Cheung Lai Chuen Pak Mei

Chinese name: 張禮泉白眉拳

Simplified Chinese: 张礼泉白眉拳

Cantonese: Zoeng1 Lai5 Cyun4 Baak6 Mei4 Kyun4

Mandarin: Zhāng Lǐquán Báiméiquán

Common spellings: Cheung Lai Chuen Pak Mei, Cheung Lai Chuen Bak Mei, Zhang Liquan Bai Mei, White Eyebrow Boxing

Founder and systematizer: Cheung Lai Chuen, 張禮泉

Commonly given dates: 1882–1964

Alternative birth year: Some lineage sources give 1889

Regions of development: Huizhou, Guangzhou, Hong Kong, Macau, Foshan, western Guangdong, Southeast Asia, and overseas Chinese communities

Overview

Cheung Lai Chuen Pak Mei is the principal historical source of most modern White Eyebrow Boxing lineages. It emerged from the martial culture of the East River region of Guangdong and was systematized by Cheung Lai Chuen during the late Qing and Republican periods.

The system combines several components:

Four forms are commonly identified within the tradition as the core White Eyebrow material:

Other forms within the complete Cheung Lai Chuen curriculum came from his earlier martial education, were modified according to Pak Mei principles, or were preserved by particular branches.

Cheung Lai Chuen Pak Mei is therefore not simply a single monastic art transmitted without change. It is a composite but coherent system organized around a distinctive method of generating and applying force.

Distinction from Foshan Pak Mei

Cheung Lai Chuen Pak Mei refers to the complete system organized and transmitted by Cheung Lai Chuen and his direct successors.

Foshan Pak Mei refers to later regional transmissions established in Foshan through figures such as Yau Tai Sang, Lau Siu Leung, and Chan Chung Leung.

The two are closely related. Foshan Pak Mei is substantially descended from the wider Cheung Lai Chuen tradition, but it developed its own branches, curricula, training emphases, institutional history, and local identity.

Material associated specifically with Yau Tai Sang, Lau Siu Leung, or later Foshan teachers should remain in the Foshan Pak Mei entry.

Material documented across Cheung Lai Chuen’s direct family and principal first-generation students belongs here.

History

Traditional Lineage

The formal Pak Mei genealogy begins with Pak Mei Seung Yan, the White Eyebrow Elder.

Traditional lineage lists commonly present the following succession:

Pak Mei Seung Yan appears in Southern Chinese martial folklore as one of the legendary Five Elders who survived the destruction of the Southern Shaolin Temple. Some versions describe him as a Shaolin monk. Others describe him as a Daoist who later cultivated martial arts at Mount Emei.

The destruction of the Southern Shaolin Temple, the Five Elders, and Pak Mei’s role in these events cannot presently be verified as conventional history. Similar narratives circulated through Guangdong opera, popular fiction, secret-society traditions, and martial genealogies.

The Pak Mei lineage should preserve this narrative as its traditional origin account. It should not present it as documented seventeenth-century history.

Cheung Lai Chuen’s early life

Cheung Lai Chuen was born in Huizhou, Guangdong. Most modern sources give 1882 as his birth year, although some lineage publications give 1889. He died in Hong Kong in 1964.

Cheung grew up in the East River region, an area with a strong Hakka presence and a substantial culture of village boxing, militia activity, lineage associations, and itinerant martial instruction.

Lineage accounts state that he began training at approximately seven years old. He studied under several regional teachers before encountering the martial methods attributed to Juk Faat Wan.

The identities and names of Cheung’s early teachers differ slightly between records. Commonly named teachers include:

Lam Sek, 林石

Associated with a tradition sometimes called the Wanderers’ Sect, Refugee Boxing, or Lam family teaching. The terminology and translation vary.

Lee Yee or Lee Mong, 李義 or 李蒙

Associated with Li family boxing.

Lam Ah Hap, Lam Hap, or Lam Haap, 林合 or 林俠

Associated with Lin family or East River boxing. Some accounts connect this transmission with Five Shapes and Dragon-related bridge methods.

Rather than discarding his earlier training, Cheung retained forms and techniques from these teachers and reworked their structure, stepping, bridge use, and power generation.

The Juk Faat Wan encounter

Pak Mei lineage tradition states that Cheung encountered a young monk in Guangzhou who demonstrated martial skill and defeated him during an exchange. The monk then introduced Cheung to Juk Faat Wan at Guangxiao Temple.

After repeated requests, Juk Faat Wan supposedly accepted Cheung as a student. Some versions state that Cheung trained with him for approximately three years before the monk returned to Sichuan.

This account identifies Cheung as Pak Mei’s first lay disciple. It also explains why later genealogies recognize him as the fourth-generation inheritor rather than the legendary founder.

Evidence independently confirming Juk Faat Wan’s identity and residence at Guangxiao Temple remains limited. The account should be identified as the received tradition of the school.

Creation of the modern system

Cheung combined the principles attributed to Juk Faat Wan with his earlier East River boxing.

The traditional core attributed to Juk Faat Wan consists of:

Cheung also retained or reorganized forms such as:

These additional forms reflect Cheung’s broader martial education. Later branches sometimes distinguish the four core Pak Mei sets from incorporated or preserved East River material.

This distinction does not make the additional forms inauthentic. Cheung’s synthesis is the historical martial system that became known as Pak Mei.

Republican-era teaching

Cheung established the Lai Chuen Martial Arts Society, 勵存國術社, in Guangzhou around 1912. “Lai Chuen” was Cheung’s courtesy name and became the name of the organization.

Lineage biographies associate him with teaching at Republican military and police institutions, including the Yantang military establishment and the Whampoa Military Academy. They also connect him with anti-Qing revolutionary activity and later resistance against Japan.

These claims appear frequently in lineage and regional histories, but the dates and exact appointments vary. They should be stated cautiously unless supported by archival personnel records.

Cheung became known as the “East River Fierce Tiger,” 東江猛虎. The title reflected his reputation within Guangdong martial circles and his association with direct, powerful fighting methods.

Migration to Hong Kong

Cheung moved to Hong Kong around 1949 with members of his family and several students. The system subsequently developed strong communities in the New Territories, Kowloon, Macau, and overseas.

The move to Hong Kong helped create a clearer public identity for Pak Mei. Cheung’s sons, direct students, and later organizations formalized genealogies, commemorative practices, teaching associations, and international connections.

Institutional development

The Pak Mei Martial Arts Association was established in Hong Kong in 1973 by Cheung’s family, students, and supporters.

The organization later used several names reflecting its growing international reach. The present Global Pak Mei Martial Arts Association maintains lineage records, commemorative activities, and connections among branches.

The organization’s history forms part of Pak Mei’s modern institutional identity. It should not be treated as proof of the legendary early genealogy.

Modern distribution

Cheung Lai Chuen Pak Mei now exists throughout Guangdong, Hong Kong, Macau, Southeast Asia, Europe, North America, Australia, and New Zealand.

Because Cheung taught many students, and because some students had prior martial training, substantial variation developed between branches. Schools may differ in:

The four core forms and central body principles provide the strongest points of comparison across branches.

Characteristics

Close-Range Fighting

Pak Mei is designed primarily for close and middle range. It uses compact attacks, bridge contact, aggressive stepping, low-line kicking, elbows, palms, punches, claws, and rapid combinations.

Short Bridge

Pak Mei is often described as a short-bridge system. The arms generally remain connected to the body rather than reaching without support.

Short bridge does not mean that the system lacks longer actions. It means that the practitioner seeks structural control and effective power within compact distances.

Aggressive Entry

The practitioner advances behind attacks, bridge actions, and pressure. Stepping supports the hands and prevents the upper body from acting alone.

Pak Mei sayings emphasize driving the stance forward while moving across the opponent’s bridge.

Attack and Defense Combined

A single movement may strike, deflect, seize, cut, press, or disrupt. Defensive contact should create an immediate offensive opportunity.

Continuous Transformation

The hands should not stop after completing one action. They change according to position, resistance, and tactical opportunity.

A common principle states:

Bridge creation

Another maxim states:

The practitioner does not depend on the opponent voluntarily providing arm contact. Striking, entering, and controlling can create the bridge relationship.

Three Shapes

The three shapes describe structural transformations:

They concern the body’s changing profile, chest and back organization, and ability to expand, compress, turn, or narrow under pressure.

Swallow, Spit, Float, and Sink

These four transformations govern receiving and issuing force.

Swallow draws force inward or allows the body to absorb and redirect pressure.

Spit issues force outward.

Float raises, lightens, or disrupts upward.

Sink settles structure and directs force downward.

These actions should occur through coordinated body mechanics rather than exaggerated torso movement.

Six Powers

Pak Mei power links the major parts of the body into one issuing action. Lists vary slightly, but commonly include:

Some branches substitute the jaw, teeth, abdomen, or hips within the list. The shared principle is whole-body coordination.

Eight Methods

The eight methods are commonly listed as:

These terms describe qualities of action rather than eight isolated techniques.

Explosive Power

Pak Mei seeks abrupt release from a connected structure. The practitioner alternates relaxation and contraction instead of maintaining constant maximum tension.

The impact may feel sharp, springing, penetrating, sinking, or shocking depending on the technique.

Startled Power

Ging Daan describes a sudden springing release resembling the body’s involuntary startle response.

Ging Jaat describes another abrupt quality of binding, piercing, or shocking power. Definitions differ among branches.

Joint Power

Pak Mei frequently describes power as passing through connected joints. This should not be interpreted as snapping the joints or relying on isolated joint extension.

The feet, legs, waist, spine, shoulders, elbows, and hands coordinate to produce a single action.

Tiger Expression

Tiger imagery appears in the system’s tactics, hand shapes, stepping, and advanced forms. It represents pressure, seizing, sudden attack, and close-range dominance.

Internal and External Classification

Pak Mei practitioners often describe the art as internal short-bridge boxing because it emphasizes trained force, breathing, structural transformation, and coordination rather than isolated muscular strength.

This is a traditional self-classification. Modern internal and external categories are inconsistent and should not be treated as objective physiological classifications.

Training Methods

Jik Bo Training

Jik Bo provides the foundation for stance, stepping, issuing, breathing, bridge position, and the four transformations.

Students repeat a relatively small number of actions so that the body method becomes consistent.

Bridge Exercises

Partner bridge drills develop:

Bridge conditioning should strengthen the practitioner without making the arms rigid.

Hand-Method Drilling

Common striking tools include:

Individual methods are repeated before being linked into combinations.

Stance and Stepping

The characteristic stance is commonly described as bat ding bat baat, neither character-ding nor character-eight.

Students practice advancing, retreating, turning, triangular stepping, pursuing, and driving through the opponent’s position.

Power Exercises

Power training coordinates breathing, body compression, spinal action, waist movement, stance, and bridge contact.

It may include:

Hardening Exercises

Traditional schools condition the forearms, hands, fingers, torso, and stance. Conditioning should progress gradually.

Repeated trauma is not evidence of successful training. Persistent pain, numbness, joint swelling, or loss of function indicates injury rather than useful adaptation.

Two-Person Sets

The broader curriculum includes paired exercises such as:

Names and choreography differ among branches.

Application Practice

Forms are divided into fighting sequences and trained against increasingly unpredictable attacks.

Applications include striking, bridge control, pulling, limb destruction, off-balancing, low kicking, elbows, close-range collisions, and continued attack.

Sparring and Pressure Testing

Traditional Pak Mei gained a reputation for practical fighting, but modern schools vary in their use of free sparring.

Forms and bridge exercises develop attributes. They do not by themselves reproduce unrestricted resistance.

Schools seeking functional combat skill should include controlled sparring, pad work, protective equipment, distance changes, clinch pressure, and progressively resistant application.

Internal Exercises

Some branches teach breathing, standing, dynamic tension, health exercises, or qigong. These practices support posture, breathing control, recovery, body awareness, and power training.

Their presence and interpretation differ among lineages.

CORE FORMS

Jik Bo Biu Ji, 直步標指, Straight-Step Thrusting Fingers.

Usually shortened to Jik Bo. It is the foundational Pak Mei form and the principal vehicle for learning the system’s body mechanics.

It trains:

The form’s apparent simplicity conceals its technical difficulty.

Gau Bo Toi, 九步推, Nine-Step Push.

This form develops advancing pressure, bridge control, pushing and striking actions, stance disruption, and linked tactical variations.

The name is associated with nine principal advancing sections or methods. Some traditions describe each method as containing multiple changes.

Sap Baat Mor Kiu, 十八摩橋, Eighteen Rubbing Bridges.

This form develops sophisticated bridge action. Its movements include rubbing, threading, locking, hooking, sealing, adhering, cutting, pulling, and issuing through contact.

It integrates hard and soft action and teaches the waist to direct the bridges.

Maang Fu Chut Lam, 猛虎出林, Fierce Tiger Emerges from the Forest.

This is commonly treated as the culminating core form. It integrates the system’s stepping, body transformations, bridge control, tiger methods, and explosive combinations.

It should not be understood as a collection of secret finishing techniques. Its importance lies in integrating principles developed through the earlier forms.

ADDITIONAL FORMS

Sap Ji Kau Da, 十字扣打, Cross-Pattern Seizing and Striking.

This form is associated with Cheung’s earlier East River training and was reorganized using Pak Mei mechanics. It teaches close-range controlling and striking combinations.

Some branches divide the material into Small Cross and Large Cross forms.

Ying Jau Lim Kiu, 鷹爪黏橋, Eagle Claw Sticking Bridge.

This set emphasizes seizing, sticking, pulling, close bridge control, and transitions between long and short attacks.

Saam Mun Chui, 三門搥, Three-Gate Fists.

This form develops attacks through multiple gates, compact combinations, stealing position, evasive striking, and coordinated footwork.

Sei Mun Baat Gwaa, 四門八卦, Four Gates and Eight Trigrams.

It develops multidirectional movement, turning, changing angles, and attacks delivered toward several directions.

Dei Saat Kuen, 地煞拳, Earthly Baleful Boxing.

This form emphasizes lower-body training, kicking, stepping, changes of height, and leg strength.

Ng Ying Kuen, 五形拳, Five-Shape Boxing.

This form appears in some branches but is not universal. Its contents and animal associations vary.

Fu Bo Mor Kiu, 虎步摩橋, Tiger-Step Rubbing Bridge.

A specialized form preserved within some Hong Kong lineages.

Curriculum Distinction

Some modern Pak Mei teachers separate the curriculum into:

This approach helps document historical layers without declaring one branch’s curriculum to be the only authentic version.

Notable Figures

Pak Mei Seung Yan, 白眉上人

The legendary White Eyebrow Elder and first-generation founder in the traditional genealogy. His historical identity remains unverified.

Gwong Wai Sim Si, 廣慧禪師

The second-generation monk in the traditional genealogy.

Juk Faat Wan Sim Si, 竺法雲禪師

The monk traditionally identified as Cheung Lai Chuen’s Pak Mei teacher. Independent documentation of his life remains limited.

Lam Sek, 林石

One of Cheung’s early East River martial teachers. Material associated with his teaching contributed to the later composite curriculum.

Lee Yee or Lee Mong, 李義 or 李蒙

A teacher associated with Li family boxing and weapons. Names differ between lineage records.

Lam Ah Hap, 林合

An early teacher associated with Lin family methods, Five Shapes, and Dragon-related bridge work. The name appears in variant forms.

Cheung Lai Chuen, 張禮泉

The historical systematizer and principal public transmitter of modern Pak Mei. He integrated several regional martial traditions around the body method attributed to Juk Faat Wan.

Cheung Bing Sum, 張炳森

Cheung Lai Chuen’s eldest son and a fifth-generation inheritor.

Cheung Bing Lam, 張炳霖

Cheung Lai Chuen’s second son. He became an important family representative and institutional figure within the Hong Kong Pak Mei community.

Cheung Bing Fat, 張炳發

Cheung Lai Chuen’s third son and a major transmitter whose descendants established schools in Hong Kong and abroad.

Ng Yiu, 吳耀

A prominent direct student of Cheung. He reportedly taught alongside Cheung during the wartime period and later moved with him to Hong Kong.

Ng Wa, 吳華

A direct student traditionally counted among Cheung’s “Four Guardians” or “Four Warriors.”

Lai Choi, 黎才

A direct student traditionally included among the “Four Guardians.”

Lai Ha, 黎蝦

A direct student traditionally included among the “Four Guardians.”

Tsang Wai Bok, 曾惠博

A direct student known for fighting skill, powerful kicking, and hard qigong. His teaching contributed to the spread of Pak Mei in western Guangdong and overseas communities. Global Pak Mei profile

Kwok Chi Cheong, 郭熾昌

An early indoor student who taught in Foshan, Guangzhou, Macau, and Hong Kong. His lineage preserved a broad curriculum of Pak Mei forms, weapons, and traumatology. Branch history

Xia Hanxiong, 夏漢雄

A direct student of Cheung and founder of his own teaching organization. He played an important role in transmitting Pak Mei to Yau Tai Sang and the later Foshan branch.

Li Sai Keung, 李世強

A direct student associated with Pak Mei’s development in Hong Kong’s New Territories.

Yau Tai Sang, 仇太生

A later-generation transmitter who introduced Pak Mei into Foshan through the Xia Hanxiong line.

Weapons

Pak Mei’s weapon curriculum combines material attributed to the monastic transmission with weapons preserved from Cheung’s earlier teachers and later branches.

Not every lineage teaches every weapon.

Daai Jan Gwan, 大陣棍, Great Formation Staff.

Ceng Lung Gim, 青龍劍, Green Dragon Sword.

Zeoi Wan Lau Jip Seung Dou, 追魂柳葉雙刀, Soul-Chasing Willow-Leaf Double Sabers.

Wui Waan Seung Gwaai, 迴環雙枴, Circling Double Crutches.

Fei Fung Seung Dou, 飛鳳雙刀, Flying Phoenix Double Sabers.

Deoi Caak Gwan, 對拆棍, Staff Partner Set.

Fo Dei Saam Caa Daai Paa, 火地三叉大耙, Fire-Earth Three-Pronged Great Rake.

Ng Hang Jung Laan Gwan, 五行中欄棍, Five-Phase Middle-Blocking Staff.

Ceng Lung Jin Jyut Dou, 青龍偃月刀, Green Dragon Crescent Blade.

Sin Fa Bou Dang, 仙花寶凳, Immortal-Flower Precious Bench.

Fong Tin Gik, 方天戟, Square-Heaven Halberd.

Jo Jau Lin Waan Coeng, 左右連環槍, Left-Right Continuous Spear.

Daan Dou Deoi Daai Paa, 單刀對大耙, Single Saber against Great Rake.

The commonly published curriculum contains eleven empty-hand or partner methods and eleven weapon sets, but this is one branch’s preservation of the system rather than proof of a universal curriculum. Published curriculum

Major Lineages

Cheung Family Lineage

This lineage passes through Cheung’s sons:

The family branches became important in Hong Kong, Canada, and other overseas communities.

Ng Yiu Lineage

Kwok Chi Cheong Lineage

Tsang Wai Bok Lineage

Xia Hanxiong Lineage

Li Sai Keung Lineage

Foshan Pak Mei

Guangzhou Pak Mei

Macau Pak Mei

Overseas lineages

Related Arts

Foshan Pak Mei

Lung Ying

Southern Praying Mantis

Li Family Boxing

Lin Family Boxing

Wing Chun

Hung Kuen

Choy Li Fut

Southern Lion Dance

Terminology

Pak Mei Pai, 白眉派, White Eyebrow School.

Pak Mei Kuen, 白眉拳, White Eyebrow Boxing.

Lai Chuen Gwok Seot Se, 勵存國術社, Lai Chuen Martial Arts Society. The organization established by Cheung in Guangzhou.

Saam Ying, 三形, Three shapes: 圓、扁、薄, Round, flat, and thin.

Sei Biu, 四標, Four standards or expressions: 吞、吐、浮、沉, Swallow, spit, float, and sink.

Luk Ging, 六勁, Six coordinated powers. The exact list varies, but the principle concerns whole-body issuing.

Baat Sik, 八式, Eight methods: 鞭、割、挽、撞、彈、索、盤、衝, Whip, cut, pull, collide, spring, draw, coil, and charge.

Bat Ding Bat Baat Ma, 不丁不八馬, Neither character-ding nor character-eight stance. The feet form a functional triangular relationship rather than an extreme version of either named position.

Kiu, 橋, Bridge. The arm, forearm, or structural connection through which the practitioner interacts with an opponent.

Mor Kiu, 摩橋, Rubbing bridge.

Lim Kiu, 黏橋, Sticking or adhering bridge.

Ceoi Kiu, 碎橋, Breaking bridge.

Zyun Kiu, 鑽橋, Drilling bridge.

Saat Kiu, 殺橋, Killing or cutting bridge.

Fung Kiu, 封橋, Sealing bridge.

Fung Ngaan Chui, 鳳眼搥, Phoenix-Eye Fist., A fist formation that concentrates force through the protruding index-finger knuckle.

Gin Daan Ging, 驚彈勁, Startled spring power.

Gin Jaat Ging, 驚紮勁, Startled binding, piercing, or shocking power.

Cyun Ging, 寸勁, Inch power or short-distance issuing.

Cam Sok Ging, 沉索勁, Sinking and drawing power.

Sing Ging, 升勁, Rising power.

Jik Ging, 直勁, Direct power.

Fat Ging, 發勁, Issuing trained force.

Noi Gaa, 內家, Internal school. Pak Mei uses this term as a traditional description of its body method. It should not be treated as a scientifically fixed category.

Dung Gong Maang Fu, 東江猛虎, Fierce Tiger of the East River. A title associated with Cheung Lai Chuen.

Related Encyclopedia Entries

Pak Mei

Foshan Pak Mei

Cheung Lai Chuen

Pak Mei Seung Yan

Juk Faat Wan

Cheung Bing Sum

Cheung Bing Lam

Cheung Bing Fat

Ng Yiu

Tsang Wai Bok

Kwok Chi Cheong

Xia Hanxiong

Yau Tai Sang

Lau Siu Leung

Lung Ying

Southern Praying Mantis

Hakka Martial Arts

Southern Chinese Martial Arts

Internal Training

Martial Conditioning

Forms / Taolu

Sparring

Pressure Testing

Weapons Training

Jing

Lineage

Closed-Door Disciple

Traditional Chinese Traumatology

Southern Lion Dance

Guangzhou

Huizhou

Hong Kong

Macau

Guangxiao Temple

Whampoa Military Academy

References