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Eighteen Palms of Dragon-subduing
Wuxia Wiki | Jin Yong | Martial arts

Eighteen Palms of Dragon-subduing

This article is about the martial art skill in Jin Yong’s novels. For similar skills in other novels, refer to the See also section.

The Eighteen Palms of Dragon-subduing (降龙十八掌 – Xiánglóng Shíbā Zhǎng) was one of the ultimate martial art skill in the jianghu. As one of the two signature techniques of the Beggars’ Guild alongside the Dog-beating Staff Technique, it represented the pinnacle of external martial arts. Even the renowned Sweeping Monk of Shaolin acknowledged it as “the number one martial art under heaven.”

The martial arts was known as the Twenty-Eight Palms of Dragon-subduing, before it was refined from 28 to 18 moves by Xiao Feng and Xuzhu, further enhancing its power.

Description

The Eighteen Palms of Dragon-subduing was developed from the concepts in the divination text, the Book of Changes.1 Each move embodied profound philosophical principles while delivering devastating martial effectiveness.

At its heart, the technique embodied the principle of “having excess but not exhausting.” While emphasising overwhelming force, its true mastery lay in always maintaining power in reserve.

Masters taught that one should strike with ten parts force while keeping twenty parts in reserve. Students were instructed to imagine facing not just one opponent, but endless waves of challenges, requiring them to manage their energy judiciously.

Core philosophy

The art demanded careful cultivation of several key principles:

The foremost was power management. Unlike cruder fighting styles that expended all force in each strike, the Dragon-Subduing Palms required practitioners to carefully regulate their energy output. A strike delivered with full commitment but carefully controlled force proved far more effective than one thrown with reckless abandon.

Equally crucial was the cultivation of profound internal strength. While the basic movements could be learned through diligent practice even by those of average talent, mastering the full technique required exceptional internal energy reserves. This foundation had to be built gradually through years of dedicated training.

The technique also demanded masterful strategic application. Practitioners needed deep understanding of when to unleash full force and when to hold back, when to press forward and when to yield. This strategic element elevated it above simple power-based martial arts.

Technical execution

Despite its tremendous power, the actual execution of the moves appeared deceptively simple. The technique eschewed flashy movements in favor of direct, efficiently brutal strikes. However, this simplicity masked incredible sophistication in the application of force.

Each palm strike contained immense destructive capability that could shatter trees and overwhelm opponents. The technique achieved a rare state where rigid and flexible forces complemented each other - practitioners could shift between hard and soft approaches as needed, adapting to any combat situation.

The art proved most effective when:

  • Strikes were delivered with precise timing
  • Force was applied with full commitment but controlled release
  • Movements were supported by strategic footwork and positioning
  • The practitioner maintained abundant internal energy reserves

However, the technique was not without risks. Its demanding nature meant that:

  • Each palm strike required significant energy expenditure
  • Continuous use could quickly deplete even a skilled martial artist’s reserves
  • Improper execution risked the force rebounding and harming the user
  • The later moves required especially profound internal strength

Combat application

In actual combat, the Dragon-Subduing Palms proved nearly unstoppable when properly executed. Its pure power could overcome most defensive strategies, and few opponents could withstand even a single clean hit. Even partial mastery of the technique gave practitioners significant advantage in battle.

However, the art did have limitations in prolonged combat. The high energy requirements meant that practitioners had to end fights quickly or risk exhaustion. This weakness could be exploited by highly skilled opponents who could evade the initial onslaught and force a battle of attrition.

Additionally, the technique’s extremely forceful nature made it unsuitable for female practitioners. The pure yang energy required for its execution conflicted with the yin nature of female martial artists, making it dangerous or impossible for them to master the complete art.

Moves

The Eighteen Palms of Dragon-subduing contained moves primarily named after passages from the Book of Changes. Each move embodied profound philosophical principles while delivering devastating martial effectiveness.

1: Proud Dragon Repents

(亢龙有悔 – Àng Lóng Yǒu Huǐ)

From the Qian hexagram, Upper Nine: “The proud dragon repents—fullness cannot last long.”

Execution:

  • Left leg slightly bent
  • Right arm curling inward
  • Right foot in qian position
  • Left palm drawing a circular motion
  • Right palm pushing outward forcefully

This move embodied the principle of “strike with three parts force, retain seven parts.” Despite being a powerful attack, its true mastery lay in maintaining reserve power. Like aged wine, its aftereffects proved more potent than its initial impact.

2: Dragon Soars the Sky

(飞龙在天 – Fēi Lóng Zài Tiān)

From the Qian hexagram, Nine in Fifth Place: “Flying dragon in the sky—it profits to see a great person.”

Execution:

  • Leap into the air
  • Strike downward from above
  • Gather energy in the dantian
  • Release force through relaxed muscles
  • Target the opponent’s head, shoulders, and chest

This move required three days of dedicated practice to master. Its aerial assault made it particularly effective for gaining tactical advantage.

3: Dragon Appears in the Field

(见龙在田 – Jiàn Lóng Zài Tián)

From the Qian hexagram, Nine in Second Place: “Dragon appearing in the field—it profits to see a great person.”

Execution:

  • Pure defensive technique
  • Suitable for confined spaces
  • Creates an invisible barrier between practitioners
  • Responds to attacks without initiating
  • Dissipates when no threat exists

This move proved especially effective at neutralizing continuous attacks from skilled opponents.

4: Wild Goose Gradually Advances

(鸿渐于陆 – Hóng Jiàn Yú Lù)

From the Gradual hexagram, Nine in Third Place: “A wild goose gradually advances to the plateau…”

Execution:

  • Emphasizes subtlety over force
  • Conceals skill within apparent clumsiness
  • Uses feather-like movements as deception
  • Requires masterful control of momentum

5: Hidden Dragon, Do Not Act

(潜龙勿用 – Qián Lóng Wù Yòng)

From the Qian hexagram, Initial Nine: “Hidden dragon, do not act.”

Execution:

  • Force gathered but not released
  • Right hand forms half-fist, half-palm
  • Strikes opponent’s chest while
  • Left hand simultaneously hooks inward
  • Creates inescapable two-directional attack

6: Beneficial to Cross Great Rivers

(利涉大川 – Lì Shè Dà Chuān)

Appears in multiple hexagrams including Great Accumulation and Fellowship.

Execution:

  • Forces opponent to retreat
  • Creates distance for tactical advantage
  • Prevents enemy from closing range
  • Establishes defensive position

7: Thunder Shocks Far Away

(震惊百里 – Zhèn Jīng Bǎi Lǐ)

From the Thunder hexagram: “Thunder echoes a hundred li…”

Execution:

  • Both palms pushing forward horizontally
  • Contains tremendous explosive force
  • Considered one of the most powerful moves
  • Creates shockwave effect

8: Suddenly Leaping into the Abyss

(或跃在渊 – Huò Yuè Zài Yuān)

From the Qian hexagram, Nine in Fourth Place: “Perhaps leaping in an abyss…”

Execution:

  • Channel energy through specific meridian points
  • Left palm probing forward
  • Right palm shooting out from beneath left
  • Strikes opponent’s lower abdomen
  • Bottom-up attack contrasting with Flying Dragon

9: Double Dragons Take Water

(双龙取水 – Shuāng Lóng Qǔ Shuǐ)

Derived from Buddhist scriptures rather than I Ching.

Execution:

  • Both palms striking simultaneously
  • Creates overwhelming force through synchronization
  • Particularly effective against multiple opponents

10: Divine Dragon Swings Tail

(神龙摆尾 – Shén Lóng Bǎi Wěi)

Originally named “Treading on Tiger’s Tail” from the Treading hexagram.

Execution:

  • Specialized for attacking opponents from behind
  • Extremely forceful strike
  • Considered a life-saving move when surrounded
  • Later renamed to be more straightforward

11: Sudden Strike

(突如其来 – Tū Rú Qí Lái)

From the Li hexagram, Nine in Fourth Place: “Sudden arrival…”

Execution:

  • Lightning-fast assault
  • Takes advantage of opponent’s unpreparedness
  • Most effective as surprise attack
  • Difficult to defend against

12: Mounting Six Dragons

(时乘六龙 – Shí Chéng Liù Lóng)

From the Qian hexagram’s Tuan Commentary.

Execution:

  • Complex series of connected strikes
  • Represents mastery over multiple forces
  • Requires perfect timing and coordination
  • Embodies complete control over technique

13: Dense Clouds No Rain

(密云不雨 – Mì Yún Bù Yǔ)

From the Small Accumulation hexagram.

Execution:

  • Feint attack that withholds true force
  • Creates uncertainty in opponent’s defense
  • Sets up following techniques
  • Tests opponent’s reactions

14: Loss with Confidence

(损则有孚 – Sǔn Zé Yǒu Fú)

From the Decrease hexagram.

Execution:

  • Sacrifices position for advantage
  • Appears to weaken while gathering strength
  • Creates false sense of security in opponent
  • Sets up devastating counter-attack

15: Dragons Battle in the Wild

(龙战于野 – Lóng Zhàn Yú Yě)

From the Kun hexagram, Upper Six: “Dragons battle in the fields…”

Execution:

  • Energy flows through five key pressure points
  • Left arm and right palm completely adaptable
  • Uses opponent’s force against them
  • Creates opportunities through chaos

16: Treading on Frost

(履霜冰至 – Lǚ Shuāng Bīng Zhì)

From the Kun hexagram, Initial Six: “Treading on frost, solid ice arrives.”

Execution:

  • Elbows raised slightly
  • Right fist and left palm
  • Direct strike combined with horizontal push
  • Fast and slow forces combined
  • One of the more subtle moves in the set

17: Ram Butts Fence

(羝羊触藩 – Dī Yáng Chù Fān)

From the Great Strength hexagram.

Execution:

  • Combines palm force with total body weight
  • Uses rapid footwork
  • Creates unavoidable attack pattern
  • Like a ram breaking through barriers

18: Thunder Shakes the Earth

(震惊百里 – Zhèn Jīng Bǎi Lǐ)

From the Thunder hexagram.

Execution:

  • Powerful shockwave-creating strike
  • Maximum force manifestation
  • Culmination of previous techniques
  • Represents mastery of the entire art

Each move built upon the previous ones, creating a complete system of combat. The sequence was carefully designed so that earlier moves established foundations for later ones, while later moves drew upon principles introduced in earlier techniques. This progressive structure made the art both logical to learn and devastatingly effective in application.

History

The creator of the Eighteen Palms of Dragon-subduing was unknown, however the names of the moves indicated that it was developed by someone with a deep understanding of the divination philosophies of the Book of Changes.

Originally consisting of twenty-eight moves, the technique was refined to eighteen core movements by Xiao Feng and his sworn brother Xuzhu during the Northern Song dynasty.2 Ten moves were considered overly complicated and less effective than the core eighteen.

Before a major battle at Yanmen Pass, Xiao Feng, facing likely death, passed the technique to Xuzhu to preserve it. Together they eliminated the redundant moves while preserving and strengthening the essential elements.

The technique was then passed down through generations of Beggars’ Guild chiefs. Unlike the Guild’s Dog-beating Staff Technique which was exclusively taught to sect leaders, the Dragon-Subduing Palms could occasionally be taught to worthy practitioners outside the leadership. For instance, Hong Qigong taught a single move, “Dragon Swings its Tail”, to Li Sheng3 as a reward for great service to the sect.

After the fall of Xiangyang, the technique began to decline. While Guo Jing had taught the complete technique to his son-in-law Yelü Qi,4 subsequent chiefs could master fewer and fewer moves.

By the time of the last known master, Shi Huolong,5 only twelve moves remained in practice. Shi Huolong ultimately met his end at the hands of Cheng Kun,6 marking the effective end of the technique’s active transmission.

Before his death defending Xiangyang, Guo Jing preserved the complete manual of the technique by hiding it on Peach Blossom Island, with the map to the island hidden in the Heavenly Sword and Dragon Sabre.

While Zhou Zhiruo7 eventually recovered the manual, she was unable to practice the technique being female. It ultimately passed to Zhang Wuji,[^zhangwuji] but there are no records of him or anyone else successfully reviving the complete art.

The Wu family branch, descended from Wu Santong,8‘s sons Wu Dunru9 and Wu Xiuwen,10 maintained knowledge of the movements but not the inner principles of the technique. Despite generations of study, they never managed to recapture its true essence.

Notable practitioners

Behind the scenes

Revisions

In the First Edition of The Legend of the Condor Heroes, Hong Qigong mentioned that he created half of the moves himself. However, in the Demi-Gods and Semi-Devils published later, Xiao Feng had mastered the full set of moves, contradicting Hong Qigong’s claim since Xiao Feng was Hong’s predecessor.

This was retconned in the Third Edition where Hong Qigong was named a successor and his claim of creating it removed.

Translation

The technique is often translated as the Eighteen Dragon-subduing Palms. However, while the use of the compound adjective is a common way to create more dynamic names that are easier to pronounce, this name is still somewhat unwieldy with eight syllables.

Using a possessive construction as the Eighteen Palms of Dragon-subduing adds only one extra syllable, but creates a more formal, mystical quality often seen in fantasy fiction, especially in numbered magic or skill moves.

Appearances

See also

Coming soon.

Footnotes

  1. 易经 – Yìjīng. An ancient Chinese divination text used for philosophical guidance and fortune-telling, One of the Five Classics, also known as Yijing or I Ching. See Wikipedia. ↩

  2. 北宋 – Běi Sòng. A period of the Song Dynasty that lasted from 960 to 1127 CE. See Wikipedia. ↩

  3. 黎生 – Lí Shēng ↩

  4. 耶律齐 – Yēlǜ Qí ↩

  5. 史火龙 – Shǐ Huǒlóng ↩

  6. 成昆 – Chéng Kūn ↩

  7. 周芷若 – Zhōu Zhīruò. A female martial artist who found but could not practice the technique. ↩

  8. 武三通 – Wǔ Sāntōng ↩

  9. 武敦儒 – Wǔ Dūnrú ↩

  10. 武修文 – Wǔ Xiūwén ↩