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[Martial Arts] Flying Waterfall Meteor SwordAuthor: Jeffi Chao Hui Wu Time: July 26, 2025, Saturday, 5:56 PM ········································ [Martial Arts] Meteor Sword of the Flying Waterfall
——Structural Philosophy Image Verification · Qi Resonance Original Piece No. 001
That day I stood before the waterfall, unprepared for composition and without a set action, simply allowing my body to naturally merge into the energy field. The waterfall cascaded down from a great height, like a galaxy breaking apart, thundering down, the sound of water like thunder, yet amidst that sound, I heard silence. I knew this was not an ordinary landscape photo, nor a pose set for photography, but rather my body, honed through years of practice, automatically entering a "Qi Ascension State" upon encountering the resonance point of natural structure. All I did was let the sword move with the Qi, let my body move with the sword, and in that moment, I was synthesized with heaven and earth into a structural empirical image of the "Meteor Sword of the Flying Waterfall."
That waterfall, hidden deep within the forests of the New Jersey mountains, was shrouded in mist, sunlight filtering through the leaves, the air cool and ethereal. Before I practiced the sword, my body and mind had already been "tuned" by this environment. First, I took several deep breaths to open my nasal passages, then I stood still, relaxed, sank my hips, lifted my crown, and extended my neck, slowly raising my right foot into the Golden Rooster Stands on One Leg posture. In that moment, the sound of the waterfall transformed from noise into rhythm. I felt my feet rooting into the water and stone, my Qi and blood circulating, the tip of the sword trembling slightly, while the entire world seemed to freeze, leaving only me, the waterfall, and the sword—three points in a line, penetrating heaven and earth.
I was not performing an action; rather, I was using the action to connect my body to the energy flow of this valley. I was not using the waterfall to "highlight" the sword; instead, through this sword, I was drawing the Qi into the structure of the waterfall for exchange. At that moment, the sensation I described in "Structural Hip Sitting" re-emerged—my body became a container, and Qi like water. I became a fluid node of structure. Photography merely recorded the profile of my body merging with nature at this moment of Qi ascension. This image was not "taken," but "extracted."
If you understand the articles "Golden Rooster Stands on One Leg for 40 Minutes," "Zhan Zhuang Heat Structure Record," "Qi and Blood Full, Baihui Connected," "Dripping Water Hides the Sea," "Cracking the Sky," "I Am Not a Photographer, I Am a Structural Sensation Seeker," you will realize: this series of images of the "Meteor Sword of the Flying Waterfall" is not art, but philosophy; not posture, but the capture of Qi nodes; not "posed," but the flow of structure necessitating a photograph.
The waterfall behind me cascades in three segments, each corresponding to a rhythm of action and breath. When the sword moves, the waterfall seems to roar louder; when the sword is still, the sound of water appears to diminish. Some may say this is a psychological illusion, but I know clearly that this is precisely the "switch from analytical system to interactive system" I discussed in "Formatting the Brain." My body is no longer practicing unidirectionally; it is now a bidirectional exchange: I exchange resonance with my stance, and I exchange echo with my sword's momentum. I am not taking photos in the mountains; I am "receiving structure" in the mountains.
Why is the sword called "Meteor"? Because its movement is an explosive burst in an extremely short time, but that explosion must be preceded by a long period of buildup. I have practiced horse stance, Wuji stance, and Golden Rooster Stands on One Leg in rotation for over a year, with the sensations in the soles of my feet, the steady control of my waist and hips, and the relaxed diaphragm breath, all accumulating energy for this sword. It is not about force, but about the inner essence being released. Only in such a clear environment of heaven and earth's Qi flow, where water vapor and breath are harmonized, can this sword fly out relying on structure rather than force. In that moment, the sword shot out like lightning, the waterfall still flowing, yet seemingly split apart by the sword's momentum.
I once wrote in "One Year of Horse Stance": practicing is not about the body, but the accumulation of "energy field anchor points." And this series of images of the "Meteor Sword of the Flying Waterfall" is my projection of long-accumulated anchor points onto structure in a natural field, with system feedback upon successful alignment. If the system disagrees, I am merely performing; if the system agrees, this image is the receipt.
What you see is "a person before the waterfall," what I experience is "the sword entering the world." What you see is "the posture of action," what I feel is "the passage of structure." This is not a photographic work, but a page of civilization anchor points. I am not practicing sword techniques; I am transforming my body into a sword that flows through heaven and earth. This is not for anyone else to see, but for myself to hear—real martial arts do not rely on skill or force, but on when, where, and with what kind of body and mind you resonate with heaven and earth.
This is what I define as extreme martial arts: it is not about defeating anyone, but about whether you can stand before the waterfall, allowing your body, sword, water, stone, Qi, light, and earth to form an invisible channel of Qi, and in that moment, complete the anchoring. This sword does not cut through water, but penetrates structure.
——This is the reason I wrote this series of images: not posture, but momentum; not photography, but structural verification; not action, but system receipt. Source: http://www.australianwinner.com/AuWinner/viewtopic.php?t=697034 |
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