Hui Wulin Martial Arts Exhibition Hall

Hui Wulin Martial Arts Exhibition Hall

Hui Wulin Martial Arts Exhibition Hall is a national AA-level tourist attraction.

Hui Wulin is located on South Street in the ancient city of Pingyao, covering a total area of 2,800 square meters with three courtyards. The exhibition primarily showcases the status of Chinese martial arts and the origins of Pingyao’s martial traditions.

First, let’s understand the status of Chinese martial arts at that time. Chinese martial arts have a long history and are an important part of traditional Chinese culture. They are the crystallization of wisdom from laboring people throughout the ages for protecting their homes and country, as well as for strengthening the body. They can be called “national arts” or “national essences.” Martial arts are by no means just a simple sport — they are a science that integrates medicine, mechanics, literature, and art.

During the Ming and Qing dynasties, Pingyao was a dominant force nationwide. At that time, Pingyao’s economy promoted the development of its martial arts, and the two were mutually reinforcing. The growth of the pawnshop business drove economic development, which in turn spurred the development of related industries. Just as a country without a strong national defense cannot have stable economic conditions, similarly, a country without a solid economic foundation will have weak national defense.

The weapons displayed in these cabinets are relatively small ones, which could be carried by martial artists of the time for personal protection and physical conditioning anytime, anywhere. The weapons displayed on both sides were used on ancient battlefields, with a wide variety — just like the so-called “Eighteen Arms of Wushu,” which actually include more than eighteen items; it’s just a symbolic term. Among these many weapons, the most famous include the battle axe of Cheng Yaojin, the Green Dragon Crescent Blade of Guan Yu, the trident of Xie Zhen and Xie Bao, and the crescent shovel of Lu Zhishen.

At that time, over twenty types of boxing styles were widely practiced in Pingyao, with more than four hundred different martial routines. The reason Pingyao martial arts have flourished for so many years can be attributed to several factors: Firstly, its geographical location — Pingyao lies in a strategically crucial area where battles were frequently fought, with historical records indicating no fewer than a hundred battles of varying scales. Secondly, its status as a trade hub — since ancient times, Pingyao has been a key route to the capital and a flourishing commercial center. From the mid-Ming Dynasty, Shanxi merchants dominated the nation, and Pingyao’s commerce stood out even more. Large-scale goods were traded across regions, and vast amounts of gold, silver, and jewels were transported across long distances, making martial arts and combat skills essential. Thirdly, Pingyao had a large population but limited arable land, so many people sought livelihoods elsewhere through business. Martial arts not only helped strengthen the body but also served for self-defense.

From ancient times to the present, Pingyao martial arts have not only produced many martial heroes but also numerous generals, military governors, top-ranking martial examination graduates, and imperial examination martial scholars. Examples include Hou Yi of the Five Dynasties, Hou Yanguang of the Song Dynasty, Du Feng and Liang Ying of the Yuan Dynasty, Liu Bowen of the early Ming Dynasty, Yan Xiehe, the top-ranking martial scholar of the Qing Dynasty, as well as Wang Zhengqing, one of the “Three Heroes of North China” who studied under the same master as Emperor Daoguang, and Wang Shumao from the late Qing Dynasty and early Republican period.

After the 1920s, Pingyao martial arts entered a golden age of development. A popular saying of the time described the famous martial artists: “Wang Lun, Wang Wei, Wang Taiyuan, Master Guo the Second, Liang Guoxuan, Mi Qichang with his Six-Style Spear, Pang Yongkang with his Eight-Style Faith Fist, Wang Zhaoxiang with the Luo Cheng Frame, and Cao Tiyuan, the Whip Master.”

Especially after 1981, Pingyao martial arts flourished like never before. Various martial arts associations were established, including the Pingyao Martial Arts Association, the Guta Town Association, as well as associations for Xingyi Quan, Tai Chi, Bawang Quan, Tongbei Quan, and Bagua Zhang.

As Pingyao hosted one international conference and exhibition after another, Pingyao martial arts spread worldwide along with the city’s development. In August 2001, Pingyao hosted the first China Shanxi “Ancient City Qingbao Cup” Xingyi Quan International Invitational Tournament and the 20th Shanxi Traditional Martial Arts Championship, which also included a free sparring competition. At that event, 16 teams from around the world — including the United States, Brazil, South Korea, Japan, Poland, as well as Hong Kong and Macau — participated. Pingyao alone sent 18 teams with 164 athletes, who won 17 gold, 24 silver, and 22 bronze medals, setting a record for the entire province.

Overall, martial arts not only strengthen the body but also cultivate temperament, express emotions, and nurture the mind and character. Its charm lies precisely in this, which is why practicing martial arts is considered a truly refined enjoyment.

The second courtyard displays portraits of four ancient martial arts masters from Pingyao: Liang Ying and Du Feng of the Yuan Dynasty, and Wang Zhengqing and Wang Shumao of the Qing Dynasty. Liang Ying was from Liangguan Village in Pingyao, known for his exceptional bravery and skill in horseback archery. In the late Jin Dynasty, when central China rose against the Jin, Liang Ying was appointed by the court as Left Supervisor General of the Yuan Army. He achieved military success at Qilian City and was repeatedly honored for his contributions, eventually being bestowed with the Tiger Talisman and promoted to Acting Marshal. He decisively defeated Jin forces at the Three Peaks Mountain in Tangzhou and attacked Song troops at Zizhou City in Sichuan — a true embodiment of both intelligence and bravery.

Du Feng was from Fengluo Village in Pingyao. From a young age, he loved martial arts and was an avid reader, especially of military texts. In the late Jin Dynasty, following the decree of the Yuan King Anchahar, Du Feng captured Pingyang, secured Hebei, and took control of Fenzhou and Huaimeng, achieving victory after victory. His accomplishments earned him the title of Dragon-Tiger General and Commander-in-Chief of the Army and Horses. In the seventh year of Yuan Emperor Taizong’s reign (1370), Du Feng served as magistrate of Qinzhou. During his tenure, he reduced corvée labor and taxes for the people, earning their deep respect. After his death, a memorial hall was built in his honor. These two figures embodied the aspiration of the time: “Learn both civil and martial arts, and serve the emperor.”

Wang Zhengqing, a martial arts master of the Qing Dynasty’s Daoguang era, was from Nanliangzhuang in Pingyao. Coming from a poor family, he worked in a noodle shop in Beijing during the Jiaqing era but had a deep passion for martial arts. He studied under Jia Diankui, martial arts teacher to Emperor Daoguang. During a martial exchange with the emperor, one of his moves was honored by the emperor as the “Phoenix Head Strike.” After gaining fame, he was nicknamed the “Divine Spear Noodle King.” After returning to Pingyao in 1855, he founded the Tongxinggong Escort Agency. At that time, he was recognized as one of the “Three Heroes of North China” along with Dai Longbang of Qi County and Zuo Changde of Wenshui.

Wang Shumao, son of Wang Zhengqing, escorted shipments for fifty years at the Tongxinggong Escort Agency without ever losing a cargo, becoming a master in modern martial history. Chinese culture places great emphasis on virtue and righteousness, and the martial world similarly values martial virtue and loyalty. In the martial community, the louder one’s reputation, the more untouchable their escorted cargo becomes.

This exhibition room showcases nine modern martial arts masters from Pingyao.

They include Bagua masters Wang Lun, Zhang De’an, and Guo Cheng; Bawang Quan master Liang Zhouxiang; Whip Master Cao Tiyuan; Tai Chi expert Shen Zirong; Changquan master An Zhixiu; and Tongbei Quan expert Hou Sanyuan.

Guo Cheng:

A native of Pingyao City, he studied at a private school in his youth and later attended the Provincial National Normal Education Institute. There, he received personal instruction in Bagua Zhang from He Yubo, the fourth-generation disciple of Bagua Zhang founder Dong Haichuan, and guidance in Xingyi Quan from master Wang Junchen. He gained deep insight into the mysteries of internal martial arts and authored “The Three-Character Classic of Bagua Zhang” and “The Theory of Bagua Zhang.” Mr. Guo Cheng was highly learned, excelling in poetry, prose, calligraphy, and painting, and was known as a “living dictionary.” He once served as a deputy to the second Pingyao County People’s Congress, a member of the sixth session of the County CPPCC, and a national member of the Calligraphers and Painters Association.

Zhang De’an:

A native of Pingyao City, his father was a successful candidate in the late Qing imperial examinations. Gifted from a young age, Zhang was talented in calligraphy and painting and passionate about martial arts. His artworks were once exhibited in Japan on behalf of China. He often studied Changquan and Bagua with martial arts masters Wang Lun and Liang Guoxuan, and he used to teach his disciples: “Sometimes always remember the Buddhas in all directions; when idle, quietly observe your own heart.” He advocated: “The mind alternates between movement and stillness; when still, it is the source of movement. Supreme skill begins with stillness — movement without stillness cannot be complete.” His main disciples included Su Mingde, Zhao Jizu, and Zhang Ruiqing. His later-generation disciples include Dong Jinbao, Wang Jinsheng, and Yan Jianping.

Cao Tiyuan:

A native of Qiaotou Village in Pingyao, he loved martial arts and weaponry from childhood. Later, he gained the appreciation of Wang Shumao’s second son, Wang Yun, and became his disciple, the fourth-generation inheritor of the Wang School. After Wang Yun’s untimely death, he received further instruction from his grandmaster, Wang Shumao, learning nearly a hundred routines including ten styles of Spring Leg and eight routines of Faith Fist. Later, Cao Tiyuan also studied the Eight-Combination Divine Whip for fourteen years under his maternal cousin Zhang Jiuqing.

Shen Zirong:

A native of Beichangshou Village in Pingyao, he studied Tai Chi under Ma Yingtu of the northwest and later apprenticed under Tai Chi master Wang Xinwu. During the Anti-Japanese War, he joined the “Sacrificial Alliance” led by - . He made his living as a doctor and practiced martial arts to stay fit. In 1956, he won an award in the national Tai Chi competition and was later appointed as a national-level martial arts judge. Known for his humility and having numerous disciples, his nationally renowned students include Shaanxi’s Ma Zhenbang — whose student Zhao Changjun won multiple all-around national martial arts championships — Xu Yuru, who won the 1960 national Tai Chi championship, and Zhang Xigui, one of China’s hundred outstanding martial artists, as well as Vice President and Secretary-General of the Shanxi Xingyi Quan Association.

Chinese culture is broad and profound, and Chinese martial arts are both a cultural and scientific discipline. They are closely interconnected and mutually enriching with calligraphy, art, medicine, mechanics, and more. By keeping the way of the sages in one’s heart and practicing filial piety, brotherhood, loyalty, and integrity in action, one can grasp the essence of traditional Chinese culture through martial practice and feel the weight of spreading Chinese martial arts. It teaches us that martial arts not only strengthen the body but also carry deep cultural significance.

Although Chinese martial arts encompass a wide variety of styles and postures, they generally fall into two categories: internal and external. Internal styles emphasize softness, with power generated from within, while external styles focus on hardness, with power released outward. However, these distinctions mainly apply to beginners. Once mastery is achieved, there is softness within hardness, hardness within softness — a harmony of opposites, movement within stillness, and stillness within movement. Thus, civil and martial arts share the same roots, and all martial disciplines are one family.

According to the "History of Ming," Zhang Sanfeng's given name was Quanyi, and Sanfeng was his Taoist name. He was a renowned scholar of his time and the founder of Tai Chi. During the reign of Emperor Yingzong (1459 AD), he took charge of Mount Wudang and became a martial arts master with profound internal skills. He believed that "the universe is one Tai Chi, the human body is also one Tai Chi; to understand the Tai Chi of the universe and the human body is to attain the Dao." His work, "Tai Chi Dao Jue," became a motto for many practitioners of Tai Chi.

Tai Chi focuses on stillness and softness, emphasizing gentleness and lightness over hardness. It offers supreme benefits for mental cultivation, combining both internal and external training to refine temperament and prolong life. It also features self-defense techniques that use stillness to counter movement and softness to overcome hardness. As such, Tai Chi is beloved by people of all ages, making it a widely enjoyed martial art. Among numerous martial arts styles, it has the most practitioners, the highest popularity rate, and is the most promoted by China’s State Physical Culture and Sports Commission in national fitness campaigns.

Although Tai Chi has evolved into many forms and schools, its foundation remains the thirteen core postures of Tai Chi: Peng, Lu, Ji, An, Cai, Lie, Zhou, Kao, Step Forward, Step Backward, Look Left, Look Right, and Central Equilibrium. The basic principles of practice, as written on this scroll, state: "Utterly soft, utterly firm, utterly ethereal; movement like drawing silk, clear at every point. Expansion and contraction are precise; wait for the right moment to move like a cat." This explains that practicing Tai Chi first requires achieving extreme softness and clarity between solid and void, moving like drawing silk in an unbroken flow—where force may pause but intent continues, and where intent may break yet spirit remains connected. Another line reads: "Hold the dantian to train internal energy; the sounds 'Heng' and 'Ha' hold boundless wonder. Movement divides, stillness unites; bending and stretching follow naturally, slow or urgent, all in harmony." This emphasizes the necessity of internal energy training in Tai Chi, using the breath sounds "Heng" and "Ha" to fill the dantian. As the saying goes, "train internally for qi, externally for sinews, bones, and skin." On the wall, it is written: "Peng, Lu, Ji, An must be practiced earnestly; coordination above and below makes it hard for opponents to advance. No matter how strong their attack, guide it and redirect their force, borrow four ounces to deflect a thousand pounds. Lead them into emptiness and strike as they lose balance; adhere, connect, stick, and follow without losing contact or topping their force." This refers to the advanced level of Tai Chi, where one can respond calmly and flexibly to any opponent, regardless of their speed, slowness, strength, or weakness—using softness to neutralize their attacks and achieve victory.

Xingyi Quan was created by the Indian monk Bodhidharma during the Six Dynasties period. As an internal martial art, "Xing" refers to form or image, and "Yi" refers to intention or will. Intention forms within, and all things take shape externally. Internal and external resonate, unifying form and spirit, balancing hardness and softness—where hardness contains softness. Thus, it cultivates qi and strengthens power. Its movements are simple yet immensely functional. It only spread to Pingyao in the early years of the Daoguang era.

The most important principle in Xingyi Quan is "coordination" (He). When movements are coordinated, posture is correct and benefits are maximized. The six coordinations of Xingyi Quan are divided into three internal and three external. The internal coordinations are: form unified with intention, intention unified with qi, and qi unified with strength. The external coordinations are: hand unified with foot, shoulder unified with hip, and elbow unified with knee.

The Five Element Fists are the foundational routines of Xingyi Quan. They consist of: Pi (Chopping), Beng (Crushing), Zuan (Drilling), Pao (Cannon), and Heng (Crossing). Pi Fist belongs to Metal and nourishes the lungs; Beng Fist belongs to Wood and soothes the liver; Zuan Fist belongs to Water and nourishes the kidneys; Pao Fist belongs to Fire and benefits the heart; Heng Fist belongs to Earth and harmonizes the stomach. This shows the importance of regularly practicing the Five Element Fists for the human body.

Historical records suggest that Xingyi Quan was created by Ji Jike from Puzhou, Shanxi. Therefore, Shanxi is the birthplace of Xingyi Quan. When the art was passed down to Li Luoneng, he had an outstanding disciple—Che Yonghong.

Che Yonghong’s insights and techniques for practicing Xingyi Quan were: "When practicing martial arts, one should begin from nothingness and return to nothingness. Therefore, practicing martial arts is not about form but about spirit and qi. The form may be square, yet it moves without obstruction."

"The fist is not a fist, the intention is not an intention. Within no intention lies true intention. Martial arts have no form, no self, no image, no other—only the radiant spirit. The profundity is indescribable." This is the inevitable result of practicing Xingyi Quan to its highest level.

The founder of Baguazhang was Dong Haichuan, respectfully called "Dong Gong." He was from Yong’an County, Hebei, born on October 13th of the second year of the Jiaqing reign in the Qing Dynasty (1797), and died in the eighth year of the Guangxu reign (1882) at the age of 85. Baguazhang is a martial art uniquely created by him during the Xianfeng era. It is neither part of Wudang nor a branch of Shaolin. Baguazhang uses walking as its basic skill, with movements based on turning within the Yin-Yang fish, the Bagua diagram, and the Nine Palaces step patterns. Its fundamental footwork includes twisting, turning, flipping, continuous linking, palm changes following steps, and adaptive walking styles like the "Button-Turning Step" and the "Mud-Wading Step." It emphasizes moving like a dragon, turning like a monkey, shifting stance like an eagle, and sinking like a sitting tiger.

Baguazhang is divided into Fixed Frame, Live Frame, and Variable Frame, categorized into beginner, intermediate, and advanced levels. The Fixed Frame primarily trains body mechanics, using walking and turning as the foundational skills, practicing each movement in sequence.

Dong Haichuan, the progenitor of Baguazhang, gained insight from his practice: "Walking is the ancestor of all training; all training is inferior to walking." He insisted that practicing Baguazhang must take walking in circles as the foundational skill, and mastering the Muddy Step is key to excelling in Baguazhang, further highlighting how crucial walking is for physical health. Looking up, we find another insight from the Baguazhang master Yang Tingyu: "Aging first shows in the legs; difficulty walking leads to reliance on a cane. Morning and night, remember this if you wish to reach a hundred—hip and leg movement extends life." These few words reveal the intrinsic relationship between practicing Baguazhang and longevity.

Practicing martial arts essentially revolves around the three elements of Jing (essence), Qi (vital energy), and Shen (spirit). The process refines essence into qi, qi into spirit, spirit back to the void, the void into the Dao, the void to replenish spirit, spirit to replenish qi, and qi to replenish essence. The aforementioned "Dao" refers to Laozi’s state of non-action, Confucius’ state of "Ren" (benevolence), and Sakyamuni’s state of "Buddha."

Sakyamuni, the founder of Buddhism, said: "All conditioned phenomena are like dreams, bubbles, shadows, dew, and lightning; they should be regarded as such." And: "All forms are illusions; seeing that all forms are not forms is to see the Tathagata." The profound truth of "Emptiness and Existence as One, the Wondrous Existence of the Void" essentially echoes what is stated in the Tai Chi and Xingyi Hall—that practicing martial arts is not about form but spirit and qi. Only through this can one progressively achieve a superior realm where "the fist is not a fist, the intention is not an intention, and within no intention lies true intention," with spirit and qi perfectly intact.

Laozi, the founder of Daoism, advocated harmony between heaven and humanity, going with the flow of nature, emphasizing tranquility and non-action to reach the realm of "non-action yet accomplishing everything." This realm is the Dao described by Laozi—the origin of the universe where "Dao gives birth to One, One gives birth to Two, Two gives birth to Three, and Three gives birth to all things." Therefore, those who practice martial arts, including artists, focus on sensing and understanding in a state of stillness to enter the realm of art.

The founder of Confucianism—Confucius—was a renowned thinker and educator of the late Spring and Autumn Period. A native of Qufu, Shandong, he began teaching in his thirties. The Five Classics and Four Books he compiled have been textbooks read by the Chinese for thousands of years. Especially the "Analects," which has the ancient saying, "Half of the Analects can govern the world," and is regarded as the Bible of the Chinese people. It is the cornerstone of Chinese political and social ethics for two thousand years.

The concise text of the "Analects" encapsulates the essence of Confucius’ thought, reflecting his views on destiny, morality, politics, education, and demonstrating his profound wisdom about life. It is truly concise yet deeply meaningful.

The "Analects" is an essential classic that builds the foundation of Chinese civilization and is a philosophical book representing Chinese culture that has influenced human culture. It compiles Confucius’ views on politics, culture, history, life, philosophy, religion, and more, profoundly impacting the psychological qualities and moral behavior of the Chinese nation. Its ideological content has long been integrated into our national bloodline, dissolved into our national life, and forged our nation’s unique character. Reading the "Analects," you feel as though a cultural river with thousands of years of history is flowing through your heart.

Confucius is revered as the "Great Achieved Sage and Exemplary Teacher." Before the May Fourth Movement, for over 2,000 years, emperors and commoners alike respected and worshipped Confucius, regarding his thoughts as behavioral norms.

The reason we enshrine Confucius here is to remind martial artists that virtue must be their foundation. This virtue is Confucius’ "Ren" (benevolence). To practice martial arts, one must first learn to be a good person—with benevolence and virtue as the foundation.

In summary, Taoism speaks of spiritual cultivation, Confucianism of moral cultivation, and Buddhism of realizing the mind and nature, understanding causes and effects. Therefore, the Martial Arts Hall presents to everyone—including those in literature, art, calligraphy, medicine, philosophy, and politics—the highest realms of the three teachings (Buddhism, Confucianism, and Taoism), and the pursuit of personal perfection.

Address: West Street, Ancient City of Pingyao, Pingyao County, Jinzhong City

Type: Historical Architecture

Rating: AA

Recommended Visit Duration: 1–2 hours

Ticket Information:

No separate ticket required. Included in the Pingyao Ancient City Pass. Ancient City Pass: 120 RMB (peak season), 90 RMB (off-season), valid for three days.