Chinese Philosophy, T'ai Chi is a dynamic interplay of Yin and Yang represented by the well known T'ai Chi diagram. This interplay of Yin and Yang (T'ai Chi) springs forth from complete emptiness or the void (Wu Chi). From the T'ai Chi, Yin and Yang divide and are represented symbolically as separate elements by the Liang-I (two symbols). The Yang-I is represented by a continuous straight line and the Yin-I is represented by a broken line. The Ssu-Hsiang (four figures) are formed by combining the Yin-I and the Yang-I. The Ssu-Hsiang represent the maximum number sets that can be formed by combining two differing elements in sets of two. The Ssu-Hsiang are given names of T'ai Yang (Greater Yang), Shao Yin (Lesser Yin), Shao Yang (Lesser Yang), and T'ai Yin (Greater Yin). By similarly combining the Ssu-Hsiang, one can obtain the Pa Kua (Eight Trigrams).
The movements of Liang-I Ch'uan resemble those of T'ai Chi, however the flavor of Pa Kua Chang is felt as the "coiling waist palm" movement and the "rippling step" or ku tang pu are integral parts of the form. Liang-I also shares Pa Kua's characteristic combination of slow and rapid movements. Mark states that while T'ai Chi Ch'uan movements are centered, balanced, and slow, never too Yang or too Yin, and generally move forward, backward, right, or left, Pa Kua Chang movements can change rapidly, extend to the extreme and move in all directions.
While the Pa Kua Chang practitioner always maintains a stable stance and firm balance, there is a controlled recklessness within his movements. The movements can quickly extend out to extreme limits and be brought back to the center without the practitioner upsetting
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