Sun Lu Tang standing in the Tai Ji Posture

The head must go up with Pushing Up Energy. The mouth is open but not open, it is closed but not closed. The tip of the tongue touches the palate. The breath flows through the nostrils and the breathing must be natural. The Gu Dao (hui yin) must be raised. The neck must have Upright Energy. The heart must not use exerting strength. The chest should be curved inward yet not have the appearance of being curved inward. However, both shoulders must equally be...

Technique

In this technique the strategic principle of crossing the opponent is illustrated. The energies used are taken from the final two movements of the form, The Black Tiger Comes Out Of The Cave and The Green Dragon Turns Its Body. The angle and body turn of the first form movement are used to set the opponent up by crossing his body in preparation for the sweep which follows. This technique is illustrative of the whole body power inherent in the motions of the forms. Both arms or the arms and legs...

Study of Wu Ji

What is the Wu Ji Form It is how a man is before he begins to study. The mind is confused and disorderly. The One Qi is chaotic and moves at random. It is from the emotion of Nature. It spins and turns without degree. There is no division between rising and falling. The outside loses all practice, the inside loses all nourishment. Knowing the flow is where it goes and not-knowing the counter-flow is where it comes from. This is happening to such an extent that the body is empty and weak. Yang...

Sun Lu Tang standing in the Wu Ji Posture

At the same time there is neither straight nor curved, going nor coming, union nor separation of the mind or thoughts. The principles of the breast being empty and of nonthinking are in the mind. Only when the inside of the belly is hard have we arrived at emptiness, have we arrived at the root of nothingness. And then we are able to create qi from Wu Ji. This qi is like mist. Thickness and density, black and white, are not distinguished. The form is like...

Martial Arts Strategy Two Enlightening Classics

We have never run book reviews here in the Pa Kua Chang Journal in the past, however, within the last year two new books have been published which I think are worth recommending to Journal readers. Both of these works are translations of Asian classics which address the topic of strategy. These books are The Martial Artist's Book of Five Rings translated by Hanshi Steve Kaufman and The Seven Military Classics of Ancient China translated by Ralph D. Sawyer. Anyone who is involved in the study of...

Study of Si Xiang

The Liang Yi is made up of one Yin and one Yang. Tai Ji creates Liang Yi. Ba Gua is represented by solid and broken lines. This is taken from the Liang Yi (Yang is solid, Yin is broken). By adding a solid and a broken line to each we get Tai Yang (two solid lines), Tai Yin (two broken lines), Shao Yang (a solid line and a broken line), and Shao Yin (a broken line and a solid line). These names make up the Si Xiang. The Si Xiang has, as its base, either a solid line or a broken line....

Study of Wu Ji Explained by Pictures

The body stands straight. Both hands hang down. Both feet form a 90 degree angle like in the picture. The toes don't go inward and the heels also don't pivot outward. Both feet are like standing in a hollow in the ground. Movement and stillness are not known. Stillness make the Wu Ji Body. Motion makes the Wu Ji function. When one is still, inside the breast is absolutely empty. The mind doesn't have a place to think. Both eyes hold the spirit fixed and firm. Inside...

Outside Single Palm Change

Hips as far as they can to one side or the other, they discover that the muscles in their pelvic region are not so loose. In Ba Gua functional flexibility involves twisting and rotating the muscles and suppleness in the joints - twisting the legs, twisting the hips, twisting the torso, twisting the shoulders, and twisting the arms. Additionally, the twisting is executed in a coordinated fashion while maintaining whole body connection. These elements are all trained in the single palm change.

The Principles

Twisting The Torso Sequence

In this section we will briefly describe some of the principles that are being trained during the execution of this version of the single palm change in its three phases the turn around, the winding, and the unwinding. We will also address a few of the possible single palm change variations which are based on those principles. The Turn Around The turn around, and its associated footwork, is perhaps the most important aspect of the single palm change in terms of training for fighting mobility....

Single Palm Change Example

1 - Walking 2 - K'ou Pu 3 - Pai Pu 4 - K'ou Pu 5 - Pai Pu 6 - Walking The opening movements of Jiang Rong Qiao's popular form transition directly into a single palm change maneuver before the practitioner begins walking the circle dragon style ba gua, continuously linked ba gua, and swimming body ba gua, tend to have more of a turning and twisting flavor to their movements and this flavor is expressed in their single change. Because the Cheng Ting Hua schools of Ba Gua are by far the most...

By Tim Cartmell

Sun Lou Tang

One of the most famous martial artists of all time, Sun Lu Tang mastered all three of the orthodox internal martial arts. After gaining expertise in the art of Xing Yi Quan, Sun was introduced to Cheng Ting Hua, the renowned student of Ba Gua Zhang's founder, Dong Hai Chuan. Sun Lu Tang threw himself into Ba Gua training with characteristic vigor, mastering the art in three years. Sun's forms are a variation of Cheng style Ba Gua Zhang, and are unique in that they contain the essence of the art...

The Green Dragon Turns Its Body Shift the weight

To the right foot and allow the body to begin turning left phtos 10 and 11 , with the hands maintaining the same relative positions, following the turning of the body. When the body has turned approximately 90 degrees, turn the left foot out and move it to the left a half step photo 12 . Simultaneously, the left hand follows the curve of the bottom of the right arm there should be no gap between the left palm and bottom of the right forearm as the left hand travels outward , moving slightly...

Gao Yi Sheng

Additionally, whereas the single palm change taught the practitioner to change the body energy, power, and focus from one side to the other, the double palm change teaches the practitioner how to divide the strength and power to both sides at the same time. The mechanics of developing power, energy, and awareness in a balanced manner to both sides of the body at the same time also takes the training to a new level. The practitioner begins to learn the principle of...

By Sun Lu Tang Translated by Joseph Crandall and Helin Dong

Sun Lu Tang was one of the most prolific writers in the history of Chinese martial arts. He was the first to publish works on the internal martial arts and his ideas set a tone for the study and practice of martial arts since the early part of this century. Sun was deeply interested in the study of the physical boxing art as it related to the principles of Chinese philosophy and many of his writings address his ideas about the connections between physical practice and philosophical theory....

The Study of Ba Gua Zhang Movement

It is not an art of choreography, it is not an art of technique, it is not an art of form. This does not mean it does not have choreographed sequences, techniques, or forms, this means that all of these things are rooted in theory and principle and thus there is an almost unlimited potential for variation in technique or form as long as the technique or form adheres to the underlying principles or energies of the movement being studied. Therefore, in...