Song Changrong

Song Changrong

The Song (Changrong, Yongxiang) style of bagua focuses on the single palm change as its main practice. As one's understanding of the implications of the single palm change increases, one achieves the skill of "using one thing to defeat many". In each branch of bagua, all forms, sets, and patterns are re-incorperated into the single and double palm changes. As more awareness is fused into this technique, the technique itself is transcended, and it becomes a form of energy cultivation.

Eventually, one uses both the technique and it's supplementary energetic qualities for self-preservation, both in combative contexts, and in regular life. However, the hurdle for any student is the wuwei method of practice, which is simply by rote. One practices the same thing in a loop format, until eventually the body does it without stopping to think, making one able to move without thinking. The ability to move at the speed of thought is the idea.

This seems to be a distinction between "internal" and "external" styles. Internal boxing consciously controls the body to conform to the appropriate frame in the moment as it is occuring, while external boxing encodes itself with frames that automatically react at the appropriate angle. Nejia styles use one movement and change within it to adapt to many circumstances, while Shaolin has many movements to adapt to each situation; so there are many forms to display the frames to defend against different situations in different ways.

In both internal and external styles, lineage disciples of a master usually must pass an initial test of single-minded practice, both to test a potential inheritor's strength of character, and to provide the laoshi a foundation to layer more things on at later stages of instruction. However, when these stories are passed on, we sometimes see them as reasons to listen to instructors for sentimental reasons. Really, it is the only way to ascend the "holy platform" of zhuan zhang (baguazhang). The first phase of training is softening and loosening the bodies skeletal and connective tissues, both for increased energetic conductivity, and for increased range of movement within and around the joints.

Bagua's character trait is elusive footwoork to create dodges, neutralizing palm maneuvers, entrapped foot strikes, hip throws and trip tosses. It also has the ability to uproot and discharge like taijiquan, and to strike with explosive power, like hsing-i chuan, the sisters to the style.

The single palm change focuses on changing direction towards the inside of the circle (it's centerpoint being the adversary). The double palm change focuses on changing the direction to the outside, while simultaneously splitting one's force to both directions. All styles of bagua (zhuan zhang) have versions of at least these two techniques, plus many supplementary stationary training sets, two person patterns, and melee training. The Song Yongxiang style's forms are rarely seen. Until the laoshi doesn't have to worry that a solid foundation hasn't been laid through the single palm rote, the other choreographies remain untaught. The Song style is practiced by some of the members in the Beijing Bagua Research Association, and at Ditan Park.

Song Bio

WWW.8GUA.INFO: Song Changrong - was born to a wealthy family in Beijing. His family was somehow associated with Prince Su, the retainer of Dong Haichuan, and from the young Song was introduced to the founder of Baguazhang. Dong took a liking to the child and would visit his home on a regular basis. He would train Song in the courtyard, but trained him in various skills and exercises to increase the youngster’s strength and balance. When Song was about twelve years of age, Dong began teaching him the art of Baguazhang. Given the foundation what was built in the early years, Song excelled in the training and was considered as a child prodigy in the art. He became highly skilled in the lower basin palms. Dong trained him the use of the Seven Stars pole and Song became an expert in the use of the weapon. Song developed a very high level of skill in the Baguazhang. He was a friend with many of Dong’s other students, in particular Chang Chankuei. This was partial due to Song’s position in life; having grown up in the Imperial section he had only limited contact with the common people from outside the walls of the Forbidden City. This resulted in him having very few students. Gao Yisheng was once a student of Song, but after years of intense basic foundation practice asked his instructor for additional training. The dispute ended with Gao leaving in search of another instructor. After the death of Dong Haichuan in 1882, Song became head of the Bagua practitioners in the northern section of Beijing. Song Shutang was the nephew of Song Changrong and is reported to have carried on his teachings in Song Style Baguazhang. Additional research is needed to identify any of Song’s disciples: WWW.8GUA.INFO

Because Liu is a common Asian name (such as action star Lucy Liu for example) there are several Liu styles within the bagua lineages, such as:

Liu JingruLiu Feng ChunLiu De KuanLiu Hung ChiehLiu BaozhenLu Shui TianShi Liu, (Shi Chih Tung, Shih Chi Tung, Shi Ji Tong, Shi JiTong, Shi Ji Dong, Shi JiDong, Shi Shi)

Guoliang gives a demonstration of Shi Shi styles pattern sets on YouTube. The late Wang Peisheng, gives a demo of the DeKuan version of linear bagua forms. Both the Gao and 9 dragon families have linear patterns as well. The Song style has not been demonstrated on youtube.

Shi Ji Tong Bio

WWW.8GUA.INFO: Shi Jidong (1837-1909) - was the third disciple of Dong Haichuan. He was from Cheng Si Shao Zhai village, Ji County in Hebei Province. Liu Sui, in his book Orthodox Baguazhang, states that his direct ancestor, Shi Jidong, was the third disciple of Dong Haichuan. He became Dong’s adopted son-in-law, when Dong adopted his wife, who was reportedly a relative. After leaving service with the Imperial Family, Dong taught his art in the homes of many of his students. Shi Jidong offered Dong to stay with his family and he accepted. It was custom of that time for people without relatives to adopt an adult person to enable them to be cared for and attended as they aged. They would live with the adoptive family and the family would supply their clothes, food, and expenses. It was customary for them to ensure that they received a proper burial as well. This relationship allowed Shi Jidong to learn a high level of art from Dong Haichuan, one that was greater than many of the other disciples. Shi Jidong was a cousin of Yin Fu, the top disciple of Dong Haichuan. Sometime between 1875 and 1882, Yang Janfeng, a disciple of Yin Fu, got into a fight with Yin Fu’s cousin, Shi Jidong, and beat him badly. The beaten Shi came to Yin Fu and asked if he could become one of his students and study Baguazhang. Yin thought that it would not be right for Shi to kowtow to him, since they were cousins, and instead took Shi to meet Dong Haichuan. At the request of Yin Fu, Shi was accepted as Dong Haichaun’s third disciple. His branch of the art is known as Shi Style Baguazhang. Shi Jidong had several disciples to include Yang Rongben and Han Fushun .

Han Fushen - was from Cheng Nanpeng Village in Ji County, Hebei Province. He was illiterate and worked as a blacksmith at the Yi He Lumberyard in Beijing, which was owned by Shi Jidong. He was described as sincere, honest, diligent and conscientious. Out of concern for the people of his community, he desired to learn Baguazhang. Shi Jidong accepted him as a student and also received instruction from Dong Haichuan, who was living with the Shi family at that time. He was also known as Han Liu. Little more is known about Han other than he produced one student that had an impact on the art of Baguazhang. That student was Wu Junshan, who is responsible for promoting Wu Style Baguazhang. Any additional information is welcome.

Yang Rongben - little is known about Yang Rongben. He is noted for having three primary students that carried on his teachings. His notable students were Cao Rongting, Di Zhaolong (he authored Secret Wudang Baguazhang), and Peng Zhaokuang: WWW.8GUA.INFO

The Shi (Shi Shi, not Cheng Shi) style is taught in the Altai Mountains, Basargino Russia. The late Di Zhaolong also has other students thriving with the style. In BK Frantzis main work on the nejia boxing arts, he describes how Dong Hai chuan taught some of his students how to refine there movements to have the applications of an entire kua in a small movement. From reports on how Song Yongxiang was trained, he may have also received such style of instruction, as well as Shi Liu (aka Zhenbeng). Daos have a profound understanding of change. Dong Hai Chuan had an ability to recognize what different echelon martial artists would be able to change and what would be dificult to change. So rather than attempt to eradicate past martial knowledge from the body and build a new foundation, he would take what you already knew and add baguas principals to greatly enhance ones abilities, while strengthening ones weaknesses. Song solely learned bagua. Shi Liu apparently practiced continuous kicking. Probably a chines version of Tang Soo Do traditions. In fact, similar to the Emei Baguazhang manual, which has a wealth of collective Daoist zuan zang theory, the Shi style has a carbon copy format of one of its many texts (translated by Joseph Crandall from Di Zhaolongs scrolls) ie, the 3 year 36 songs and the ten year 48 songs. Unfortunately, bagua cannot be learned over night. Fortunately, he has already posted the text on the internet, and it can be found here at wiki as well:

Shi Ji Dong (Shih Chi Tung, 1835-1908) was nicknamed Zhenbang. Peoplecalled him "Shi Liu" (Shi the 6th). He was born in Jxian county ofHebei province. He was Yin Fu's cousin. During childhood he studiedtantui and was skillful in continuous kicking. Yin Fu advised him tostudy from Dong Hai Ch'uan and became Dong's third student. At the endof his life Dong lived in his house and his wife became an adopteddaughter of Dong.--from

[The following is from --]

Shi's 36 Stanzas

Joseph Crandall sent these over a period of time to the Bagua List.The following is a forward by him and some additional information fromJarek Szymanski sent to the Bagua List.

Forward: This is something I translated a long time ago and just dugout of my files. To redo the mandarin would be too much work at thispoint. If you are really interested I might scan the characters andsend them out as a jpeg.The lineage of Shi Jitong Bagua has a 36 Stanza poem and a 48 Stanzapoem similar to the ones promulgated by the Liang and Cheng lineages.These stanza come to us courtesy of Di Zhaolong, the current (I think)authority on this style. Shi Ji Tong was a nephew of Dong Haichuan.

-Joseph Crandall

Shi Jidong (not Shi Jitong) was Dong's adopted daughter's husband.Actually Shi arranged that his wife became Dong's adopted daughter sothat she could take good care of the old master. Dong spent last yearsof his life in Shi's house in Beijing (Shi was one of the wealthiestdisciples and owner of Yihe Timber Mill).

-Jarek SzymanskiShanghai, China


Epilogue: This song has 36 stanzas. Bagua's true significance iscontained herein. Memorize and try to understand them and practicehard. Skill and hard work will not fail the conscientious person.Practice hard and practice harder. Over a long period of time, itsvalue is lasting. You will become stronger and never stop gainingskills. Raise the martial spirit to be cheerful and healthy.

-Joseph Crandall

1. The head is held up. The chin is tucked in. The body is heldstraight. Depress the waist. Swell the belly. The steps are empty andfull. Sink the shoulders. Hang the elbows. Reach with the front arm.Turn the wrist. Straighten the palm. Pull back the index finger.

2. One arm pushes out straight. One arm is bent. The eyes gaze at thetiger's mouth of the straight arm. The straight arm pushes and seizes.The bent arm pulls the bowstring. This is like using a bow to shoot abig vulture.

3. The tiger's mouth is curved. The palm is hollow. Pull back thefingers. Straighten the palm. The fingers are held upwards. Push andseize. Pull the bow. Defend the chest and lungs. The practice of bentknee stepping trains the leg skills.

4. Bend the knees and bow the legs. The steps are like walking in mud.In walking the circle, the outside foot turns inwards and the insidefoot moves straight. Turn the waist. Depress the waist. Raise up theanus. The form is like pushing a grindstone round and round.

5. Turn the waist. Turn the neck. Depress the waist. Swell the belly.The foot grips the ground. The knees bend and the legs bow. The bodyfollows the steps and the turning hands follow the body's movements.Weave together inhaling and exhaling and then transform them tochewing up and spitting out the enemy.

6. In walking, the palm and body should not lean to the sides. Do notlean forwards or backwards. Turn the waist and tighten the lowerabdomen to connect the limbs. In stepping, the steps sink and the bodyhas the appearance of being even and steady.

7. Moment is practiced on the left and right sides, Reciprocatingwithout breaks or stopping. Aim for being stable and full. Becomelevel and true. The spirit can tranform and grow from immature tomature.

8. In the piercing palm, the hand goes out under the elbow. Avoid thefull and draw near the empty to achieve skill. The foot treads thecenter gate and searches out the way. The corner become the sides,enter and flow with the person's movements.

9. The hand method of the piercing palm must be remembered well. Therear hand pierces out and the front hand retracts. They must bemutually coordinated and complement each other. Mobility and agilitydisplay your talent.

10. In walking the circle, persue three levels in your steppingpractice. First practice the upper level frame, which is high. Themiddle level bends the knees and the posture gradually squats. Thelower level stresses getting the thighs level with the knees.

11. The tongue sticks to the upper palate. Inhale and exhale throughthe nose. The qi sinks to the dantian like being guided. Movement mustbe coordinated with the breathing. They complement each other andcreate agility.

12: Skill and talent smoothly follow the waist and leg movement; Thestepping method transforms the walking with many turns; Upper andlower coordinate and become one thing; Mobility and agility must beharmonized.

13: The toe-in stepping form makes a triangle. The toe and kneecap arealigned. The toe-out stepping form makes an eight character shape (/). The toe and the heel meet together.

14. In the Upper Step (shang bu), the rear foot steps past the frontfoot. In the Advance Step (jin bu), the front foot moves to the front.In the Withdraw Step (che bu), the front foot steps past the rearfoot. In the Retreat Step (tui), the rear foot moves to the rear.

15. Esteem virtue, do not esteem strength. Esteem wisdom, do notesteem courage. If you esteem strength and esteem courage; Sooner orlater it must fall into the void.

16. The body is like a swimming dragon, a wild goose leaping into theair. It is like a tiger strikes, a turtle swims, a snake's movement.Vary the postures continuously without stopping. Move to the cornersand sides, advance and retreat, talk and laugh in the center.

17. This palm is mysterious in walking the circle. The stepping methodcauses victory, the foot is strong and skilled. Toe-out, toe-in,arcing and turning, people cannot fathom it. Look to the front and nowto the rear. Leave no fixed trail.

18. The foot treads the central gate and searches out the way. Thehands follow the enemy's condition and flow in the opposite direction;Rise and do not fall, occupy the center; The enemy's preparations arein vain and he finds it diffucult to defend himself.

Here is another. This one is a toughie, a bit esoteric. I took sometime going over it again and changing some of my original work, but Ican't guarentee total accuracy on this one.

19. The outgoing hand must be one, it must not be two. The idea ofmany overcoming the few must be followed. If you can understand, youcan get this central idea. Superiority is commonly had in grasping thecenter.

20. The outgoing hand techniques follow the man. To seal the enemyrequires a lot of skill. The triangle pattern steps are very subtle.The hands in the cross shape form are beneficial to attack

21. The out-going hand flows with the enemy's intention. Rise todefend, attack to the left and right. If the enemy retreats, yourfront foot advances. If the enemy advances, your rear foot moves.

22. When the enemy advances, I move to evade his attack. I give up myposition and cause him to fall into emptiness. I turn back and withone strike invariably cut to his center. To defeat the center and takethe victory requires skill.

Here is #23. I must confess that it does not make much sense to me. Myconfusion revolves around the interplay between two characters zheng(true, upright, correct) and qi (wonderful, suprise). I have seenthese two characters used together before and the best that I couldguess based on the context was a sense of coming and going. However inthis poetry the meaning is much more difficult for me to grasp. Ifanyone has a clue I'd appreciate some enlightenment.

23. The enemy is true, I am true suprise; The enemy is suprise, I amsuprise true. A soft body pulls the rudder. Flowing water drives alight boat.

24. A strike comes to my right and my left responds. A strike comes tomy front and my back responds. I coordinate my response with mybreathing. If I do this others find it difficult to respond to me.

25. Close and roll, defend to the left and right. Turning back thehead in retreat turns into an advance. If pressed close, move fartheraway. Commit to a strong body form.

26. The flicking palm conceals the body as you advance. Use thehooking palm as you retreat and then advance. Attack the enemy's frontside as you advance. The flick and hook, up and down, aid and supporteach other.

27. An arm stretched out from the side of the body reveals an emptyspace. The chest exposed to open air induces people to attack. Drawout the enemy to take the advantage and advance. Bind, mix, seal,insert, and strive to master the movement.

28. With the overturning body palm method, defense becomes the attack.Overturn, roll, arc and turn to follow the man's motion. Submit to theobjective, ignore the subjective. Pierce, grip, hang, and float, agilefunctions.

29. The Baguazhang method is not a blocking frame. I wish to chooseflowing from my center. The outgoinh hand must choose the way toapproach. I issue later but arrive first cannot be successfullydefended against.

30. Touch and stick, continuously follow, don't loose the lead. Don'tblock, don't frame, flow with the enemy's nature. Yeild the positionand strive for mastery of motion. Moving supports motion, movingsupports stillness

31. The man is hard, I am soft and completely rely on walking; Bringabout the condition to deprive him of the first hand; Turning andentering I flow to the man's back; Soft turns to hard and stickingbecomes issuing.

32. When hardness is presented first then softness must be concealedinside. When softness is presented first it must be coordinated withhardness. Hardness conceals softness in its center, softness containshardness. Hardness and softness are transformed in the stepping.

33. The eyes are linked to the hands which are linked to the waistwhich is linked to the legs. When the whole body is harmonized andcoordinated, then when you issue stength it is whole. Regardless ofwhether your movements are straight or curved, the walking must bestable. When you get the power and get the posture, then you will beable to control the enemy.

34. When jing and shen are connected with qi, the posture will befilled. You will then be calm and composed, not terrified. The eyesdetecting the enemy's emotion is the first point. The brain is themaster and takes charge of the movement.

35. For the hands to attack the enemy, the waist and legs must bequick. Advance and retreat completely rely on the feet. Understandthat walking be transformed by turning has many meanings. The truesignificance of Bagua is contained within this.

36. Bagua's true significance is not a mystery. Go smoothly,understand transformation, and walk the circle many times. Don'tblock, don't frame, don't lose the lead. Sacrifice your own interestsfor the sake of flowing with the enemy's emotion.


Shi Style BaguazhangOral Traditions:The 48 Skill Methods

Forward: Here are some more goodies from Shi Style Baguazhang. Pleasebear in mind that I am probably not the best qualified to translatethis stuff, but no one else seems to want to do it. Chinese charactersoften have more than one meaning. In choosing the best meaning I mustrely on my own experience with the art and with fighting. Someone elsemight have another interpretation based on their experience. Themartial arts has its own jargon, characters will be used in a martialcontext that will never show up in a common dictionary. Unless one isprivy to the martial meaning of the character, the sentence ends upmaking no sense. Unfortunately I make mistakes in this area, so youwill have to bear with me. Because of the varying ways in whichChinese texts can be interpreted it makes sense to read as manytranslations as possible in order to sort through the chaff and pickout what pearls may be within. I would encourage anyone with alternatetranslations to publish and compare with what I submit so that we mayall grow in knowledge in the arts.

-Joseph Crandall

1. Shen Fa -- The Body Method:

The body is like a swimming dragon, a wild goose soaring in the air.Zigzagging, curved and straight, it moves like a snake. Overturn,roll, revolve and turn are dominated by the waist. Move to the cornersand side-to-side, advance and retreat, talking and laughing in thecenter.

2. Mu Ce - Range Estimation:

To resist the enemy when you cross hands, you must first estimate therange. If there is no movement, gaze at the man's shoulder. Calmly andcarefully examine his posture. Seek out the way to go. Reconnoitre andreflect. Only the eyes look forward.

3. Yanming - Sharp Eyes:

The heart's emotions are reflected in the eyes like a mirror. See thesituation create the emotion, then the posture responds. If you arevery fearful and the mind is confused, your eyes will not follow. Thehands will be occupied, the feet confused, and you will lose yourcleverness

4. Xianxing - In Advance:

The eyes first seek out the enemy's condition. The four sides andeight directions need to be observed clearly. Allow your movement tochange irregularly many times. What enters my eye, I instantlyunderstand.

5. Shen Shi - Careful Posture:

The eyes watch the four directions, form and posture are understood.The ears hear in eight directions, movement and stillness are known.The feet tread the eight trigrams, walk the complete circle. Lookahead and behind, capture the enemy's emotion.

6. Bu Fa - Stepping Method:

If you wish to move the extremities, the root must move first. Quickhands are inferior to agile stepping. Turning, moving, entering,yeilding only require half a step. The outer boundary is peaceful, thewhole form changes.

7. Ta Zong Men - Tread the Center Gate:

Stride forward like a tiger and with the aspect of a hero. Advance andretreat, look around, look for the enemy's trace. The feet tread thecenter gate and interlink with the enemy's path. The enemy has todefend against strikes to the center.

8. Xie Chu Cheng Ru - Diagonal Leaving, Straight Entering:

With footsteps firm and stable, seek adroit movement. By advancing,retreating, turning, and shifting, seek out the enemy's path. Walkingfollows the triangle. The toes grip the ground. Diagonal leaving,straight entering, is wonderful and unlimited.

9. Xu Jin - Continuous Advancing:

Develop an offensive posture, the enemy can not move back. Continueadvancing with strikes that are difficult to evade. Step and advancethe body, then step to the front. The hands, feet, and body must beone and arrive together.

10. Lian Zhui - Continuous Chasing:

I advance. If the enemy retreats, I must follow. One step or twosteps, I am continuously stepping to follow. Closely press the enemyso there is no way for him to flee. Continuously advance, victorycomes in one step.

11. Xu shi - Empty and Full:

For agile movement in the legs, empty and full need to be understoodIf you relax the rules then you will be double weighted and sluggish.With changing movements and turning movements the empty foot is agile.With the weight in the full foot, steadiness is preserved.

12. Jin-tui - Advance and Retreat:

The enemy retreats, I advance with my front foot first. The enemyadvances, I retreat by moving with my rear foot. The stepping methodof advancing and retreating must be agile, Turning, changing, andtransforming in accordance with the enemy's emotion

13. Zhang Fa - Palm Method:

In attack and defence, both palms must be lively. The rear palm goesout and the front palm returns. The tiger's mouth and ox's tongue worktogether: "Follow the curve to arrive at the straight", understand thebody's peril.

14. Gong Fang Xiang Ji - Mutual Attack and Defence:

In mutual attack and defence you must remember firmness. My hand goesout, and defends against the man's strike. Advance to attack, defendand ward-off, turn and transform quickly. When you can attack and besuccessful in defence, your skill starts to become high.

15. Gong Fang Huying - Attack and Defence Working Together:

The hands, going out and blocking, have to work together. Issuing isnot correct and yet it is not presumptuous to issue. The postures ofattack and defence change many times. Issuing is not the main thing.You must defend against the opponent's issuing.

16. Zhao Fa - Technique Method:

The front arm reaches straight, forming the tiger's mouth. The reararm hides the ox tongue. Swallowing and spitting, opening and closing,flow with the enemy's emotion. Work together with change, close theenemy's posture.

17. Fa Jing - Issuing Energy:

Store up energy till plentiful, like a bent bow. Issue energy like anarrow, swiftly away from the bowstring. With a single purpose, in onedirection, strength issues from the back. Have a sunk appearance, berelaxed completely, qi ought to be first.

18. Yin Shi Li Dao - Adroitly Guiding Action According to Circumstances:

If he is high, strike him low. If he is low, strike him high. With afat man, strike at him from either corner. If you meet someone longand thin, press toward the inside. The old man cannot move to block.

19. Jie Zhao - Make Contact and Gesture:

The enemy man comes gesturing. Don't block or frame him. Flow with hisincoming posture only once. Moving or still, quick or slow, you mustclose and slap. Follow curve, move toward the straight, multiply hisdefects.

20. Jie Na - Explaining Seizing:

Qin Na must use a double hand motion. Both hands seize, oneself isempty. No matter what, Qin Na flows with his motion. Pierce the noseor jab the eyeballs and the enemy's posture relaxes.

21. Jie Na - Explaining Seizing:

He seizes me and the flowing posture moves. The flowing posture movesand the seized posture is empty. Even if his Qin Na is very adroit, Mymovement follows the man and the seize has no skill.

22. Bu Zhong Qin Na - Do Not Stress Seizing:

The Bagua palm method does not stress seizing. If both your hands,seize you suffer a setback. You are only seizing the man and it is notlike striking. Depress and bend the man over, many changes are notadvisable.

23. Feng Bi - Seal and Close:

The issuing hand flows and follows the enemy's intention to move. Toseal and close the enemy I need a lot of skill. If I can seal firmlythe posture of the enemy, Victory employs having my hand in thecenter.

24. Feng Bi - Seal and Close:

Perhaps he has weapons in both hands and is quick like the wind. Withone coming and one going, he displays remarkable skill. Close his lefthand then his right hand is not used. Both hands coming at the sametime is emptyness.

25. Huan Zhao - Returning Techniques:

Sealing and closing strongly is a technique for 'defending the body'.Vigorously seal the man's techniques and do a technique in return.Stick continuously, following and leading the enemy's techniques. Beneither too close nor too far, flow with the enemy's techniques.

26. Yi Gao Yi Zhao - High Skill of One Move:

The strong are victorious over the weak, and their strength shows offtheir ability. The quick strike the slow, and their skill is in theirspeed. In these cases the High Skill of One Move is very much needed.Bind their hands and bind their feet to control them.

27. Rangkai Gong Shi - Defend by Getting Out of the Way:

If the other party has the strength of 1000 pounds, issue quickly. Ifhis incoming posture is as violent as a mountain slide, Get out of theway and attack, take advantage of his gaps. Be decisive and mobile,swiftly do a technique in return.

28. Xie Shan - Diagonal Dodging:

The enemy comes in straight and quick like an arrow. First issue tocontrol the his brave and fierce posture. Only meet this emotion, itis not appropriate to retreat. Diagonally moving, dodge and yeild likea spirit.

29. Bu Lan Bu Jia - Don't Block, Don't Frame:

Even when the enemy's posture is ruthless, you have no fear. Hestrikes at you and you defend against him. Toe out on the diagonal,the way is close. Don't block, don't frame, only once.

30. You Di - Lead the Enemy:

When the enemy doesn't attack, I use motion to draw him out. When hisattack comes, I walk to the empty space. I do not rely on handmethods, I rely on stepping methods. Enticed to advance, he falls intoair and is subject to my control.

31. Hua Jie - Transformation Understood:

Vertical can understand horizontal, horizontal understands vertical.When a split comes from an oblique angle, I split him. When a legcomes, if the leg is understood, you understand and then attack. Thehands and legs go out and steps turn many times.

32. Yuan Xing Hua Jie - Circular Transformation Understood:

He surrounds me and I surround him. With circular turning and walkinghe can only attack air. Surround, surround one posture, the trail isnot fixed. Completely rely on the stepping method and powerfulwalking.

33. Xie Zheng Huan Hua - Diagonal and True Transformed:

There is straightness within diagonal and diagonalness withinstraight. The diagonal/true transformation truly is wonderful. Whenyou meet a strong enemy, a strong attack is demanded. Hide supriseswithin suprises, and the enemy falls into a trap.

34. Zhi Ren - Control the Man:

To control a man, one ought to pierce up towards his eyes. If botheyes suffer damage, then the enemy will be in a bind. The importanceof the damage suffered, though small in degree, is not understood. Apoke in the eyes is a victory of 1,000 techniques.

35. Dong Jie - Movement Understood:

Use stillness to control motion, leisurely await the work. Use motionto control stillness, rely on skill. The man doesn't know me, but Iknow the man. Meet strength with wisdom, seek the weak with flauntingtechniques.

36. Kai He - Open and CLose:

If you desire to close, the correct form is to open first. Observethat open defends, and closed can know the power. Open is in thecenter of closed and closed is in the center of open. They can meet atthe origin and instantly know minutia.

37. Qu Shou You Zhun - The Outgoing Hand Is the Standard:

It does not matter if he has 1,000 techniques and quickness in 1,000things; If he is not able to be centered, his effort are in vain. Notstopping is important and not sending out hand. The outgoing hand mustinstantly be in the enemy's center.

38. Shulian: Skilled/practiced/proficient:

Attack and defend, advance and retreat, because the postures aredifferent. 100 refinements make steel, bitter practice makes youcomplete. First aim towards being firm and solid, seek to be level andstraight. Spiritual wonder is transformed, skill is created in thecenter.

39. Lingmin - Sensitive/keen/agile/acute:

If the mind is sensitive, its tranformations are inexhaustable. If theeyes are sharp, they can make out the enemy's emotion. If the steppingis agile, the mechanical power is adaptable. If the hand is keen,controlling the enemy is the standard.

40. Tu Na - Giving and Receiving:

Inhaling and exhaling, giving and receiving, are controlled from thenose. First it flows throught the Du Mai. Then continues to the RenMai to complete the cycle. Qi moves through the body, the will directsits motion.

41. Lizheng Zhudong - Work Hard for the Initiative:

When fighting, you must be able to endure the enemy's atttack. Firstseek to be invincible, then return the attack. If the posture andsurroundings are inferior, toe out and escape. The center havingmoved, strive for the initiative.

42. Ceshen - On Ones Side:

In the Snake Form Palm, the posture the body overturns to the side.The body must have a twisting movement to use the Snake Form. Botharms go out straight to protect the skull. Expanding and contracting,turning sideways, Snake Spits out its Tongue.

43. Niu Yao - Twist the Waist:

When the enemy attacks, I stick to his body. My hands and feet returnto defend and transform him. Turning and revolving, left and right,the waist twists and turns. Take a turn for the better and be out ofdanger; defeat demands victory.

44. Dang Ji Ji Fa - Prompt Issuing:

The mind takes charge of life, the eyes gaze. The hands and feetcoordinate for carefull attack and defence. Search for the man's gaps,strive for motion. Issue promptly, don't hesitate.

45. Bi Shi Ji Xu - Avoid the Enemy's Strength, Strike at his Weakness:

When the enemy punches at your face, Take the lower way and instantlyopen up. Take him by suprise, unprepared for the attack. Avoid hisstrength and attack his weak points, victory comes.

46. Ji Ting - Avoid Stopping:

The chaotic original one qi walks heaven's limits. Walking, but notwalking too far, the feet change and transform. Bagua's functionalmovement consists of the walking movements. Standing fixed whenconvenient becomes fallen flowers.

47. Luo Kong Bu Wen - Fall into Emptyness No Disorder:

Stepping must be lively and the gestures must be accurate. Then, touse 'Falling into Emptiness', the mind must not be disorderly. Curvesinterlink with curves and are never used up. When there are circleswithin circles, transformation is created.

48. Li Yi Wei Xian - Ceremony and Righteousness take Precedence:

Esteem virtue, esteem ceremony, don't esteem strength. Esteem wisdom,esteem righteousness, don't esteem bravery. Esteem strength, esteembravery, strength is the core of strength. When your skill is high,then with one touch, your enemy falls into emptiness.

Assisting Song:

In Martial Arts, techniques come from theory. If the theory issubstantial, then skill can advance. They supplement each other andboth can rise high. Constantly improve, have no fixed bounderies. TheInner Gate leads the way, the teacher transmits the instruction.First, toward the firm and stable, seek the level and true. Themartial sea has roads, diligently use the boat. Spiritual wonder istransformed and practice is halfway complete.

Baguazhangs Siblings

Within the pantheon of Chinese Martial Arts, the three Orthodox internal martial sciences are Laosandao (Taijiquan), Zhongnan Shan Boxing (Xing Yi/Hsing-i), and zuan zang (baguazhang/pa kua chang). Sun Lu Tang coined the phrase Three Sisters. The students of each train together for many reasons, one being that it is a priority not to hurt or be hurt by your kongfu brothers and sisters in class training. Of course, outside of class is ones own business. One has to study for thirteen years, maybe 15 years for regular civilians, in order to acquire the specialized bagua skill of moving like a ghost. This sounds esoteric, but when one learns to float omnidirectionally almost simultaneously through seemless miscellaneous footwork, one can slip into the blindspots of a persons consciousness to appear and reappear in front or behind an attacker. Fortunately with the health benifits of these standing yoga-like arts, one extends ones life span. Hsing-i tends to square off, wait, invade space, and shoot like a cannon at point blank range. Taichi tends to wait while holding ground, absorb or magnetize to the force of attack, and bounce one away like a bran new trampoline that barely moves. Though bagua has the densest tactical arsenal of the three, taichi (laosandao) encapsulates the pentultimate nejia skill. Both hsing-i and bagua have almost parallel techniques, but the eerie dynamic of taichi masters, which carries over to the other two sisters, is that at its highest level of defense and attack, the proponent barely moves ones body because theres so much internal stuff going on. However, the effect on the attacker is literally being sent flying. Event 10-20 feet. This is hard to believe, considering a solid football hit dislodges the body and suspends it in space, but it wont move more than several feet. And they are running at full speeds. With these yin techniques, the initial contact is not too brash, but the ground and the environment come fast. Usually only lineage holders have these abilities, and top notch students who have no life but kongfu. Hsing-i has the most immediate self-defense success ratio. One of the most famous expressions within taijichuan circles is: In Taichi, to win, first you must lose! You must lose any adrenalized will towards an attacker through hi level yielding and neutralizing of elses actions, and you must be enthusiastic about losing your balance from being uprooted by superior skilled taiji brothers. Because of its linear physics training, Hsing-i masters hit once. Bagua hits from several confounding angles while trapping and throwing. This is necessary to defend against many attackers. Using one attacker to defend against many. Bagua employs waves and the vortex of multidimensional spirals, and Taiji employs the unified force of contracting and expanding spheres. Out of Malaysia, I Liq Chuan seems to be making itself known as the new baby brother to the three sisters, while Liu He Ba Fa (water Boxing) is an encyclopedia of the three sisters, and is usually studied after basic mastery of the three. Shaolin also has internal styles, and internal external hybrid styles such as Wing Chun and Mei Hua Chuan (Plum Flower Fist)

Dantian Cultivation

It is imperative to note, that discussing these martial skills for societal awareness via hard and soft copies of writings and actually acquiring these abilities are two different scenarios. Especially considering that individual practitioners of these styles practice them for different personal reasons. More often than not, practitioners of these styles tend to practice them for health or meditative purposes, rather than wanting to fight a lot. There are only so much herbs, so Tradition Chinese Doctors prescribe martial arts for rejuvinative means. Combative purists promote the martial side, because they were kept secret for obvious reasons for so long. Like most martial arts that have lasted generations, they can be fatal or hospitalize. Some of the best fighters started learning martial arts because they were frail with sickness in their youth. Out of their humanitarian compassion, masters taught them, and they eventually became not only healthy, but strong even with thin bodies.

Allthatwithstanding, without the dynamic of tranquilty during application and practice, the dantian abilities cannot come in to play, hence internal power cannot fully come into play, and using these styles to actually fight without gong or dantian cultivation practice would be like trying to cut wood with a soup spoon. One is better off practicing for meditative reasons first, and learning self-defense later on.

For more info, check out

chinafrominside.comzhuan falungeocities ottawa kung fu history pagesbeijingbaguazhang.comthe bagua libraryjiulong baguapa-kua.comhsing-i instituteyinfu bagua

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