Ving Tsun is a Kung Fu system. Founder Yim Ving Tsun is credited with integrating it into six domains—Siu Nim Tau, Cham Kiu, Biu Ji, Mui Fa Jong, Luk Dim Bun Gwan, and Baat Jaam Do—represented by lists of bodily devices for symbolic combat.

The use of bodily devices to constitute the lists of a system, aiming at the development of Kung Fu, seems natural considering that bodily experience is the closest, the most intimate, the most direct, and the one least doubted, thwarting the dichotomous activity of thought, which petrifies the fluidity of a trend and prevents us from perceiving the smallest signs of the transformation to come.

In turn, since ancient times, the Chinese have valued the symbolism of combat as an experience of the imminent immediacy of death that enhances the capacity of two opposing poles to complement each other.

Conceived from a feminine conduct, chi jit, the symbolic combat bodily devices, called jiu sik, enable the development of an adaptive capacity that transforms the opponent into the very potential to be exploited in a conflict.

The definition of six elements, rather than limiting, in this context can have the meaning of an extreme number, which extends to the extreme of change. Since ancient times, symbols have been associated with numbers. By associating the six domains of the Ving Tsun System with the hexagrams of the Yi Ging, one can revisit the ancient idea of associating a hexagram with a system.

The ordering of the six domains of the Ving Tsun System, besides pointing to the evolution of its relational complexity, also indicates the distinction of four modalities – a set of homogeneous ones, composed of the first three, whose names do not explicitly indicate the modality to which they belong – the kuen faat – except for the absence of external elements; and a set of heterogeneous ones, whose names contain explicit reference to the modality in which they are included, namely: jong faat, gwan faat, and do faat.

The relationship between the hexagrammatic structure and the architecture of a situation is established from the moment two trigrams are identified and thus two centers, or two means, are perceived. It is through variation between them that "change" can occur. Thus, contrary to the fixation that any monopolization due to a single center would lead to, the logic of every situation is one of regulation that, varying from one pole to the other, as here between the two centers of the hexagram, allows the unfolding to proceed to the end of the path taken.

This trilogical duplicity, promoted by the hexagram, gives rise to three phases, the set of which is known as "Sau, Poh, Lei." Sau can mean to accept, to maintain, but Patriarch Moy Yat (9GVT) was emphatic: Sau, in this case, means to obey. Poh means to break into pieces, so that they can be investigated. Lei means to separate. These phases will enhance Ving Tsun as a system of Kung Fu development.

The function of a Kung Fu system is to establish, in each domain, a typology of particular dispositions that have been recognized as the most appropriate for the development of excellence in a given artistic manifestation, and whose experience has been passed down from master to disciple, from generation to generation, as a family legacy.