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Also known as Lost Track Skill, Lost Track Fist / Mizongquan (迷蹤拳), Lost Track Fist / My Jong Law Horn (迷蹤羅漢拳)
Focus Striking
Country of origin China
Creator Yue Fei (attributed)
Famous practitioners Huo Endi
Huo Yuanjia
Cheng Juxiao
Ye Yu Ting
Chi-Hung Marr
Parenthood Northern Chinese martial arts, Northern Shaolin Kung Fu
Descendant arts Mizong Lohan
Olympic sport No

Mízōngyì (Chinese: 迷蹤藝; literally: "Lost Track Skill"), or simply Mízōng, is a style of Chinese martial art based on deception and mobility. Mizong is also known as Mízōngquán (Chinese: 迷蹤拳; literally: "Lost Track Fist" or sometimes "Labyrinthine Boxing" stressing the deceptive nature of the art) and Yànqīngquán (Chinese: 燕青拳; literally: "Blue Swallow Fist"). There are many sub-branches of this style.

Mizong Lohan (Chinese: 迷蹤羅漢; pinyin: mízōng luóhàn; literally: "Lost Track Arhat") is a combination of two styles: Mízōngquán and Luóhànquán. Through Luóhànquán, its lineage can be traced back to the Shaolin temple during the time of the Tang Dynasty (618–907).

As an external northern Chinese style, Mizong belongs to the "Long Fist" family of martial arts although in some traditions Mizong is considered an internal art, created by Yue Fei, and taught as a precursor system to Hsing I Ch'uan. Mizongquan was created by Cheng Juxiao. Cheng learn from his maternal grandfather and mother; of which both were also practitioners of Mizongyi.[1]

The art began to grow popular since 1901 due to the deeds of Huo Yuanjia, a Mizongyi master.[2] Huo Yuanjia's father, Huo Endi is a 6th-generation successor of Mizongyi.[3]


Mi Zong Luo Han is an external style, with distinct internal influences. It draws on many aspects of the external Northern Shaolin long-fist style, and the internal styles T'ai chi ch'uan and Baguazhang, which are often taught alongside it in modern times. It is characterized by deceptive hand movements, intricate footwork, varied kicks, and high leaps. The style changes very quickly when executed.

The emphasis on flexibility in Northern Shaolin Kung Fu styles is the guiding principle of Mi Zong, and this is evident in the versatility of its attacks and the extent to which it integrates the concepts of many internal styles. An increased emphasis on mobility often comes at the price of power, but Mi Zong compensates for this by providing a means for the dynamic generation of power. Mi Zong's unique Fa Jing (discharging of force) comes from the combination of the internal corkscrew power of Hsing I, Chen-style Tai Chi and the external snapping power of Shaolin long fist. The result is an efficient production of force through the dynamic motion of multiple elements of the body, the mastery of which gives a Mi Zong practitioner the capability of generating quick and flexible force from any distance.

This system was presided over by Grandmaster Ye Yu Ting in the twentieth century until his death in 1962 at the age of 70. A number of his students (among them Master Chi-Hung Marr) emigrated to the United States in the 1960s and have continued to teach this system in locations around the U.S. and Canada.[4] Mizong Chuan has also been continued to be taught as a foundation art to Hsing I within the Yue Jia Ba Shao/Geng Jishan tradition in London, England. Within this tradition, Mizong was primarily taught to children as, from a learning perspective, the technical, internal aspects of the art are less sophisticated (i.e., more external) than in Hsing I.

See also[edit]


  1. ^ Shou-Yu Liang & Wen-Ching Wu (2001). Kung Fu Elements: Wushu Training and Martial Arts Application Manual. Way of the Dragon Publishing. ISBN 1-889659-17-7. 
  2. ^ Chris Crudelli (2008). The Way of the Warrior. Dorling Kindersley Ltd. ISBN 1-4053-3750-8. 
  3. ^ 冯骥才, 张仲 (2004). 记忆天津: 2004 : 天津建城600年. 浙江摄影出版社. 
  4. ^ "The Legend". Tang Martial Arts Center. Retrieved 2016-10-07. 

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