ENCYCLOPEDIA
OF
TAEKWON-DO
GEN. CHOI HONG HI
VOLUME VIII
TABLE OF CONTENTS
(Mokcha)
TENETS OF TAEKWON-DO (TAEKWON-DO JUNGSHIN) . 8
Explanation of Tenets .. еее. 10
Courtesy (Уе Ц)... еее еее. 10
iiitegrity (Yom Chi) sx изн ха тина 11
Perseverence (/n Nae) . . ее... 11
Self Control (Guk Gi) . еее: 12
Indomitable Spirit (Baekjul Boolgool) ........ 12
PATIERNS UL)’ se & WRRERM EAE назва 13
Interpretation of Patterns... еее. 15
GENERAL INFORMATION ........-.- 55584: 20
TECHNIQUES FOR THE BEGINNER OF 10th GRADE
HOLDER ..... 2... ee ee ee еее 23
FOUR DIRECTION PUNCH (SAJU J/IRUG/) ...... 35
FOUR DIRECTION BLOCK (SAJU МАКС) ....... 71
ADDITIONAL TECHNIQUES FOR PATTERN CHON-JI . .111
PATTERN CHONGS! «зна миа жене 119
ADDITIONAL TECHNIQUES FOR PATTERN DAN-GUN .163
PATTERN DAN-GUN ...........2250255 169
ADDITIONAL TECHNIQUES FOR PATTERN DO-SAN_.. .217
PATTERN DO-SAN ха & So Siew ET BH ew 225
SYNOPSIS: ..... 3 5 ew, KERR USERRERSR BH 281
СЕМ. CHOI! HONG HI
President
International Taekwon-Do Federation
THE ТЕМЕТ$ ОЕ TAEKWON-DO
(Taekwon-Do Jungshin)
TAEKWON-DO AIMS TO ACHIEVE
Courtesy (Ye Uj) Integrity (Yom Chi) Perseverance (/n Nae) Self-Control (Guk Gi) Indomitable Spirit (Baekju/ Boo/lgoo!/)
ка
Se sac ее
ag WS 5
мечет
EXPLANATION OF TENETS
Needless to say, the success or failure of Taekwon-Do training depends
largely on how one observes and implements the tenets of Taekwon-Do which
should serve as a guide for all serious students of the art.
COURTESY (Ye Ui) Taekwon-Do students should attempt to practise the following elements
of courtesy to build up their noble character and to conduct the training in an
orderly manner as well.
1) To promote the spirit of mutual concessions 2) To be ashamed of one’s vices, contempting those of others 3) To be polite to one another 4) To encourage the sense of justice and humanity 5) To distinguish instructor from student, senior from junior, and elder
from younger
6) To behave oneself according to etiquette 7) To respect others’ possesions 8) To handle matters with fairness and sincerity 9) To refrain from giving or accepting any gift when in doubt
10
INTEGRITY (Yom Chi)
In Taekwon-Do, the word integrity assumes a looser definition than the
one usually presented in Webster's dictionary. One must be able to define right
and wrong, and have the conscience, if wrong, to feel guilt. Listed are some
examples, where integrity is lacking:
1. The instructor who misrepresents himself and his art by presenting
improper techniques to his students because of a lack of knowledge or
apathy.
2. The student who misrepresents himself by “fixing” breaking materials
before demonstrations.
3. The instructor who camouflages bad techniques with luxurious
training halls and false flattery to his students.
4. The student who requests rank from an instructor, or attempts to purchase it. 5. The student who gains rank for ego purposes or the feeling of power. 6. The instructor that teaches and promotes his art for materialistic gains. 7. The student whose actions do not live up the words. 8. The student who feels ashamed to seek opinions from his juniors.
PERSEVERANCE (/n Nae)
There is an old Oriental saying, “Patience leads to virtue or merit” “One
can make a peaceful home by being patient for 100 times.” Certainly,
happiness and prosperity are most likely brought to the patient person. To
achieve something, whether it is a higher degree or the perfection of a
technique, one must set his goal, then constantly persevere. Robert Bruce
learned his lesson of perseverance from the persistant efforts of a lowly spider.
И was this perseverence and tenacity that finally enabled him to free Scotland
in the fourteenth century. One of the most important secrets in becoming a
leader of Taekwon-Do is to overcome every difficulty by perseverance.
Confucious said; ‘one who is impatient in trivial matters can seldom
achieve success in matters of great importance.”
11
SELF-CONTROL (Guk Gi)
This tenet is extremely important inside and
outside the do jang, whether conducting oneself in
free sparring or in one’s personal affairs. A loss of self-
control in free sparring can prove disasterous to both
student and opponent. An inability to live and work
within one’s capability or sphere is also a lack of self-
control.
According to Lao-Tzu “the term of stronger is the
person who wins over oneself rather than someone
else.”
INDOMITABLE SPIRIT (Baekju/ Boo/goo!)
“Here lie 300, who did their duty,” a simple
epitaph for one of the greatest acts of courage known
to mankind.
Although facing the superior forces of Xerxes,
Leonidas and his 300 Spartans at Thermopylae
showed the world the meaning of indomitable spirit. It
is shown when a courageous person and his prin-
ciples are pitted against overwhelming odds.
A serious student of Taekwon-Do will at all times
be modest and honest. If confronted with injustice, he
will deal with the belligerent without any fear or
hesitation at all, with indomitable spirit, regardless of
whosoever and however many the number may be.
Confucius declared, “it is an act of cowardice to
fail to speak out against injustice.”
As history has proven those who have pursued
their dreams earnestly and strenuously with indomit-
able spirit have never failed to achieved their goals.
12
lex th
4
a 23
&
2
“Pursue one’s own goal”
PATTERNS (Tui)
The ancient law in the Orient was similar to the law of Hamurabi, “an eye
for an eye, a tooth for a tooth,” and was rigorously enforced even if death was
caused accidentally.
In this type of environment, and since the present system of free sparring
had not yet been developed, it was impossible for a student of the martial arts to
practise or test his individual skill of attack and defense against actual moving
opponents.
Individual advancement was certainly hindered until an imaginative
practitioner created the first patterns.
Patterns are various fundamental movements, most of which represent
either attack or defense techniques, set to a fixed and logical sequence.
The student systematically deals with several imaginary opponents under
various assumptions, using every available attacking and blocking tool from
different directions. Thus pattern practice enables the student to go through
many fundamental movements in series, to develop sparring techniques,
improve flexibility of movements, master body shifting, build muscles and
breath control, develop fluid and smooth motions, and gain rythmical
movements.
It also enables a student to acquire certain special techniques which
cannot be obtained from either fundamental exercises or sparring. In short, a
pattern can be compared with a unit tactic or a word, if fundamental movement
is an individual soldier's training or alphabet. Accordingly, pattern, the ledger
of every movement, is a series of sparring, power tests, feats and characteristic
beauty.
Though sparring may merely indicate that an opponent is more or less
advanced, patterns are a more critical barometer in evaluating an individual's
technique.
The following points should be considered while performing patterns: 1. Pattern should begin and end at exactly the same spot. This will indicate the performer's accuracy.
13
2. Correct posture and facing must be maintained at all times.
3. Muscles of the body should be either tensed or relaxed at the proper
critical moments in the exercise.
4. The exercise should be performed in a rhythmic movement with an
absence of stiffness.
5. Movement should be accelerated or decelerated according to the
instructions in this book.
. Each pattern should be perfected before moving to the next.
. Students should know the purpose of each movement.
. Students should perform each movement with realism.
. Attack and defense techniques should be equally distributed among
right and left hands and feet.
х<хочо
All patterns in this book are performed under the assumption the student is
facing “О” (see pattern diagrams).
There are a total of twenty-four patterns in Taekwon-Do. The reason for 24 Patterns: The life of a human being, perhaps 100 years, can be considered as a day
when compared with eternity. Therefore, we mortals are no more than simple
travellers who pass by the eternal years of an aeon in a day.
It is evident that no one can live more than a limited amount of time.
Nevertheless, most people foolishly enslave themselves to materialism as if
they could live for thousands of years. And some people strive to bequeath a
good spiritual legacy for coming generations, in this way, gaining immortality.
Obviously, the spirit is perpetual while material is not. Therefore, what we can
do to leave behind something for the welfare of mankind is, perhaps, the most
important thing in our lives.
Here | leave Taekwon-Do for mankind as a trace of man of the late 20th
century.
The 24 patterns represent 24 hours, one day, or all my life.
14
THE INTERPRETATIONS OF PATTERNS
The name of the pattern, the number of movements, and the diagrammatic
symbol of each pattern symbolizes either heroic figures in Korean history or
instances relating to historical events.
CHON-JI:
DAN-GUN:
DO-SAN:
WON-HYO:
YUL-GOK:
JOONG-GUN:
TOI-GYE:
means literally “the Heaven the Earth’’. It is, in the Orient,
interpreted as the creation of the world or the beginning of
human history, therefore, it is the initial pattern played by the
beginner. This pattern consists of two similar parts; one to
represent the Heaven and the other the Earth.
is named after the holy Dan-Gun, the legendary founder of
Korea in the year of 2,333 B.C.
is the pseudonym of the patriot Ahn Chang-Ho (1876-1938).
The 24 movements represent his entire life which he devoted to
furthering the education of Korea and its independence
movement.
was the noted monk who introduced Buddhism to the Silla
Dynasty in the year of 686 A.D.
is the pseudonym of a great philosopher and scholar Yi! (1536-
1584) nicknamed the ‘Confucius of Korea’. The 38 movements
of this pattern refer to his birthplace on 380 latitude and the
diagram (++) represents ‘scholar’.
is named after the patriot Ahn Joong-Gun who assassinated
Hiro-Bumi Ко, the first Japanese governor-general of Korea,
known as the man who played the leading part in the Korea-
Japan merger. There are 32 movements in this pattern to
represent Mr. Ahn’s age when he was executed at Lui-Shung
prison (1910).
is the pen name of the noted scholar Yi Hwang (16th century),
an authority on neo-Confucianism. The 37 movements of the
pattern refer to his birthplace оп 370 latitude, the diagram (+)
represents “scholar”.
15
HWA-RANG:
CHOONG-MOO:
KWANG-GAE:
PO-EUN:
GE-BAEK:
EUI-AM:
16
is named after the Hwa-Rang youth group which originated in
the Silla Dynasty in the early 7th century. The 29 movements
refer to the 29th Infantry Division, where Taekwon-Do de-
veloped into maturity.
was the name given to the great Admiral Yi Soon-Sin of the Yi
Dynasty. He was reputed to have invented the first armoured
battleship (Kobukson) in 1592, which is said to be the precursor
of the present day submarine. The reason why this pattern ends
with a left hand attack is to symbolize his regrettable death,
having no chance to show his unrestrained potentiality checked
by the forced reservation of his loyalty to the king.
is named after the famous Gwang-Gae-Toh-Wang, the 19th
King of the Koguryo Dynasty, who regained all the lost
territories including the greater part of Manchuria. The diagram
(+) represents the expansion and recovery of lost territory. The
39 movements refer to the first two fiqures of 391 A.D., the year
he came to the throne.
is the pseudonym of a loyal subject Chong Mong-Chu (1400)
who was a famous poet and whose poem “! would not serve а
second master though | might be crucified a hundred times” is
known to every Korean. He was also a pioneer in the field of
physics. The diagram (—) represents his unerring loyalty to the
king and country towards the end of the Koryo Dynasty.
named after Ge- Baek, a great general in the Baek Je Dynasty
(660 A.D.). The diagram (I) represents his severe and strict
military discipline.
is the pseudonym of Son Byong Hi, leader of the Korean
independence movement on March 1, 1919. The 45 movements
refer to his age when he changed the name of Dong Hak
(Oriental Culture) to Chondo Kyo (Heavenly Way Religion) in
1905. The diagram (1) represents his indomitable spirit, dis-
played while dedicating himself to the prosperity of his nation.
СНООМС-ЛАМСзз the pseudonym given to General Kim Duk Ryang who lived
JUCHE:
SAM-IL:
YOO-SIN:
CHOI-YONG:
YON-GAE:
during the Yi Dynasty, 14th century. This pattern ends with a
left-hand attack to symbolize the tragedy of his death at 27 in
prison before he was able to reach full maturity.
is a philosophical idea that man is the master of everything and
decides everything, in other words, the idea that man is the
master of the world and his own destiny. It is said that this idea
was rooted in Baekdu Mountain which symbolizes the spirit of
the Korean people. The diagram (li) represents Baekdu
Mountain.
denotes the historical date of the independence movement of
Korea which began throughout the country on March 1, 1919.
The 33 movements in the pattern stand for the 33 patriots who
planned the movement.
is named after General Kim Yoo Sin, a commanding general
during the Silla Dynasty. The 68 movements refer to the last two
figures of 668 A.D., the year Korea was united. The ready
posture signifies a sword drawn on the right rather than left side,
symbolizing Yoo Sin’s mistake of following his king’s orders to
fight with foreign forces against his own nation.
is named after General Choi Yong, Premier and Commander-in-
Chief of the Armed forces during the 14th century Koryo
Dynasty. Choi Yong was greatly respected for his loyalty,
patriotism, and humility. He was executed by his subordinate
commanders headed by General Yi Sung Gae, who later
become the first king of the Yi Dynasty.
is named after a famous general during the Koguryo Dynasty,
Yon Gae Somoon. The 49 movements refer to the last two
figures of 649 A.D., the year he forced the Tang Dynasty to quit
Korea after destroying nearly 300,000 of their troops at Ansi
Sung.
17
UL-JI:
MOON-MOO:
SO-SAN:
SE-JONG:
TONG-IL:
is named after general Ul-Ji Moon Dok who successfully
defended Korea against a Tang's invasion force of nearly one
million soldiers led by Yang Je т 612 A.D., Ul-Ji employing hit
and run guerilla tactics, was able to decimate a large percentage
of the force. The diagram (7) represents his surname. The 42
movements represents the author's age when he designed the
pattern.
honors the 30th king of the Silla Dynasty. His body was buried
near Dae Wang Am (Great King’s Rock). According to his will,
the body was placed in the sea ‘Where my soul shall forever
defend my land against the Japanese.” It is said that the Sok Gul
Am (Stone Cave) was built to guard his tomb. The Sok Gul Am
is a fine example of the culture of the Silla Dynasty. The 61
movements in this pattern symbolize the last two figures of 661
A.D. when Moon Moo came to the throne.
is the pseudonym of the great monk Choi Hyong Ung (1520-
1604) during the Yi Dynasty. The 72 movements refer to his age
when he organized a corps of monk soldiers with the assistance
of his pupil Sa Myung Dang. The monk soldiers helped repulse
the Japanese pirates who overran most of the Korean peninsula
in 1592.
is named after the greatest Korean king, Se-Jong, who invented
the Korean alphabet in 1443, and was also a noted meteorol-
ogist. The diagram (=£) represents the king, while the 24
movements refer to the 24 letters of the Korean alphabet.
denotes the resolution of the unification of Korea which has
been divided since 1945. The diagram (Г) symbolizes the
homogenous race.
Since each pattern has a close relationship with the fundamental excercise,
students, therefore, should practice the patterns according to the following
graduation to attain the maximum results with the least effort.
18
МАМЕ OF TUL
ORDER OF BELT
СНОМ-Л.......
WHITE/YELLOW STRIPE
YELLOW/GREEN STRIPE
WON-HYO ......
УЧЕ:СОК....... ....,
JOONG-GUN.....
ТО СИЕ ке.
HWA-RANG......
CHOONG-MOO ...
KWANG-GAE
GE-BAEK
EUI-AM
GREEN/BLUE STRIPE
BLUE/RED STRIPE
RED/BLACK STRIPE
CHOONG-JANG ...
JUCHE
SAM-IL
YOO-SIN 4 es csi
CHOI-YONG
YONG-GAE
GENERAL INFORMATION
The purpose of this volume is to teach the beginner students (10th grade
to 7th grade) to perform their patterns with effective technique and realistic
feeling. The student is, therefore, advised to pay special attention to the correct
execution and application of each movement before he attempts to practise his
pattern.
Obviously, the pattern cannot be performed correctly without sufficient
knowledge of the fundamental movements involved. The student should refer
to the relevant volume in this encyclopedia for more detailed information on
each motion. This book is also strongly recommended as a review for all levels
advanced beyond this stage.
The illustrations for all 24 of the patterns contained in this encyclopedia
assume that the student is standing on line AB and facing D.
LEGEND:
$ - present foot position with the exception of “Previous Posture”
< — Previous foot position
ы — heel slightly off the ground
uy direction of foot travel р “Previous Posture” — posture of immediate preceding movement
“Other View” — view of posture from the opposite side
“Front View” — the performer's front
“Top View” — reader's view from the top
“to A,B,C,...etc.” — direction of attack ог block to A,B,C....etc.
“toward A,B,C,...etc."” — direction of stance toward A,B,C....etc.
“Front foot” — refers to the foot which is advanced to the
front. “Rear foot” — refers to the foot which is placed at the rear.
“Left chest” — refers to the left half of the chest.
“Right chest” — refers to the right half of the chest.
20
TECHNIQUES РОВ
THE BEGINNER OR
10TH GRADE HOLDER
IMPORTANT: Due to the distortion of distance apparent in photographs, the angle of the
feet in stances may appear slightly out of position. The student, therefore, is
encouraged to refer to the feet illustrations rather than the photograph itself.
Parallel stance
Sitting stance
24
Walking Stance (Gunnun 8091)
Front View
Back View
L-stance (Niunja Sogi)
Front View
Back View
25
Stance (5001)
Paralle] Stance (М агат Sogi)
One shoulder
width Side View
Front View
Parallel Ready Stance (Narani Junbi Sogi)
Front View Back View
Top View
Walking Stance (Gunnun Sogi)
мм
One and a half
shoulder width
|
san Meat ! One shoulder width
|
Side View
Back View
Right Walking Stance
Left walking stance
Front View
Front View
Walking Stance Forearm Low Block
(Gunnun So Palmok Najunde Makgi)
Front View
Front View
Side View
* 1. The forearm reaches the same level as the lower abdomen of the defender
2. The body becomes half facing the opponent.
28
Walking Stance Middle Front Punch
(Gunnun So Kaunde Ap Jirugi)
Front View
Front View
Side View Top View
1. The fist forms a vertical line with the toes. 2. The fist reaches the same level as the
shoulder of the attacker.
3. The fist is brought to the center of the
attacker's body.
Walking Stance Knife-hand Low Block
(Gunnun So Sonkal Najunde Makgi)
Front View Front View
* 1. The knife-hand reaches the same level
as the scrotum of the defender
2. The body becomes half facing the
opponent
Back View
Top View
30
Walking Stance Inner Forearm Middle Block
(Gunnun So An Palmok Kaunde Makgi)
Front View Front View
Side View
Top View
* 1. The fist reaches the same level as the
shoulder of the defender.
2. The body becomes half facing the
opponent.
3. The forearm becomes full facing the
opponent.
31
32
Stepping forward
Stepping (Omkyo Didigi)
w
Stepping backward
> ть
И ео
>.
2
The body must always be half facing when
stepping backward and forward.
. Stepping is executed in an outward curved
line.
. The knee of the stationary leg springs
slightly up during the stepping motion.
Inside and Outside blocks
(An Makgi Wa Bakat Makgi)
Inside Block (An Makgi) Outside Block (Bakat Makgi)
Side View
Side View
The block is executed at the The block is executed at the
opponent's inner forearm opponent’s outer forearm.
Side View
Side View
The block is executed at the The block is executed at the
opponent's inner tibia. opponent's outer tibia.
33
FOUR DIRECTION PUNCH
(Saju Jirugi)
This fundamental excercise is practised by
10th grade holder or the very beginner.
35
DIAGRAM ( Yon Moo Son)
Ready Posture (.Junti Jase)
Parallel ready stance toward D.
37
1. Move the right foot to D, forming a right
walking stance toward D while executing a
middle punch to D with the right fist.
Right walking stance middle punch toward D.
%
2. Move the right foot to A, forming a left
walking stance toward B while executing a low
block to B with the left forearm.
Left walking stance forearm low block toward B.
Keep the forearms crossed in
front of the right chest, placing The body becomes half facing
the blocking one on the other. the opponent.
Л
Previous Posture
Application
* 1. Block is executed at the tibia.
2. The ball of the foot is used as a
pivot
3. The outer forearm is the block
ing tool.
41
3. Move the right foot to В, forming а right
walking stance toward B while executing a
middle punch to B with the right fist.
Right walking stance middle
punch toward В.
vious
«|+ Е
= — № _ ~.
ыы ит ~~ зав
ь a Shorter opponent
) 8
4. Move the right foot to D, forming a left walking
stance toward С while executing a low block to
C with the left forearm.
Left walking stance forearm
low block toward С.
Previous Posture Application
5. Move the right foot to С, forming а right walking
stance toward С while executing a middle
punch to C with the right fist.
Right walking stance middle punch toward C.
46
6. Move the right foot to В, forming a left walking
stance toward A while executing a low block to
A with the left forearm.
Left walking stance forearm low block toward A.
48
7. Move the right foot to A, forming a right
walking stance toward A while executing a
middle punch to A with the right fist.
Right walking stance
middle punch toward A.
52
END. Bring the right foot back to a ready posture.
Parallel ready stance
toward D
Е
|:
8
>
8
Ё
>
Top View
1. Move the left foot to D, forming а ей walking
stance toward D while executing a middle
punch to D with the left fist.
Left walking stance middle punch
with the left fist toward О.
-<--———~
ioe
2. Move the left foot to В, forming а right walking
stance toward A while executing a low block to
A with the right forearm.
Right walking stance forearm
low block toward A.
Keep the forearms crossed in
front of the right chest, placing
Previous Posture the blocking one on the other. Keep the body half facing
3. Move the left foot to A, forming a left walking
stance toward A while executing a middle
punch to A with the left fist.
Left walking stance middle punch
with the left fist toward A.
4. Move the left foot to D, forming a right walking
stance toward C while executing a low block to
C with the right forearm.
Right walking stance low block
with the right forearm toward С.
5. Move the left foot to С, forming а left walking
stance toward С while executing а middle
punch to C with the left fist.
7%
~
д
Ny)
Left walking stance middle punch
with the left fist toward C.
62
6. Move the left foot to A, forming a right walking
stance toward B while executing a low block to
B with the right forearm.
Right walking stance low block
with the right forearm toward B.
7. Move the left foot to В, forming a left walking
stance toward B while executing a middle
punch to B with the left fist.
Left walking stance middle punch
with the left fist toward B.
END. Bring the left foot back to a ready posture.
Parallel ready stance toward D.
FOUR DIRECTION BLOCK
(Saju Makgi)
This fundamental exercise is also practised
by 10th grade holder or beginner.
71
72
DIAGRAM ( Yon Moo Son)
Ready Posture (Junbi Jase)
Parallel ready stance toward D.
73
74
1. Move the right foot to С, forming a left walking
stance toward D while executing a low block to
D with the left knife-hand.
Left walking stance knife-hand low block toward D.
Previous Posture
Application
Block is executed at the inner tibia.
Keep the back forearms crossed in front
of the rib cage, placing the blocking
one on the other.
Keep the body half facing the opponent.
75
2. Move the right foot to D, forming a right
walking stance toward D while executing a
middle side block to D with the right inner
forearm.
Right walking stance inner forearm
middle side block toward D.
76
78
3. Move the right foot to A, forming a left walking
stance toward B while executing a low block to
B with the left knife-hand.
Left walking stance knife-hand low block toward B.
Application Application
4. Move the right foot to В, forming a right
walking stance toward B while executing a
middle side block to B with the right inner
forearm.
Right walking stance inner fore-
arm middle side block toward B.
80
& | &
72.9 № VIA
5. Move the right foot to D, forming a left walking
stance toward C while executing a low block to
C with the left knife-hand.
Left walking stance knife-hand low block toward С.
82
6. Move the right foot to С, forming aright walking
stance toward C, at the same time executing a
middle side block to С with the right inner
forearm.
Right walking stance inner forearm
middle side block toward С.
a 3
2 “a ' =] - а >
“aK pe ыы
Gi,
7. Move the right foot to В, for ming a left walking
stance toward A while executing a low block to
A with the left knife-hand.
86
Left walking stance knife-hand
low block toward A.
8. Move the right foot to A, forming a right
walking stance toward A while executing a
middle side block to A with the right
inner forearm.
Right walking stance inner
forearm middle side block
toward A.
90
END. Bring the right foot back to a ready posture.
Parallel ready stance
toward О.
1. Move the left foot to С, forming a right walking
stance toward D while executing a low block to
D with the right knife-hand.
Right walking stance low block
with the knife-hand toward D.
92
Previous Posture
Application
\
a
The block is executed at
the outer tibia.
Keep both forearms crossed in front of
the rib cage, placing the blocking one
on the other.
Keep the body half facing the opponent,
93
2. Move the left foot to D, forming a left walking
stance toward D while executing a middle side
block to D with the left inner forearm.
Left walking stance inner forearm
middle side block toward D.
3. Move the left foot to В, forming a right walking
stance toward A while executing a low block to
A with the right knife-hand.
Right walking stance low block
with a knife-hand toward A.
96
4. Move the left foot to A, forming a left walking
stance toward A while executing a middle side
block to A with the left inner forearm.
Left walking stance middle
side block with the inner fore-
arm toward А.
a
x === ~~
Top View Application
100
5. Move the left foot to D, forming a right walking
stance toward С while executing a low block to
C with the right knife-hand.
Right walking stance low block
with a knife-hand toward С.
6. Move the left foot to С, forming a left walking
stance toward С, at the same time executing a
middle side block to С with the left inner
forearm.
_> o@
—_—
Left walking stance side block with
the inner forearm toward C.
102
7. Move the left foot to A, forming а right walking
stance toward B while executing a low block to
B with the right knife-hand.
Right walking stance low block
with a knife-hand toward B.
104
8. Move the left foot to В, forming a left walking
stance toward B while executing a middle side
block to B with the left inner forearm.
Left walking stance middle side
block with the inner forearm
toward B.
106
108
END. Bring the left foot back to а ready posture.
Parallel ready stance
toward D.
Previous Posture
Back View
110
ADDITIONAL TECHNIQUES
FOR
PATTERN CHON-JI
L-Stance (Niunja Sogi)
Right L-stance
Front View
One and a half
shoulder width
Left L-stance
Top View
112
L-Stance Inner Forearm Middle Block
(Niunja So An Palmok Kaunde Makgi)
Front View Front View
Top View
* 1. The fist reaches the same level as the shoulder of the defender.
2. The fist forms a triangle with the shoulders.
113
Forward Step-Turning (Apuro Omgyo Didimyo Dolgi)
Right walking stance toward D.
Clockwise turning
114
Counter-clockwise turning
Backward Step-Turning (Dwiro Omgyo Didimyo Dolgi)
Right walking stance toward О.
У
Clockwise turning
/
/
G Counter-clockwise turning
116
BAEKDU SAN (MT. BAEKDU)
Symbolizes the spirit of the Korean people.
PATTERN CHON-JI (Chon-Ji Tul)
This pattern is practised by the
9th grade holder and above.
DIAGRAM: +
MOVEMENTS: 19
READY POSTURE: PARALLEL READY STANCE
119
120
DIAGRAM ( Yon Moo Son)
Ready Posture (Лит Jase)
Parallel ready stance toward D.
121
1. Move the left foot to В, forming a left walking
stance toward B while executing a low block to
B with the left forearm.
Left walking stance forearm
low block toward B
122
Top View
Keep the back forearms
crossed in front of the right
chest, placing the left forearm
on the other
Previous Posture
Application
123
2. Move the right foot to В, forming a right
walking stance toward B while executing a
middle punch to B with the right fist.
124
3. Move the right foot to A, turning clockwise to
form a right walking stance toward A while
executing a low block to A with the right
forearm.
Right walking stance forearm
low block toward А.
126
4. Move the left foot to A, forming a left walking
stance toward A while executing a middle
punch to A with the left fist.
Left walking stance middle
punch toward A.
128
5. Move the left foot to D, forming a left walking
stance toward D while executing a low block to
D with the left forearm.
Left walking stance forearm low block toward D.
130
Previous Posture
131
6. Move the right foot to D, forming a right
walking stance toward D while executing a middle
punch to D with the right fist.
к
05 <_
Right walking stance middle punch toward D.
132
Previous Posture
133
134
7. Move the right foot to С, turning clockwise to
form a right walking stance toward С while
executing a low block to С with the right
forearm.
Right walking stance low block
with the right forearm toward C.
Previous Posture
Top View
Side View
135
136
8. Move the left foot to С, forming a left walking
stance toward C while executing a middle punch
to C with the left fist.
Left walking stance middle punch
toward С.
Previous Posture
Oth
138
9. Move the left foot to A, forming a right L-stane
e
toward A while executing a middle block to A
with the left inner forearm.
Right L-stance inner forearm
block toward A.
aa yy
Keep the forearms crossed in
front of the right chest with
both back fists facing upward,
placing the blocking one under
the other.
Previous Posture
Application
Top View
10. Move the right foot to A, forming a right
walking stance toward A while executing a
middle punch to A with the right fist.
Right walking stance middle
punch toward A.
140
11, Move the right foot to В, turning clockwise to
form a left L-stance toward B while executing
a middle block to В with the right
inner forearm.
Left L-stance inner forearm
middle block toward B.
142
12. Move the left foot to В, forming a left walking
stance toward B while executing a middle
punch to B with the left fist.
Left walking stance middle punch
toward B.
144
146
13. Move the left foot to С, forming a right L-
stance toward C while executing a middle
block to C with the left inner forearm.
Right L-stance inner forearm
middle block toward C.
14. Move the right foot to С, forming a right
walking stance toward C while executing a
middle punch to C with the right fist.
Right walking stance middle punch toward С.
148
149
150
15. Move the right foot to D, turning clockwise to
form a left L-stance toward D while executing
a middle block with the right inner forearm.
Left L-stance inner forearm
middle block toward D.
152
16. Move the left foot to D, forming a left walking
stance toward D while executing a middle
punch to D with the left fist.
seat
gee oe
Ye
Left walking stance middle punch toward О.
Е
é
Е
Ё
~
Application
Top View
153
17. Move the right foot to D, forming a right
walking stance toward D while executing a
middle punch to D with the right fist.
Right walking stance middle punch toward D.
154
166
156
18. Move the right foot to С, forming a left walking
stance toward D while executing a middle
punch to D with the left fist.
Left walking stance middle punch toward D.
Previous Posture
Side View
157
19. Move the left foot to С, forming a right walking
stance toward D while executing a middle
punch to D with the right fist.
i
Right walking stance middle punch
toward D.
158
Previous Posture
Application
Side View
159
END. Bring the left foot back to a ready posture
Parallel ready stance toward D.
160
i v7
)
Previous Posture
Side View
Top View
161
162
ADDITIONAL TECHNIQUES
FOR
PATTERN DAN-GUN
Walking Stance High Punch (Gunnun So Nopunde Jirugi)
Front View
Back View
Side View
‘-4-------7
* 1. The fist reaches the eye level of the
attacker.
2. The fist is brought to the center of
Top View the attacker's body.
164
L-Stance Knife-hand Guarding Block
(Niunja So Sonkal Daebi Makgi)
Front View
Side View
* 1. Fingertip reaches the same level as the shoul-
der of the defender.
2. Knife-hand becomes half facing the opponent.
Back View Top View
165
L-Stance Twin Forearm Block (Миа So Sang Ритой Makgi)
Front View
Side View
The fist of the side blocking forearm usually
reaches the same level as the shoulder of the
defender.
Top View
166
Walking Stance Forearm Rising Block
(Gunnun So Palmok Chukyo Makgi)
Side View
Front View
The forearm stays at the center of the
defender’s forehead.
L- Stance Knife-hand Middle Side Strike
(Niunja So Sonkal Kaunde Yop Taerigi)
The Knife-hand ° reaches the same level as
the shoulder of
the defender.
2. The body be-
comes half
facing the
opponent.
Side View
167
Mt. Myohyang, the birth place of Holy Dan-Gun.
168
PATTERN DAN-GUN (Dan-Gun Tul)
This pattern is practised by the 8th
grade holder and above.
DIAGRAM: ТГ
MOVEMENTS: 21
READY POSTURE: PARALLEL READY STANCE
169
DIAGRAM ( Yon Moo Son)
170
Ready Posture (Лит Jase)
Parallel ready stance toward D.
171
1. Move the left foot В, forming a right L-stance
toward В, at the same time executing a middle
guarding block to B with a knife-hand.
Right L-stance middle guard-
ing block with a knife-hand
toward B.
172
2. Move the right foot to В, forming а right
walking stance toward B while executing a high
punch to B with the right fist.
Right walking stance
high punch toward B.
174
175
3. Move the right foot to A, turning clockwise to
form a left L-stance toward A, at the same
time executing a middle guarding block to A
with a knife-hand.
Left L-stance middle guarding
block with a knife-hand toward A.
176
Posture
Previous
e
2
a
E |
a
=
<
177
178
4. Move the left foot to A, forming a left walking
stance toward A while executing a high punch
to A with the left fist.
Left walking stance
punch toward A.
high
180
5. Move the lefi foot to D, forming a left walking
stance toward D while executing a low block
to D with the left forearm.
, Left walking stance forearm
low block toward D.
Previous Posture
Application
Top View
181
6. Move the right foot to D, forming a right
walking stance toward D while executing a high
punch to D with the right fist.
1 Right walking stance high punch toward D.
182
Previous Posture
Side View
183
184
7. Move the left foot to D, forming a left walking
stance toward D, at the same time executing a
high punch to D with the left fist.
Left walking stance high punch toward D.
Previous Posture
185
8. Move the right foot to D, forming a right
walking stance toward D while executing a high
punch to D with the right fist.
a =
Right walking stance high punch toward D.
186
5
8
3
=
5
187
9. Move the left foot to Е, turning counter-
clockwise to form a right L-stance toward Е
while executing a twin forearm block to E.
Right L-stance twin forearm block toward E.
188
10. Move the right foot to Е, forming а right
walking stance toward E while executing a
high punch to E with the right fist.
Right walking stance high
punch toward E.
190
11. Move the right foot to Е, turning clockwise to
form a left L-stance toward F while executing
a twin forearm block.
Left L-stance twin forearm
block toward F.
192
Application
12. Move the left foot to Е, forming a left walking
stance toward F, at the same time executing a
high punch to F with the left fist.
Left walking stance
high punch toward F.
194
Application
13. Move the left foot to С, forming a left walking
stance toward C while executing a low block
to C with the left forearm.
Left walking stance forearm
low block toward C.
196
Application
Top View
Other View
14. Execute a rising block with the left forearm,
maintaining the left walking stance toward
C. Perform 13 and 14 in a continuous
motion.
Left walking stance forearm rising block
toward C.
Previous Posture
Keep the right heel slightly off
the ground.
Other View
15.
Move the right foot to С, forming a right
walking stance toward С, at the same time
executing a rising block with the right
forearm.
Right walking stance forearm
rising block toward С.
Previous Posture
Other View
|.
$
=
3
PI
F |
—
a
<
Side View
16. Move the left foot to С, forming a left walking
stance toward С while executing a rising
block with the left forearm.
Left walking stance forearm
rising block toward C.
202
Previous Posture
Side View
203
204
17. Move the right foot to С, forming a right
walking stance toward С, at the same time
executing a rising block with the right
forearm.
Right walking stance forearm
rising block toward C.
Е
3
&
Е
2
>
Е
>
205
206
18. Move the left foot to В, turning counter-
clockwise to form a right Lstance toward B
while executing a middle strike to B with the
left knife-hand.
Right L-stance middle strike
with a knife-hand toward B.
Previous Posture
2
xz
na
g
2
3
s
F |
a
5.
<
207
19. Move the right foot to В, forming a right
walking stance toward B while executing a
high punch to B with the right fist.
Right walking stance middle
punch toward B.
208
20. Move the right foot to A, turning clockwise to
form a left L-stance toward A while execut-
ing a middle strike to A with the right knife-
hand.
Left L-stance middle side
strike with a knife-hand
toward A.
210
Application
211
21. Move the left foot to A, forming a left walking
stance toward A, at the same time executing
a high punch to A with the left foot.
Left walking stance
high punch toward A,
212
J
Е:
З
=
<
213
END: Bring the left foot back to а ready posture.
Parallel ready stance toward 0.
214
Side View
215
216
ADDITIONAL TECHNIQUES
FOR
PATTERN DO-SAN
Sitting Stance (Annun 5091)
Front View
One and a half
De shoulder width
Side View Back View
218
Walking Stance Outer Forearm High Side Block
(Gunnun So Bakat Palmok Nopunde Yop Makgi)
Front View Side View
* 1. The fist reaches the eye level of the
defender.
2. The fist forms a triangle with the
shoulders.
Top View - Back View
219
Straight Fingertip Thrust (Sun Sonkut Tulgi)
Front View
Walking Stance Back Fist High Side Strike
(Gunnun So Dung Joomuk Nopunde Yop Taerigi)
Front View
* 1. The forefist reaches the eye level of the
attacker.
2. The body becomes half facing the
opponent.
3. The fist becomes half facing the
opponent.
220
Walking Stance Outer Forearm High Wedging Block
(Gunnun So Bakat Palmok Nopunde Hechyo Makgi)
Front View
Side View
Top View
* 1. The distance between the fists is equal
to one shoulder width.
2. The fist reaches the same level as the
eyes of the defender.
221
Middle Front Snap Kick (Kaunde Apcha Busigi)
*
1. The ball of the foot is the attacking tool.
2. The attacking tool reaches the same
Front View level as the solar plexus of the attacker
Sitting Stance Knife-hand Side Strike
(Annun So Sonkal Yop Taerigi)
Side View
Front View
The body becomes flank facing
the opponent.
Spot Turning (Gujari Dolgi)
Right walking stance toward D.
>
Left foot is moved on line CD, Right foot is moved on line CD.
re р $
The stance has been changed into {
a left walking stance toward С.
223
224
PATTERN DO-SAN (бо-$ап Tul)
This pattern is practised by the 7th
grade holder and above.
DIAGRAM: |
MOVEMENTS: 24
READY POSTURE:PARALLEL READY STANCE
225
DIAGRAM ( Yon Moo Son)
Ready Posture („Лин Jase)
Parallel ready stance toward D.
227
1. Move the left foot to В, forming a left walking
stance toward B while executing a high side
block to B with the left outer forearm.
Left walking stance outer forearm
high side block toward В.
228
Front View
The forearm becomes half facing the
opponent,
Keep the back forearms crossed in front of the right chest, placing the blocking
Ready Posture arm on the other.
Application
Execute а middle punch to В with the right fist while
maintaining a left walking stance toward B
Left walking stance middle punch
toward В.
230
3. Move the left foot оп line AB, and then turn
clockwise to form a right walking stance toward
A while executing a high side block to A with the
right outer forearm
Right walking stance outer forearm
high side block toward A
232
Previous Posture
Keep the back forearms crossed in front of the left
Keep the left heel slightly off chest, placing the blocking one
the ground. on the other.
Side View
Application
233
234
4.
Execute a middle punch to A with the left fist while
maintaining a right walking stance toward A.
Right walking stance middle
punch toward A.
io
Keep the left heel slightly off
the ground.
235
236
5. Move the left foot to D, forming a right L-stance
toward D while executing a middle guarding
block to D with a knife-hand.
Right L-stance knife-hand middle
guarding block toward D.
237
238
. Move the right foot to D, forming а right
walking stance toward D while executing a
middle thrust to D with the right straight
fingertip.
Right walking stance straight
fingertip thrust toward D
Previous Posture
239
240
7. Twist the right knife-hand together with the
body counter-clockwise until its palm faces
downward and then move the lefi foot to D,
turning counter-clockwise to form a left walk-
ing stance toward D while executing a high side
strike to D with the left back fist.
Left walking stance back fist
high side strike toward D.
Previous Posture
Keep the back fists faced
upward, placing the striking
one under the other.
Keep pivoting with both feet.
241
oe
e 2
Application of №. 7
Side View
Wrist is grabbed. Wrist is released.
243
244
8. Move the right foot to D, forming a right
walking stance toward D while executing a high
side strike to D with the right fist.
Right walking stance back fist
high side strike toward D.
Previous Posture
Keep the back fist facing upward, placing
the striking one under the other.
Application
245
9. Move the left foot to Е, turning counter-
clockwise to form a left walking stance toward
E while executing a high side block to E
with the left outer forearm.
/
/
/
/
/
7
7
и
2
--
-
a
iF Be
7
7
of
Е
Left walking stance outer forearm
high side block toward Е.
246
Previous Posture
“a
a5
}
)
\
у
Keep the back forearms
crossed in front of the right
chest, placing the blocking one
on the other,
Application
247
248
10, Execute a middle punch to Е with the right fist
while maintaining a left walking stance toward E.
Left walking stance middle punch toward Е.
11. Move the left foot on line EF, and then turn
clockwise to form a right walking stance
toward F while executing a high side block
to F with the right outer forearm.
250
Right walking stance outer forearm
high side block toward F.
12. Execute a middle punch to Е with the left fist while
maintaining a right walking stance toward F.
Right walking stance middle punch toward Е.
252
13. Move the left foot to CE, forming a left walking
stance toward CE, at the same time executing
a high wedging block to CE with the outer
forearm.
Left walking stance outer
forearm high wedging block
toward CE.
254
Side View
= ; Keep both back fists
facing the opponent.
Top View
Previous Posture
14. Execute a middle front snap kick
to CE with the right foot, keeping
the position of the hands as they
were in 13.
Middle front snap kick to CE $
with the right foot.
256
258
15. Lower the right foot to CE, forming a right
walking stance toward CE while executing a
middle punch to CE with the right fist.
Right walking stance middle
punch toward CE.
260
Execute a middle punch to CE with the left fist
while maintaining a right walking stance toward
CE.
Perform 15 and 16 in a fast motion.
Right walking stance middle punch toward CE.
Previous Posture
Keep the left heel slightly off
the ground.
17. Move the right foot to CF, forming а right
walking stance toward CF while executing a
high wedging block to CF with the outer
forearm.
Right walking stance outer
forearm high wedging block
toward CF.
262
18. Execute a middle front snap kick
to CF with the left foot, keeping
the position of the hands as they
were in 17.
Previous Posture
Right walking stance middle front
snap kick toward CF with the left
foot.
264
Side View
265
266
19. Lower the left foot to CF, forming a left
walking stance toward CF while executing a
middle punch to CF with the left fist.
Left walking stance middle punch toward CF.
Previous Posture
Side View
267
20. Execute а middle punch to CF with the right fist
while maintaining a left walking stance toward CF.
Perform 19 and 20 in a fast motion.
Left walking stance middle punch toward CF.
268
Previous Posture
Keep the right heel slightly off
the ground.
Side View
Top View
269
21. Move the left foot to С, forming a left walking
stance toward C, at the same time executing a
rising block with the left forearm.
Left walking stance forearm
rising block toward C.
22. Move the right foot to С, forming a right
walking stance toward С while executing a
rising block with the right forearm.
Right walking stance forearm
rising block toward C.
272
23. Move the left foot to В, turning counter-
clockwise to form a sitting stance toward D
while executing a middle side strike to B with
the left knife-hand.
Sitting stance knife-hand
side strike toward D.
274
Previous Posture
Keep the back forearms
crossed in front of the right
chest, placing the left forearm
on the right forearm.
275
Previous Posture
24. Bring the left foot to the right
foot, and then move the right foot
to A, forming a sitting stance
toward D while executing a
middle side strike to A with the
right knife-hand.
Sitting stance knife-hand
side strike toward D.
Keep the back forearms crosed in front of the lft
Keep the left heel slightly off chest, placing the right fore-
the ground. arm on the left forearm.
Application
277
278
END: Bring the right foot back to а ready posture.
Parallel ready stance toward D.
Previous Posture
273
SYNOPSIS
The Encyclopedia of Taekwon-Do consists of 15 volumes. The contents
of each volume is listed below:
VOLUME 1: 1) Origin and Development of Martial Arts
2) History of Taekwon-Do
3) Moral Culture
4) Philosophy
5) Training Schedule
6) Cycle and Composition of Taekwon-Do
7) Demonstration
A) Model Sparring
B) Pre-arranged Free Sparring
C) Sample of Self-defence Techniques
8) About the Author
9) Group photos
VOLUME И: 1) Theory of Power
2) Attacking and Blocking Tools
3) Vital Sports
4) Training
A) Training Hall
B) Conduct in Do Jang
C) Training Equipment
D) Practice Suits
5) Stances 6) Training Aids
VOLUME III: Hand Techniques
VOLUME IV: Foot Techniques
VOLUME V: Sparring
VOLUME VI: Fundamental Exercises (A)
VOLUME VII: Fundamental Exercises (B)
VOLUME VIII:
VOLUME Ix:
VOLUME x:
VOLUME XI:
VOLUME ХИ:
VOLUME ХШ:
VOLUME XIV:
VOLUME ХУ:
282
1) Four-Direction Punch
2) Four-Direction Block
3) Pattern Chon-Ji
4) Pattern Dan-Gun 5) Pattern Do-San 1) Pattern Won-Hyo 2) Pattern Yul-Guk 3) Pattern Joong-Gun
1) Pattern Toi-Gae
2) Four-Direction Thrust
3) Pattern Hwa-Rang
4) Pattern Choong-Moo
1) Pattern Gwang-Gae
2) Pattern Po-Eun
3) Pattern Ge-Baek
1)Pattern Eui-Am
2) Pattern Choong-Jang
3) Pattern Juche
1) Pattern Зат-И 2) Pattern Yoo-Sin 3) Pattern Choi-Yong
1) Pattern Yon-Gae
2) Pattern UI-Ji 3) Pattern Moon-Moo
1) Pattern So-San
2) Pattern Se-Jong 3) Pattern Tong-ll
283