The Mystery of the Photograph of Guo Yunshen
The famous photo of Guo Yunshen with Che Yizhai (Colorized by Byron Jacobs)
Introduction
Among the great figures of Xingyi Quan, few names stand out as prominently as Guo Yunshen (1822–1898), famed for his devastating half-step Beng Quan. His legacy is surrounded by legends, stories, and in some cases—controversies. One of the most enduring debates in recent decades centers on a photograph of Guo Yunshen together with fellow master Che Yizhai and disciples.
This photograph only became publicly known in the late 1980s and early 1990s. Prior to this, no photographs of Guo Yunshen were known to exist, making its discovery a major event for Xingyi Quan practitioners—particularly those of the Hebei lineage.
The image entered wide circulation through Wu Dianke’s 1993 book Xingyi Quan Shu Da Quan (The Complete Art of Xingyi Quan), in which part of the photograph was used on the cover. Wu, being of the Shanxi / Che lineage, was later found to have manipulated the photo for the cover in a way that altered key details. This issue was brought to light by researchers and practitioners who investigated the matter, and in later editions of his book Wu corrected the presentation. Even so, other controversies soon emerged, with various people attempting to attribute identities to individuals in the photo—sometimes for personal gain or recognition. These claims, too, were challenged and publicly scrutinized.
This topic also intersects with my ongoing translation and research project, The Secrets of Xingyi Quan. Produced originally as a Shanxi-based documentary by lineages more closely associated with the Che branch, it frequently references Wu Dianke’s book and, at times, attempts to reinforce some of its more slanted perspectives on the history of this photo and related events. In my recently released first episode of The Secrets of Xingyi Quan Redux, Jarek Szymanski, Jon Nicklin, and I revisited the content of the early episodes and discussed in detail the controversies surrounding this very image.
Back in the 1990s, Jia Chi published an article in a prominent national Chinese martial arts magazine that carefully analyzed the manipulation of the photo in Wu Dianke’s book and questioned the accompanying identifications. Jia Chi presented clear and logical points, many of which were corroborated by senior Xingyi inheritors of the time. His article went a long way toward clarifying the issue, though unfortunately, some of the misinformation it addressed continues to be repeated today.
While the fact that this photograph indeed features both Guo Yunshen and Che Yizhai is not disputed, it is important to understand the larger context, controversies, and attempts at distortion that have surrounded it. This is part of the reason I have dedicated time to studying the image myself, working for months to restore, clean, and meticulously colorize it by hand. The result became the cover image of my 2023 book Dragon Body, Tiger Spirit – A Translation and Explanation of the Classic Texts of Xingyi Quan.
The article translated below is a detailed examination of this famous photo. It investigates its publication history, the disputes over its authenticity and identification, and the broader historical context of Guo Yunshen’s journey to Shanxi. By presenting this text in English for the first time, I hope to contribute to a clearer understanding of both the photograph and the legacy of Xingyi Quan’s most iconic figure.
The article (page 1) written by Jia Chi regarding the presentation of the photo on Wu Dianke’s book cover
The photograph of the late Qing dynasty martial arts master Guo Yunshen had not previously been seen in historical records. In recent years, however, some martial arts books and periodicals have published a so-called group photo of Guo Yunshen together with Che Yizhai and others. This has sparked much debate, with differing opinions and no consensus. After extensive investigation and research, I have drafted this article to seek guidance from fellow practitioners.
(1) The Photograph of Guo Yunshen in The Complete Art of Xingyi Quan
In 1993, Shanxi People’s Publishing House published The Complete Art of Xingyi Quan (hereafter abbreviated as Xing Quan), compiled by Wu Dianke and Cheng Suren. It was the first time that a photograph claiming to show Guo Yunshen and Che Yizhai together was published.
The book’s cover used the central portion of this photograph, with the editors adding a caption:
“Cover photograph: Group photo of Xingyi Quan grandmaster Che Yizhai with disciples visiting from Zhili (present-day Hebei), Xingyi master Guo Yunshen.
Time: 1903 (29th year of Guangxu).
Location: Che Yizhai’s residence in Jiajia Fort, Taigu County, Shanxi Province.
Sitting on the right: Che Yizhai. Sitting on the left: Guo Yunshen.
From the left: Lü Xuelong, Wang Fengxiang, Guo Kun, Liu Jian, Wang Zhigui, Meng Xingde, Wu Jie.
Front row: holding spear, Li Fuzhen; holding broadsword, Fan Yongqing.
To the right: Che Yizhai. To the left: Guo Yunshen. In the center: Che Yizhai’s close disciple Liu Jian, teacher of the book’s chief editor.”
The very first page of illustrations in Xing Quan is this photograph, again captioned with the same explanation.
Although the editors’ notes are written as though recounting an eyewitness account, attentive readers will see immediately that the photo is not authentic—it has been mirrored and reversed!
The reasoning is simple: in the photo one person holds a saber, another a spear. The saber is held in the left hand, the spear with the right hand ahead and left at the base of the spear—the exact opposite of reality. This alone proves the image has been flipped.
Why print it reversed? If the original orientation were used, the person on the right would be Guo Yunshen, the person on the left Che Yizhai. Traditionally, the right seat was the position of honor, the left was lower. In that case, Guo would outrank Che, exposing as false the editors’ fabricated claim that Che “supplemented” Guo by teaching him the twelve animal forms. Thus, the compilers had to print the reversed image.
Likely, the compilers also knew this was not “a good strategy,” so they tried to cover it with elaborate explanatory notes. But the explanations likewise do not stand up to scrutiny.
Leaving aside the falsity of the date they claim, consider the so-called location: “Che Yizhai’s residence at Jiajia Fort, Taigu County, Shanxi.” This is pure fabrication.
In 1903 (if that date were correct), photography was not available in most towns in China. Could there really have been a photography studio at Jiajia Fort in Taigu County? Even if there had been one in Taigu city, there were no small cameras at that time. Cameras were large and heavy, only usable in studios, not portable like itinerant doctors visiting homes. It is impossible they would have gone to “Che Yizhai’s residence at Jiajia Fort” to take such a photograph. This proves that the time and place added by the editors of Xing Quan were completely groundless fabrications.
After the book’s publication, this photo stirred much debate in martial arts circles. Based on what I personally heard, I will cite several examples for the reader.
Page two of the article
Testimony of Ms. Sun Jianyun
In May 1995, Zhang Yulin, director of the Shen County Sports Committee and president of the Li Laoneng Research Association, visited Sun Lutang’s daughter, the well-known Xingyi master Ms. Sun Jianyun. When the photo in The Complete Art of Xingyi Quan was mentioned, she shook her head and said: “The photo is fake. Is there such a thing as left-handed saber or left-grip spear in Xingyi?”
Testimony of Teacher Che Xiangqian
Teacher Che Xiangqian is a descendant of Master Che Yizhai, a teacher at the Shanxi Provincial Socialist Academy, and a central figure of the Che Yizhai Martial Society. During the Xingyi exchange conference in August 1995, I consulted him regarding the Guo Yunshen photo.
He said: “In recent years, three different publications in Shanxi have carried this photo, with three different identifications of the figures and the date, which vary widely. It is difficult to confirm whether Guo Yunshen is in the photo at all. The photo in “The Complete Art of Xingyi Quan” is reversed—it cannot fool people. Also, the claim that the man standing in the middle is Liu Jian is certainly wrong. First, his age does not match—he was only a child in 1903. Second, his status does not match—he was thirty years younger than Li Fuzhen and Fan Yongqing, and could not possibly stand between the two masters.”
Explanation by Compiler Cheng Suren of The Complete Art of Xingyi Quan
On August 29, 1995, during light rain at the Shen County martial arts school, I consulted Cheng Suren, one of the compilers of The Complete Art of Xingyi Quan, about the photo. When I pointed out the contradictions in the book’s captions, he did not directly answer whether the photo was authentic. He only said:
“There are indeed many opinions about this photograph. When we compiled Xing Quan, we added explanatory notes—just our personal view. As for the authenticity of the photo or correctness of the date, we dare not say it is perfectly accurate. But I am engaged in history work (Cheng worked at the Taigu County Gazetteer Office). If one day it is confirmed that this photograph is mistaken, I will certainly publish a correction in the newspaper.”
Letter excerpt from Mr. Wang Jianzhu, original keeper of the photo
“…Regarding the group photo of Guo Yunshen, Che Yizhai and others you mentioned in your letter, here is my opinion.
First, about the book The Complete Art of Xingyi Quan. After its publication, Cheng Suren of Taigu once came to me. This old photo had been kept by me for many years. Ten years earlier, when Shanxi Province was doing research, I brought it out, had it re-photographed, and gave a copy to the province. Later, some people from Taigu County asked me for a copy, and I gave it to them. Then last year the Taigu Gazetteer Office and martial artists in Taigu published the book.
I raised several points to Cheng Suren:
The cover and inside photos in the book were deliberately reversed and mirrored. This can be seen from the positions of the men holding saber and spear. This is one falsification—the original was not like that.
In the photo, the man practicing with the saber is Mr. Fan Yongqing, the man with the spear is Mr. Li Fuzhen. If, as the authors claim, the young man standing behind the two masters is Liu Jian, then look at their birth years:
Li Fuzhen: 1855
Fan Yongqing: 1860
Liu Jian: 1886
If the photo was taken in 1903, Liu Jian would have been 17, while Li Fuzhen was 48 and Fan Yongqing 43. Such an age gap does not fit the appearance in the photo. If the photo was taken earlier, the problem is even worse.”
Author’s own view of the photograph
In my humble opinion:
The so-called group photo of Guo Yunshen, Che Yizhai and others that has appeared in recent years all originate from the copy kept by Mr. Wang Jianzhu. He never specified the time, place, or the names of those other than Guo and Che. The differing captions in various books are all fabricated.
The deliberate reversal of the photo in The Complete Art of Xingyi Quan is extremely irresponsible—mocking history and mocking readers.
If the main figures in the photo truly are Guo Yunshen and Che Yizhai, then Xing Quan’s claim that Guo learned all twelve animals from Che collapses entirely. The photo would instead show that Che respected Guo, giving him the honored seat. Thus Guo’s trip to Shanxi was not to “learn” but as a senior to support his younger martial-brother.
Page three (final) of the article
(2) The Photograph in Shanxi Liuhe Xinyi Quan (publication)
In 1994, Shanxi Science & Technology Press published Shanxi Liuhe Xinyi Quan by Mr. Zhang Youlin (hereafter Xinyi Quan). This book also contained the same group photo.
At a glance it is obvious that it is the same photograph as in Xing Quan—except that in The Complete Art of Xingyi Quan it is reversed, while in Xinyi Quan it is correct.
The caption there reads:
“In 1876 (2nd year of Guangxu), when Guo Yunshen walked to Shanxi to visit his elder martial brother Che Yonghong, this photograph was taken.
Front row: with spear, Li Fuzhen; with saber, Fan Yongqing.
Second row (seated): Che Yonghong; long-bearded man seated: Guo Yunshen.
Third row, standing between Che and Guo: Liu Jian.”
This explanation is unreasonable in two ways:
The seating order contradicts the explanation. If Guo came to Shanxi to visit his elder brother, he should have been seated in the inferior position. In the photo, however, Che sits in the inferior position, clearly showing respect to Guo.
In 1876 Liu Jian had not yet been born, so he could not possibly be standing between Che and Guo. The author clearly considered only Guo’s birth and death dates, forgetting Liu’s.
(3) The Time of Guo Yunshen’s Trip to Shanxi
That Guo Yunshen went to Taigu, Shanxi during his lifetime is true, but lacking written records, later generations only know this from oral traditions, which differ in detail.
But one premise is certain: it must have been during his lifetime, not after his death.
Guo Yunshen was born in 1822 and died in 1898. Therefore, The Complete Art of Xingyi Quan’s story that Guo went to Shanxi in 1903 to consult with Che Yizhai on the order of the twelve animals is pure fabrication.
According to elders from Ximazhuang, Shen County, who personally saw Guo, he suffered a leg ailment in his later years and had difficulty walking for about ten years, making it impossible for him to travel on foot to Shanxi. Thus, his trip must have occurred before 1888. The Complete Art of Xingyi Quan’s claim that “in 1889 (15th year of Guangxu, 9th lunar month) Guo first arrived in Taigu” is also fabricated.
The claim in Shanxi Liuhe Xinyi Quan that Guo went in 1876 is more credible.
(4) The Real Purpose and Events of Guo Yunshen’s Visit to Shanxi
Why did Guo Yunshen go to Shanxi?
I consulted senior Xingyi practitioners in Shen County and uncovered the truth.
They explained: Li Laoneng had studied in Shanxi under Dai Longbang, training in Dai-style Xinyi for ten years until he mastered it. On his deathbed, Dai Longbang told Li:
“I have transmitted all the art to you. To prevent anyone later from suppressing you under the Dai family name, I have not passed it to anyone in my family. After I die, you must transmit it back to the Dai family so it will not be lost in Shanxi.”
Li kept this promise. After Dai’s death, Li transmitted the art to Dai Wenxiong. (Some say the reverse, that Dai Wenxiong taught Li Laoneng, which is mistaken—Li was older than Dai Wenxiong. Readers can verify this: Dai Wenxiong’s grandson Dai Kui [1874–1951]; Li’s grandson Li Zhenbang [1859–1937].) That the Dai art survived was due to Li.
Li also accepted Che Yonghong in Shanxi as a disciple, teaching him the Dai-style Xinyi. Later, Li returned to Shen County, created Xingyi Quan from his lifetime of learning, and Che Yonghong went to Shen County again to learn it—hence the saying “Che Yonghong studied twice.”
Before his death, Li Laoneng appointed Guo Yunshen as successor head of Xingyi, instructing him to go to Shanxi to help Che Yonghong spread the art.
Guo fulfilled this charge, refining Xingyi to maturity: he perfected the unique follow-step / half-step method, streamlined the twelve animal practice, and developed the three principles, three levels of training, and three kinds of breathing.
As head of the art, Guo tirelessly traveled to support disciples, raise their skills, and spread Xingyi. He personally trained Sun Lutang, making him a great master; he also instructed Shang Yunxiang, laying the foundation for Shang-style.
Early in the Guangxu reign, Guo walked to Taigu, Shanxi, to “visit” his brother-in-art Che Yonghong.
When he arrived, Che came out to greet him. After saluting, Guo suddenly launched with Tiger Shape. Che, expecting a test, responded with Tuo Shape. Guo’s Tiger was unparalleled in North China. Though Che managed to intercept his arms, his body could not withstand the force and was pushed back, nearly falling, saved only by his heels. Guo immediately pulled back, smiling. The two laughed and saluted again as brothers.
From this exchange, Guo was satisfied with Che’s skill. At that time, aside from Yang Luchan and Dong Haichuan, no one in China could match Guo. Though Che was not on their level, to dissolve Guo’s attack was already commendable.
During this trip, Guo and Che exchanged insights, and Guo taught Shanxi practitioners the half-step Beng Quan and his “three principles.” Thereafter, Shanxi Xingyi aligned more closely with Hebei Xingyi.
When Guo returned to Hebei, people asked about his trip. He always said:
“My brother in Shanxi—his Tuo Shape dissolves danger—truly a marvelous hand!”
This shows Guo’s humility and generosity.
These details were gathered in Mazhuang, Shen County, by Qiang Wuwei over seventy years of research among elders who had known the truth. (Qiang was a farmer with primary education.) I only record what he reported, not invention.
This explanation is credible for the following reasons:
Li Laoneng designated Guo as head. If Che’s skill surpassed Guo’s, why not appoint him instead?
Guo was famous for never losing a match, called “half-step Beng Quan sweeps the world” and “the tumbler.” Che’s influence was far less. Guo tied with Yang Luchan and Dong Haichuan; Che could not surpass them.
Anyone with martial knowledge knows forms are superficial; real skill is not measured by how many routines one knows. A true master can create forms at will. For Guo, a great master, to “learn twelve animals from Che” is laughable. Such tales were meant to glorify Che but only show ignorance.
Today, all Shanxi Xingyi branches revere Guo’s three principles, three trainings, three energies, and three levels of breathing as classics, proving he transmitted them in Shanxi. But Che’s influence is absent in Guo’s lineages—for example, Che’s Pi Quan uses a sideways bow stance, which Guo’s line does not.
Guo’s earlier disciples Xu Zhanao and Li Kuiyuan already taught the twelve animals, proving Guo had transmitted them before going to Shanxi.
From this, we can deduce: the group photo, if authentic, shows Guo seated above and Che below, meaning Guo came as the head of the art, and Che respected him highly. This is the true historical reality.
END OF ARTICLE
Closing Thoughts
The story of this photograph reminds us how easily legend, pride, and personal agendas can shape the historical record of martial arts. The author of this article included, as you can see some of his own bias and agenda coming through as well. Even when the central truth is clear—that this image indeed shows Guo Yunshen and Che Yizhai—the surrounding details have been clouded by manipulation, misidentification, and myth-making. Careful research combined with logical thinking helps us strip away distortion and honor the real legacy of our tradition.
For those who want to explore further, I’ve dedicated significant effort to restoring and colorizing this iconic photograph. It now serves as the cover image of my book, Dragon Body, Tiger Spirit – A Translation and Explanation of the Classic Texts of Xingyi Quan, which you can order directly from my online store at www.mushinmartialculture.com/shop. Alongside the book, I also offer high-quality poster prints of the famous photograph, carefully produced for practitioners and enthusiasts who wish to preserve this piece of history.
If you’re interested in diving deeper into the broader history and technical legacy of Xingyi Quan, I invite you to watch my ongoing YouTube series The Secrets of Xingyi Quan, as well as the companion series The Secrets of Xingyi Quan Redux, where we critically examine the narratives, sources, and controversies—including this very photo.
By engaging with these materials, you’ll not only gain a deeper understanding of Xingyi Quan’s heritage but also help ensure that its history is preserved and shared with clarity and respect.
