Baguazhang (Pa Kua Chang)
Intro
Baguazhang is one of the three orthodox "internal" styles of Chinese martial
art (the other two being Taijiquan and Xingyiquan). Translated, Bagua means
"Eight Trigram". This refers to the eight basic principles described in the
ancient metaphysical treatise the Yijing (I-Ching), or "Book of Changes". Bagua
is meant to be the physical manifestation of these eight principles. "Zhang"
means "palm" and designates Baguazhang as a style of martial art which emphasizes
the use of the open hand over the closed fist. Baguazhang as a martial art is
based on the theory of continuously changing in response to the situation at
hand in order to overcome an opponent with skill rather than brute force.
Origin
 China
History
Although there are several theories as to the origins of Baguazhang, recent
and exhaustive research by martial scholars in mainland China concludes without
reasonable doubt that the art is the creation of one individual, Dong Haichuan
(or Dong Haiquan). Dong was born in Wen'an County, Hebei Province about 1813.
Dong practiced local martial arts (which reportedly relied heavily upon the
use of openhand palm strikes) from his youth and gained some notoriety as a
skilled practitioner. At about 40 years of age, Dong left home and travelled
southward. At some point during his travels Dong became a member of the Quanzhen
(Complete Truth) sect of Taoism. The Taoists of this sect practiced a method
of walking in a circle while reciting certain mantras. The practice was designed
to quiet the mind and focus the intent as a prelude to enlightenment. Dong later
combined the circle walking mechanics with the boxing he had mastered in his
youth to create a new style based on mobility and the ability to apply techniques
while in constant motion.
Dong Haichuan (or Dong Haiquan) originally called his art "Zhuanzhang" (Turning
Palm). In his later years, Dong began to speak of the Art in conjunction with
the Eight Trigrams (Bagua) theory expoused in the Book Of Changes (Yijing).
When Dong began teaching his "Zhuanzhang" in Beijing, the vast majority of his
students were already accomplished martial artists in their own right. Dong's
teachings were limited to a few "palm changes" executed while walking the circle
and his theory and techniques of combat. His students took Dong's forms and
theories and combined them with their original arts. The result is that each
of Dong's students ended up with quite different interpretations of the Baguazhang
art.
Most of the various styles of Baguazhang found today can be traced back to one
of several of Dong Haichuan's (or Dong Haiquan's) original students. One of
these students was a man called Yin Fu. Yin studied with Dong longer than any
other and was one of the most respected fighters in the country in his time
(he was the personal bodyguard to the Dowager Empress, the highest prestige
position of its kind in the entire country). Yin Fu was a master of Luohanquan,
a Northern Chinese "external" style of boxing before his long apprenticeship
with Dong. Another top student of Dong was Cheng Tinghua, originally a master
of Shuaijiao (Chinese wrestling). Cheng taught a great number of students in
his lifetime and variations of his style are many. A third student of Dong which
created his own Baguazhang variant was Liang Zhenpu. Liang was Dong's youngest
student and was probably influenced by other of Dong's older disciples. Although
Baguazhang is a relatively new form of martial art, it became famous throughout
China during its inventor's lifetime, mainly because of its effectiveness in
combat and the high prestige this afforded its practitioners.
Description
Baguazhang is an art based on evasive footwork and a kind of "guerilla warfare"
strategy applied to personal combat. A Bagua fighter relies on strategy and
skill rather than the direct use of force against force or brute strength in
overcoming an opponent. The strategy employed is one of constant change in response
to the spontaneous and "live" quality of combat.
Bagua is a very circular art that relies almost entirely on open hand techniques
and full body movement to accomplish its goals. It is also characterized by
its use of spinning movement and extremely evasive footwork. Many of the techniques
in Bagua have analogs in other Northern Chinese systems;however, Bagua's foot
work and body mechanics allow the practitioner to set up and execute these techniques
while rapidly and smoothly changing movement direction and orientation. Bagua
trains the student to be adaptable and evasive, two qualities which dramatically
decrease the amount of physical power needed to successfully perform techniques.
The basis of the various styles of Baguazhang is the circle walk practice. The
practitioner "walks the circle" holding various postures and executing "palm
changes" (short patterns of movement or "forms" which train the body mechanics
and methods of generating momentum which form the basis of the styles' fighting
techniques). All styles have a variation of the "Single Palm Change" which is
the most basic form and is the nucleus of the remaining palm changes found in
the Art. Besides the Single Palm Change, other forms include the "Double Palm
Change" and the "Eight Palm Changes" (also known variously as the "Eight Mother
Palms" or the "Old Eight Palms"). These forms make up the foundation of the
Art. Baguazhang movements have a characteristic circular nature and there is
a great deal of body spinning, turning and rapid changes in direction. In addition
to the Single, Double and Eight Palm Changes, most but not all styles of Baguazhang
include some variation of the "Sixty-Four Palms." The Sixty-Four Palms include
forms which teach the mechanics and sequence of the specific techniques included
in the style. These forms take the more general energies developed during the
practice of the Palm Changes and focus them into more exact patterns of movement
which are applied directly to a specific combat technique.
Training
Training usually begins with basic movements designed to train the fundamental
body mechanics associated with the Art. Very often the student will begin with
practicing basic palm changes in place (stationary practice), or by walking
the circle while the upper body holds various static postures (Xingzhuang).
The purpose of these exercises is to familiarize the beginning student with
the feeling of maintaining correct body alignment and mental focus while in
motion. The student will progress to learning the various palm changes and related
forms. The Sixty-Four Palms or other similar patterns are usually learned after
some level of proficiency has been attained with the basic circle walk and palm
changes. Some styles practice the Sixty-Four Palms on the circle while other
styles practice these forms in a linear fashion. All of the forms in Baguazhang
seek to use the power of the whole body in every movement, as the power of the
whole will always be much greater than that of isolated parts. The body-energy
cultivated is flexible, resilient and "elastic" in nature.
In addition to the above, most styles of Baguazhang include various two-person
forms and drills as intermediate steps between solo forms and the practice of
combat techniques. Although the techniques of Baguazhang are many and various,
they all adhere to the above mentioned principles of mobility and skill. Many
styles of Baguazhang also include a variety of weapons, ranging from the more
"standard" types (straight sword, broadsword, spear) to the "exotic." An interesting
difference with other styles of martial arts is that Baguazhang weapons tend
to be "oversized," that is they are much bigger than standard weapons of the
same type (the extra weight increases the strength and stamina of the user).
Substyles
Each of Dong Haichuan's (or Dong Haiquan's) students developed their own
"style" of Baguazhang based on their individual backgrounds and previous martial
training. Each style has its own specific forms and echniques. All of the different
styles adhere to the basic principles of Baguazhang while retaining an individual
"flavor" of their own. Most of the styles in existence today can trace their
roots to either The Yin Fu, Zheng Dinghua, or Liang Zhenpu variations.
Yin Fu styles include a large number of percussive techniques and fast striking
combinations (Yin Fu was said to "fight like a tiger," moving in swiftly and
knocking his opponent to the ground like a tiger pouncing on prey). The forms
include many explosive movements and very quick and evasive footwork. Variations
of the Yin Fu style have been passed down through his students and their students,
including Men Baozhen, Ma Kui, Gong Baotian, Fu Zhensong, and Lu Shuitian.
Zheng Dinghua styles of Baguazhang include palm changes which are done in a
smooth and flowing manner, with little display of overt power (Zheng Dinghua's
movement was likened to that of a dragon soaring in the clouds). Popular variants
of this style include the Gao Yisheng system, Dragon style Baguazhang, "Swimming
Body" Baguazhang, the Nine Palace system, Jiang Rongqiao style (probably the
most common form practiced today) and the Sun Ludang style.
The Liang Zhenpu style was popularized by his student Li Ziming (who was the
president of the Beijing Baguazhang Association for many years and who did much
to spread his art worldwide).
(Author: Tim Cartmell --
used with permission -- more information on his
website!)
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