≡Imperial Renaissance Fighting Systems/IRFS≡ is a training system of ancient martial science and psychology, geared for the modern man. The knowledge and training methods are extracted from the Beijing Imperial Renaissance arts of medieval Yin Style Baguazhang, Cheng Baguazhang, and Gongfu Jia Chen Tai Chi Chuan. The history of feudal Yin and Cheng Style Baguazhang has roots in the Imperial Court during the mid-1800’s at Chongwenmen, Beijing, where Dong Haichuan served as Imperial tax collector and Bodyguard for Prince Su (Shan Hao). Dong Haichuan synthesized Baguazhang, a sophisticated combative art, adapted to each individual by his own experience while retaining the essential principals and structure. The Senior Disciple of Dong Haichuan, Yin Fu, adapted principals of the art to his own martial background (Qing Imperial Military), developing Yin Style Baguazhang. The Yin style of Baguazhang popularized the “OX-Tongue” palm in the Peking Opera tradition. This is a misunderstanding as historical evidence reveals Yin Fu utilized “Tiger Claw/ Dragon shape” as well, and the “Ox” palm is a mislabeling of the “Willow-leaf” palm characterized by the willow leaf saber of Imperial Guards in 1800s. Yin Fu’s method emphasizes Hard Palm training, characterized by the military/ martial training requirements of Imperial Officers & cavalry. The Yin Style of Bagua is an integrated part of modern martial arts branching from “The Fairbairn Method” of William E. Fairbairn. (The Fairbairn System provides historically and modernly, the foundation for Close Combat methods of the OSS and Federal Law Enforcement, Commandos, and Special Units.) The system contains empty-hand and armed strategy- modern firearms, military saber, and clandestine weapons. Yin Fu is a First Rank Imperial Guardsman of Emperor Guang Xu and the Empress Dowager. Later his disciple, Cui Zhendong /Retainers of the Imperial Court, instructed William Fairbairn. Fairbairn made dedication in his book All In Fighting (1942) to Cui calling him a man of “terrifying prowess.” Cheng Ting Hua is the other top student and disciple of Dong Haichuan. The Cheng style of Baguazhang popularized the Dragon Claw Palm, characterized by fluid (weaving/interlinking) body (serpent/dragon-like) movements with complex coiling and spiraling. The style is more dynamic and smooth externally, with intricate footwork patterns and Manchurian wrestling/ restraint methods. Cheng Ting Hua’s original Baguazhang is unlike the modern “mud-stepping” interpretation which integrates Peking Opera tradition with Taijiquan practice. Commercialized Cheng Bagua uses an “Oversized Saber & deerhorn knives” which originated from folk novels in the late Qing Dynasty. The feudal Cheng Bagua system contains historical edged weapons ranging from Ox-tail saber to modern knives/ daggers. Cheng Tinghua was very much the People’s Champion. Cheng was a high level and open martial artist who believed in evolving martial art techniques and theories, sharing knowledge with martial artists of different branches.