Mízōngyì (Chinese: 迷蹤藝; lit. '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; lit. 'Lost Track Fist' or sometimes "Labyrinthine Boxing" stressing the deceptive nature of the art) and Yànqīngquán (Chinese: 燕青拳; lit. 'Blue Swallow Fist'). There are many sub-branches of this style.
Mizong Luohan (Chinese: 迷蹤羅漢; pinyin: mízōng luóhàn; lit. '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 learned from his maternal grandfather and mother, both of whom 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]
Mizong Luohan 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 Mizong, and this is evident in the versatility of its attacks and the extent to which it integrates core concepts of multiple internal styles.