bat~k View
(N iu11ja So Sonk.al Dae&i M:akgi)
Side View
• 1. Fingcrt.ip rea{:hes the same level aa the ~boulder of the defender.
2. Knife-hand becomes halffacing the opponent.
Top View
166
L-S&ance Twin Forearm Bloek (Niuttja So Sa'NJ Palmolc Maltgi)
Side View
The r..,, of the side blooking forearm u.•ually reaches tho same love! as the shoulder of tbe defender.
Top View
166
Froni View
Side Vlow
Side Vlow
W&lking Stance Fore&rm Rising Block (Ou11JWn & Palmok 0/tukyo M afc9i)
f'loon1VIow
Tbe fore ann tta •• a& lba eenter of the defender's fort-head.
L- Sl&oce Knife-hand Middle Side Strike (Niunja So &nkal Kauftde Yop Tatrigi)
• 1 The Knife-hand · reaches the
same le,·el 113
the shoulder of the defender.
2. The body bc-001008 half facing the opponent.
Top View
167
~~~. Myohyang, lhe blrlh place or Holy Dao.Gun.
168
170
DIAGRAM ( Yon Moo Son)
c A ------~------ 8
E ----------------~------------- F D
Ready PostllN! ( Junbi Jase)
Parallel ready ot.anee lowud D.
' J
171
1. Move the left foot to B, forming a right L -stanee
toward 8 , at t11e same time executing a middle
guarding block to 8 with a knife-hand .
.R.i(bt L-slanoe mlddlo guarding block with a knife-band toward B.
172
~ ~----l}--~
--
Appliealion
173
174
2. Move the ri,l(ht foot to B, forming a right
walking SIOJ'Ice townrd B while exeeu~ing a high
punch to B wilh lhe right fist.
~ n. ---------~---- ----... ~ ..,
Ri&hl waJkins stance
high punch ooward B.
Previous Pot&ure
- \--.--::____ -·
Appticalion
175
~r: '
176
' , ,
3. Move the right foot to A, 1urning clockwise t.o form a left. L-stance toward A, at the same time executing a middle guarding block to A with a knife-band.
--------------- ----~
L!A .L·SI&nce middle guanHng block with a lmife·hand IOward A.
-----?c::::l
Application
178
4. Move the left foot to A, forming o. lefl walking stance towo.rd A while executing a high pWlch to A with the let\ fist.
~ ---------1) -----
~~-----
l.eR waUt_io, !SLance bi&fl punch toward A.
Previous P0311JN
.I ,.
~- -- -1J
ApplicatioD.
._ .. '.-- -- -
179
5. !llove tbe left foot to D, forming a left walking stance toward D while executing a low block to 0 wilh the left forearm.
t::::>--------, .... \ \
180
I I I \
\
:VJ
• Left walkin~ slance forearm low blook toward D.
--
l I I I
~,
Application
Top View
181
182
6. Move the righl foot to 0 , forming a right
walking stance toward 0 while executing a high
punch to 0 with the right fist .
~ I I I I I I
I· I
1)9 I I I I I I I I
'V
l RisJ>c walk~ slance bish punch coward D.
l
Q ' '
I
~ l
Prnioua Pooklre
Side Vi6w
183
184
7. Move the let\ foot roD, forming a let\ walking stance toward D, at the same time executing a high pWlch ro D with the let\ fist.
Left walkin~ slaooe hi~h pW!ch t<>ward D.
~ I I I I I I I I I I I I I I I I I I \ I
~
J
l
~ I I I I , ...
I I I
' I ..,
'
Application
Side v-,...,
185
186
8. ~love the right foot to D, forming a right
walking stance toward D while executing a high piUlcb lo D with the right fist.
I I I
&ighl walking st.ance high punch towanl D.
I I I I I I I
~~ I I I I I I I I
~
l
Puvious Pos1are
' I I I
~ ,
. ~ I
I I
'V
l
187
188
9. Move the lef\ foot to E. 1urnin~; counterclockwise to fom1 a right L-stance toward E while exeeuting a twin forearm block to E.
]) I I
I
/ I
I I
I /
/ / -- ~ --le:',.--..
OLI1E!r Viuw
~ ~ / :,j_ I I
I k..' I .. I
' ,(
1
AppUealioo
189
10. Move the righ$ foot lo E, forming a right w11lking stance loward E while executing a high punch lo E wilb the right fisl .
Righl walking stance high puuch toward E.
, ... ~-- ---~ ----- ----------
190
---
A pplieation
191
P--
192
11. ~love t be right footlo F, lumin~ clockwise 1o form a Jet\ L-stanoo lowaro F while executing a twin forearm block.
---------------- ...... .... ~ .. ,
Left L·st.ance twin forearm blook loward F.
Top View
Pnwious Pos&ure
-t
AppliCAtion Top View
193
194
12. Move the let\ foot to F, fo,·ming a let\ walking ~tauce toward F, ai lbe same t ime exoouting a high punch to F with the left fist.
Lef\ walking Sl&no»
hi~b punch toward 1'.
/.:r.---(J -----------------
~
f
ApplieaUon
rr----)> ~
----_.. ..
195
198
13. Move the let\ foot to C, Conning a len walking slance toward C while executing a. low block to C wi~b lhe left. forearm.
Loft walking stance forearm low block IOward C.
f ~",
' \ \ \ \
\ \ \ ,,c-\\ ' _, ~ ------
~rious Poolm'e
-Top v.,,..
Other View
·~ \ \
197
198
14. Execute a rising block wilh Ihe Jet\ forearm, maintaining the left walking 61ance toward C. Perform 13 and 14 in a continuous motion.
Lefl walldos slanc:e forearm ri•ins block loward C.
f
f
f
r
Previous Posture
Keep lho rigb$ beel stigbtly off lhe groWld.
Olher View 199
200
15. Move the right foot t~ C, forming a right walking stance toward C, at the same time executing a rising block with the right forearm.
Rifbl walking slanre foreann riomg bloek toward C.
' 4\ I I
I I I I I I I I I I I I I I I I I \ I
~
f
' "' ' ' I I I
~
1 AI I I I I
(
Othor View
Side View
201
202
16. Move the lell fooL Lo C, fonning a le l\ walking stance Lowanl C while exeeuLing a rising block with tbe left. forearm .
f \ \ I I I I I I I
~ ~ I I I I I I I I I I
I ~
Loft walldDs o-..e !oru~m rillns bloclt 10wanl C.
,
"'' I I
I I
I I
~
'~ I I I I I
j
Previous Po.slure
Other View
ApplioatioD
Side View
203
204
17. Move the right foot to (:, fonning a right walking stance toward C, at the same time executing a rising block with the right forearm.
, -1\ I I I I I I I I
' I I I I I I I I I I I I I I I
~ Jti«hl walkin« alanco forearm riB~ block lowll<l C.
f
f ,_
t
' ' ' ' \ ' !J
' AI I I I I
'
Previous PosLure
205
206
18. Move the left foot to B, hunins counler· c:loolcwise to form a ri&M L.•lanu tow&rd 8 while execulin~ a middle l!&rike to 8 with the lef\ knife-hand.
IU~I IAUooo midcllo slrib wllb a ltnif"t-hand &owanl B.
Prevtous Po3ture
' l,, r
r I
I I
I
Apptiealion Side
207
19. Move the rigM foo~ to B, forming a right walking stance 10ward B while execuling a high pw~eh ~o B wilb ~he rigb~ fi~.
RiKh• walklnK nance middle punuh toward 8 .
~\ ----------------- -----;j ..,
208
Previous Posture
. l ,..
-----~ .. ; ... ~- - --~
209
20. ll1ove the right foot to A, turning clockwise t~ fonn a left L-stance toward A while executing a middle st•·ike to A " ·ith the right knifehand.
Lefc. L~l'.!t.am.:e middle :side ~trikc with a knifc·ht.nd loward A.
210
i .. 1"._
-.., -------------------- c:::JJ
~vlous Posturo
' (----- --e:::~
Applicalion
211
212
21. Mo,·e the left foot. to A, fom>ing a left walking st-ance toward A, at the same lime executing a high punch to A with the left foot .
--------~-
Jiiii ----------- /) -- - -
Left walking Slance hill> puneh toward A.
l'reviouo PoSiure
~- --- .a -- ~-- --
Appliealion
213
E.'ID: Bring the let\ fool back to a ready posture.
Parallel ready "'""'"" low ani 0 .
---------------b_,- -
214
PreTiO~ Posture
b - - - "':! -
Side View
215
216
ADDITIONAL TECHNIQUES FOR
PATTERN DO-SAN
217
FroniView
Side View
218
Sitting Stance ( Annu1~ S()IJi)
~-- ------1
One •nd a half shoolder width
Back View
Walking Stance Outer Forearm High Side Block (Ounnu" So 8a1Mt J>a/mt)k Nopunde Yop Makgi)
Fronl View Side View
Top View
• I. The fJSt rea{)hes the eye level of the defender.
2. The flSt forms a triangle with the shoulders.
219
220
StraigM Fingertip Thrust (Su• &mlcul Ttdgi)
Front View
Side View
Walking Stance fla(lk Fist High Side St.-ike (Cunnun So Dung Joomuk NtYpunde YtYp Taerigi)
Front Vie w
• l. The forefist reaches the eye level of the attacker.
2. The body becomes half facing t,hc opponent.
3. Tbe fist becomes half facing the opponent.
Walking Stance Outer Forearm High Wedging Block (GuRRun & BalMt PalmoJ: Nopund~ H€ehyo Jl1ak9i)
Frtnn V~w
Top View
Side View
• I. The distance between the fists is equal tu one ~boulder widt h.
2. The fmt reaches the same level as the eyes of t.hc defender.
221
l'oliddle Froo~ Snap R ick ( Kaurule Apcha Bu8igi)
• I. TI1i' bn ll oft he foot is the attacking tool. 2. Tiu• attackin!! tool reaches the same
1~,·~ 1 a~ the solar plexus of the attacker.
Silling Slance Knife-hand Side Strike ( Annu11 So Sonl«ll Y op Taerigi)
Side View
222
·nm lH.Miy l)e(}Omes Dank facin~ \he opponeo\·.
l"'n root h nwl\'td 011 Hnr: fU.
pot Turning (Gujari Dolgi)
The s·aan~ hms been ciHAn~d into a )eft wolkin~ Stanct U)WII'd f .
lt i('ht foot is DlO\'('d On line Cb .
f
;
223
224
DJAGRA1U (Yon Jfoo Son)
c A ¥----- B
E -------------~ F D
226
Readv l'osture (./ rud•i ./axe)
Vaarallel rtad.)' s tanC'C towllrd D.
227
228
I. JloYc the left foot to B, forming a left walking stance towal'd B wh_ile executing a hi~h side block to B wit.h the left outer foreat·m.
-/
---- ~
l.eft walkitl~ stBI\(~ o utC'r l'brcurnl hi~h l5ide blod• towtll'd B.
..\ • / "
The ro~arm beeomei half facio, lbe opponent.
Keep lbe b..,k forurms ttOM<<I in &onloflberi&bt ehNt, pQcin' lbe blockin&
Ready Ponare vm on lbe olher.
' Applic&lion
F'roo& View
230
2. Execute a middle punch to n with tlw ri)dlllist whil~ maintaining a left wa lk in~ ~lanc·t• toward B.
l.e ([ W lllk iu~ :oi l :-I Ill~ 1H iddl(' JHlnC•h Cowaa·d D.
PrcviuW$ P~ture
....
Keep the ri~IH heel s ligh&ly ofT the ~ound •
....
Appliracinn
231
3. l\1ove the left foot on line AB, and &hen lum clockwi.s~ 1.o fom1 a right walking stance toward A while executing a high side block to A with the right outer forearm
232
Right walkint stance outer forearm. blAb •lde block toward A.
Koep 11•• 1en """' • tightly uiT the 8'0und.
K .. p c.lto ba<k Coroarrus erollled In front of the a.n dlt>}i.t , 11lac·in8 tl1e bJockin& one on &J1e other.
Side \'low
Applloallon
233
234
4. Execute a middle punch 14) A with 1he left fist while maintaining a right walking stance toward A.
Ri,hl walkin' stance middle punch toward A.
Keep the 1en heel slightly o ff the s:rnund.
235
236
5. Move the left foot to D, fonnin~ a right L-stance toward 0 while executing a middle guardin~ block to 0 with a knife-hand.
Ri&hl L-stanee knire-hand middle &aardins block tcward 0 .
----/ --,' -- ..... -~ I I I I I I
"' A
,---.... -
' ' • 7
Appliealion
Side View
237
238
6. ) love lloe rij~:ht foot to n, forming a right w11lking s tance toward I) whit~ ex.-culing a middle lhru•t In n with the right straight lillJICI•( ip.
p I I 1 I I I I I I I I I I I I
I I
Higt•• walk in~ .'llantt <~ lrllight fiu&c•liJJ chru.-.t toward 0 .
.:
'
v> \ \ I I ~
Appllca•ion
I I I I I
\1.
'
239
240
7. Twist the right knifo-hand together with the body counier-clockwise until its palm faces downward and then move the lefi fool to 0 , turning counter-clockwise to form a left walking stance toward D while execut.ing a high side strike to D with the left back fist.
Lell walkin« slt.noo back fist hi,h side sr.riko 10ward 1),
~ I I I I I I I I I I I I I I I I I I \
~
j
Prtwious Posture
Keep pivol-ing with both feet.
l
K.:e p the back fiSts faced upward, placing tlu~ striking one under the other.
I ~ \ \ \ \
\
~ ~
241
Top View
Side View
242
Application of No. 7
Sido View
\\' ri'll is released.
243
244
8. Move lhe ri~h~ fool 10 D, forming a ri~bt
walcin~ SlaDOo wward D while executing a high side strike w D wilh lhe right fist.
Rl&ht walldns ....... back r ... hi'h aide 11tiko ..,,..&rd D.
~ I I I I I I I I
~ ~ I I I I I I I
I I
Il-
l
I.
4 I I I
I I I I I I
I
Prt'SviotL~ Po~~ure
Keep the back fist facing upwazd. placiD., the &lriking one under the other.
ApplicaL$Km
245
9. ~Jo,·e the left foot to B, turnin& counter· clockwise to form a IeO walkin& stance toward E while executing a high side block to E with the IeO outer forearm.
ten "alkius ala.oce ouler forearm
hisll aide b~k 1owant E.
246
Pre\'iou.'\ Posture
Keep 'he back foream1~ erooood in front of the right chest, pl11ein~ the blocking one on the other.
~ I I
I
Application
247
248
I 0. Execule a middle pWtclt lu E wilh lhe rigbl fisi while maintainin~ a lefl walking stance ~ward E.
ten wolltinc .,..,. .. middle puneh toward E.
Previ.oua Posture
_j ..
Keop tloe ri&)>l heelsli~htly off lhe cround.
..
Appli<talion
249
260
11. Move tb~ lel\ fool on line EF, and lhen lum clockwde to form a right walking stance toward 11 while executing a high side block to F wilh the right outer forearm.
Ri#:bl w&lkin,; nanee ouser forearm hi&b aide block IOw.,d f .
~ \ \ \
~ _,
Previous Po~tu-re Ke<!p the let\ bool sU3hily off &he ground.
Applie&lion
261
262
12. Exeeu~ a middle punch lo F with Ute left filii. while maintainin& a ri&ht walkin& &Unce toward F.
Koep lbe left heel sli&hlly orr lbe £fOund.
..
263
264
13. Move lhe let\ foot to CE, forming a lefl walking stance towar·d CE, at the same lime executing a high wedging block to CE with t-he outer· forearm.
\ ~,
I I
~----"
Loft w:1lking sta.noe outer
foreacm blgb wed~lng block toward CE.
Prev iou." Posture
Applica~ioro
Keep both back fists facing che opponent.
Side View
266
256
14. Execute a middle front snap kick lo CE wi1h the rigb& foot, keeping lhe position of the bands as they were in 18.
Middle l'ront sntp kick to CE ,.;lb the risM fOOt·.
\
AppU..Iion
\
257
268
15. Lower the right foot to CE, fo.rming a right walking stance toward CE while executing a middle punch to CE with the right fist.
Right walking stant'tl middle punch loward CE.
Side View
280
16. Eltecute a middle punch to CE with the left fist while mainiainin! a right walking stance toward CE. Perform 1:1 and 16 in a fast motion.
Rltlbl walkJn« llao<e middle p1111eb ''"'"'"' CE.
PrevioWJ Posture
KCl<lp the Jell heel sU&htly ofl' the ,round.
Side View 281
262
17. Mo,·e the right foot to CF, forming a right walking st.ance toward CF while executing a high wedging block to CF with the out{lr forearm.
Right walking stance outer forearm hi~h wedging block IOWard CF.
~ \ \ \
\ ; \ ,,7'1 ' / ' ,.,. ..... __ ,
I I I I
'
"' ~
Previoas Posture
Keep boil• back li.•&o facing the opponent.
• SideView
263
18. Execute a middle front snap kick to CF with &be let\ foot, keepin,; t.be position of the ba.nds as they were in 17.
264
Previous Posture
,.
Righl walking s••noo middle fronl soap kick toward OF with lhe left fOOl.
Side View
(J
265
2N
19. Lower ~he left foo~ w CF, forming a left walking stance w ward CF while executing a middle punch w CF with the left Gst.
Lefl walkin8 alaooe middle p11DC:h k>war4 CJ'.
I
S~ View
,
267
268
%0. Execute a middle punch to CF with the ri,;ht fist while maintaining a lel\ walking slance Inward CF. Perform 19 and 20 in a fas& motion.
,
Keep lheri&hlh~h~hllyorr lho P"OUDcl.
Side View
Top View
269
270
21. Move lhe let\ foot w C, fonning a leR ... ·allting stance wwU'd C, » the same time e.xeculing a rising block wi1h lbe let\ forearm.
f , ~ \ ' I I
I I I I I / \ _, ..._ __
LeR " 'all<lns "'"""" forurm ri>lin& block 10word C.
,!? , I
'
Othf_r View
271
272
22. Move the ri,;M foo4 t.o C, forming & rigbt wallcin,; stance t.oward C while executing a rising bloclt witb tbe right forearm.
Ri«bl walkin~~; 1taace foreann
rillills bloc:k loward C.
1 "' I I
I I I I I I I I I I I I \ I \
\~
f
f
t
I I I
r;
~1 I I
Otbtr View
273
274
/ I
I I
I
I
23. Jllove the lefi foot to B, turning counter· clockwise to fonn a sitting stance toward D while exoouting a middle side strike to B with the left. knife· hand.
/ /
/ /
.... -- .,.."!
-----J
Sitt.ing s&anoe knife·h&nd $id.e .-trike to""·ard D.
Previuus Pos1ure
Keep lbe baek forearms croaaed in front of lbo ripl chesl, plac.in~ lbo loft forearm on lbe ri~l forearm.
I I , ~
-----_.::,
275
24. Bring the left foo~ to ~he r ight foot, and then move ~he right foot ~o A, forming a sitting stance toward D while executing a middle side strike to A with the right knife- hand.
l -<--------~~ <E--------D 276
Previous Posture
Sittin~ otanoe knife-band
side slrike !<>ward D.
Keep lhe ItA M<l •ti~lly ofl' lhe «"" W>d.
Appliu doo
IU<p lhe back ..,,....,,.. <rtKOt<l in rton 1 of &he lt R eh011. plac~ lhe r i«JJI fore· arm oo \he 1rn forearm.
r
Z77
END: Bring the right foot back to a ready posture.
l'arallel ready stance towanl D.
J
278
l"ruious Po•ture
' Side Vlew
1'op View
279
280
SYNOPSIS
The Encyclopedia of Taekwon-Do consists of 15 volumes. The contents
of each volume is listed below:
V OLU M E 1:
V OLUME 11:
VOLUME Ill:
V O LUME IV:
VOLUME V :
V OLUME V I:
V OLUM E V II:
1} Origin and Development of M artial Arts
2 ) History of Taekwon-Do
3} M oral Culture
4} Philosophy
5} Training Schedule
6) Cycle and Composition of Taekwon-Do
7} Demonstration
A) Model Sparring
B) Pre-arranged Free Sparring
C) Sample of Self-defence Techniques
8} About the Author
9) Group photos
1 ) Theory of Power
2) Att.acking and Blocking Tools 3) Vital Sports
4) Training
A) Training Hall
B) Conduct in Do Jang
C) Training Equipment
D) Practice Suits
5) Stances
6) Training Aids
Hand Techniques
Foot Techniques
Sparring
Fundamental Exercises (A)
Fundamental Exercises (B)
281
VOLUME V III: 1) Four-Direction Punch
2) Four-Direction Block
3) Pattern Chon-Ji 4) Pattern Dan-G un
5) Pattern Do-San
VOLUME IX: 1 ) Pattern Won-Hyo
2) Pattern Yui-Guk
3) Pattern J oong-Gun
VOLUME X: 1) Pattern Toi-Gae
2) Four-Direction Thrust
3) Pattern Hwa-Rang 4) Pattern Choong-Moo
VOLUME XI: 1) Pattern Gwang-Gae
2) Pattern Po-Eun
3) Pattern Ge-Baek
VOLUME XII : 1 )Pattern Eui-Am
2) Pattern Choong-Jang
3) Pattern Juche
VOLUME XIII: 1) Pattern Sam-11
2) Pattern Yoo-Sin
3) Pattern Choi -Yong VOLUME XIV: 1) Pattern Yon-Gae
2) Panern UI-J i
3) Pattern Moon-Moo
VOLUME XV: 1) Pattern So-San
2) Pattern Se-Jong
3) Pattern Tong -11
282
283
284
285