by Li I-yu as researched by Lee N. Scheele
CALM
The hsin [mind-and-heart] should be calm. If the hsin is not calm, one cannot concentrate, and when the arm is raised, whether forward or back, left or right, it is completely without certain direction. Therefore, it is necessary to maintain a calm mind. The entire mind must also experience and comprehend the movements of the opponent. Accordingly, when the movement bends, it then straightens, without disconnecting or resisting. Do not extend or retreat by yourself. If my opponent has li [external strength], I also have li, but my li is previous in exact anticipation of his. If the opponent does not have li, I am also without li, but my I [mind-intent] is still previous. It is necessary to be continually mindful; to whatever part of the body is touched the mind should go. You must discover the information by non-discrimination and non-resistance. Follow this method, and in one year, or a half-year, you will instinctively find it in your body. All of this means you use I, not chin [intrinsic force]. After a practicing for a long time, the opponent will be controlled by me and I will not be controlled by him.
AGILITY
If the body is clumsy, then in advancing or retreating it cannot be free; therefore, it must be agile. Once you raise your arm, you cannot appear clumsy. The moment the force of my opponent touches my skin and hair, my mind is already penetrating his bones. When holding up the arms, the ch'i [vital life energy] is threaded together continuously. When the left side is heavy, it then empties, and the right side is already countering. When the right is heavy, it empties, and the left is already countering. The ch'i is like a wheel, and the whole body must mutually coordinate. If there is any uncoordinated place, the body becomes disordered and weak. The defect is to be found in the waist and legs. First the mind is used to order the body. Follow the opponent and not your own inclination. Later your body can follow your mind, and you can control yourself and still follow the opponent. When you only follow your own inclination, you are clumsy, but when you follow the opponent, then your hands can distinguish and weigh accurately the amount of his force, and measure the distance of his approach with no mistake. Advancing and retreating, everywhere the coordination is perfect. After studying for a long time, your technique will become skillful.
BREATH
To Gather the Ch'i
If the ch'i is dispersed, then it is not stored and is easy to scatter. Let the ch'i penetrate the spine and the inhalation and exhalation be smooth and unimpeded throughout the entire body. The inhalation closes and gathers, the exhalation opens and discharges. Because the inhalation can naturally raise and also uproot the opponent, the exhalation can naturally sink down and also fa-chin [discharge energy] him. This is by means of the I, not the li mobilizing the ch'i.
INTERNAL FORCE
The Complete Chin
The chin of the whole body, through practice becomes one unit. Distinguish clearly between substantial and insubstantial. To fa-chin it is necessary to have root. The chin starts from the foot, is commanded by the waist, and manifested in the fingers, and discharged through the spine and back. One must completely raise the shen [spirit of vitality] at the moment when the opponent's chin is about to manifest, but has not yet been released. My chin has then already met his, not late, not early. It is like using a leather (tinder) to start a fire, or like a fountain gushing forth. In going forward or stepping back, there is not even the slightest disorder. In the curve seek the straight, store, then discharge; then you are able to follow your hands and achieve a beautiful result. This is called borrowing force to strike the opponent or using four ounces to deflect a thousand pounds.
SPIRIT
Shen Concentrated
Having the above four, then you can return to concentrated spirit: if the spirit is concentrated, then it is continuous and uninterrupted, and the practice of ch'i returns to the shen [spirit of vitality]. The manifestation of ch'i moves with agility. When the shen is concentrated, opening and closing occur appropriately, and the differentiation of substantial and insubstantial is clear. If the left is insubstantial, the right is substantial, and vice-versa. Insubstantial does not mean completely without strength. The manifestation of ch'i must be agile. Substantial does not mean completely limited. The spirit must be completely concentrated. It is important to be completely in the mind [I] and the waist, and not outside. Not being outside or separated, force is borrowed from the opponent, and the ch'i is released from the spine. How can the ch'i discharge from the spine? It sinks downward from the two shoulders, gathers to the spine, and pours to the waist. This is ch'i from up to down and is called closed. From the waist the ch'i mobilizes to the spine, spreads to the two arms and flows to the fingers. This is ch'i from down to up and is called opened. Closed is gathering, and opened is discharging. When you know opening and closing, then you know yin and yang. Reaching this level your skill will progress with the days and you can do as you wish.
/// # # #The following section is from: Dave Murray's Section
Shi's 36 Stanzas
1. The head is held up. The chin is tucked in. The body is held straight. Depress the waist. Swell the belly. The steps are empty and full. 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 the tiger'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 a big vulture.
3. The tiger's mouth is curved. The palm is hollow. Pull back the fingers. Straighten the palm. The fingers are held upwards. Push and seize. Pull the bow. Defend the chest and lungs. The practice of bent knee 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 inside foot moves straight. Turn the waist. Depress the waist. Raise up the anus. 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 body follows the steps and the turning hands follow the body's movements. Weave together inhaling and exhaling and then transform them to chewing up and spitting out the enemy.
6. In walking, the palm and body should not lean to the sides. Do not lean forwards or backwards. Turn the waist and tighten the lower abdomen to connect the limbs. In stepping, the steps sink and the body has the appearance of being even and steady.
7. Moment is practiced on the left and right sides, Reciprocating without breaks or stopping. Aim for being stable and full. Become level and true. The spirit can tranform and grow from immature to mature.
8. In the piercing palm, the hand goes out under the elbow. Avoid the full and draw near the empty to achieve skill. The foot treads the center 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. The rear hand pierces out and the front hand retracts. They must be mutually coordinated and complement each other. Mobility and agility display your talent.
10. In walking the circle, persue three levels in your stepping practice. First practice the upper level frame, which is high. The middle level bends the knees and the posture gradually squats. The lower level stresses getting the thighs level with the knees.
11. The tongue sticks to the upper palate. Inhale and exhale through the nose. The qi sinks to the dantian like being guided. Movement must be coordinated with the breathing. They complement each other and create agility.
12: Skill and talent smoothly follow the waist and leg movement; The stepping method transforms the walking with many turns; Upper and lower coordinate and become one thing; Mobility and agility must be harmonized.
13: The toe-in stepping form makes a triangle. The toe and kneecap are aligned. 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 front foot. 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 rear foot. In the Retreat Step (tui), the rear foot moves to the rear.
15. Esteem virtue, do not esteem strength. Esteem wisdom, do not esteem courage. If you esteem strength and esteem courage; Sooner or later it must fall into the void.
16. The body is like a swimming dragon, a wild goose leaping into the air. It is like a tiger strikes, a turtle swims, a snake's movement. Vary the postures continuously without stopping. Move to the corners and sides, advance and retreat, talk and laugh in the center.
17. This palm is mysterious in walking the circle. The stepping method causes victory, the foot is strong and skilled. Toe-out, toe-in, arcing and turning, people cannot fathom it. Look to the front and now to the rear. Lerave no fixed trail.
18. The foot treads the central gate and searches out the way. The hands follow the enemy's condition and flow in the opposite direction; Rise and do not fall, occupy the center; The enemy's preparations are in vain and he finds it diffucult to defend himself.
Here is another. This one is a toughie, a bit esoteric. I took some time going over it again and changing some of my original work, but I can't guarentee total accuracy on this one.
19. The outgoing hand must be one, it must not be two. The idea of many overcoming the few must be followed. If you can understand, you can get this central idea. Superiority is commonly had in grasping the center.
20. The outgoing hand techniques follow the man. To seal the enemy requires 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 to defend, attack to the left and right. If the enemy retreats, your front foot advances. If the enemy advances, your rear foot moves.
22. When the enemy advances, I move to evade his attack. I give up my position and cause him to fall into emptiness. I turn back and with one strike invariably cut to his center. To defeat the center and take the victory requires skill.
Here is #23. I must confess that it does not make much sense to me. My confusion revolves around the interplay between two characters zheng (true, upright, correct) and qi (wonderful, suprise). I have seen these two characters used together before and the best that I could guess based on the context was a sense of coming and going. However in this poetry the meaning is much more difficult for me to grasp. If anyone has a clue I'd appreciate some enlightenment.
23. The enemy is true, I am true suprise; The enemy is suprise, I am suprise true. A soft body pulls the rudder. Flowing water drives a light boat.
24. A strike comes to my right and my left responds. A strike comes to my front and my back responds. I coordinate my response with my breathing. If I do this others find it difficult to respond to me.
25. Close and roll, defend to the left and right. Turning back the head in retreat turns into an advance. If pressed close, move farther away. Commit to a strong body form.
26. The flicking palm conceals the body as you advance. Use the hooking palm as you retreat and then advance. Attack the enemy's front side as you advance. The flick and hook, up and down, aid and support each other.
27. An arm stretched out from the side of the body reveals an empty space. The chest exposed to open air induces people to attack. Draw out 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 the objective, ignore the subjective. Pierce, grip, hang, and float, agile functions.
29. The Baguazhang method is not a blocking frame. I wish to choose flowing from my center. The outgoinh hand must choose the way to approach. I issue later but arrive first cannot be successfully defended against.
30. Touch and stick, continuously follow, don't loose the lead. Don't block, don't frame, flow with the enemy's nature. Yeild the position and strive for mastery of motion. Moving supports motion, moving supports stillness
31. The man is hard, I am soft and completely rely on walking; Bring about the condition to deprive him of the first hand; Turning and entering I flow to the man's back; Soft turns to hard and sticking becomes issuing.
32. When hardness is presented first then softness must be concealed inside. When softness is presented first it must be coordinated with hardness. Hardness conceals softness in its center, softness contains hardness. Hardness and softness are transformed in the stepping.
33. The eyes are linked to the hands which are linked to the waist which is linked to the legs. When the whole body is harmonized and coordinated, then when you issue stength it is whole. Regardless of whether your movements are straight or curved, the walking must be stable. When you get the power and get the posture, then you will be able to control the enemy.
34. When jing and shen are connected with qi, the posture will be filled. You will them be calm and composed, not terrified. The eyes detecting the enemy's emotion is the first point. The brain is the master and takes charge of the movement.
35. For the hands to attack the enemy, the waist and legs must be quick. Advance and retreat completely rely on the feet. Understand that walking be transformed by turning has many meanings. The true significance 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't block, don't frame, don't lose the lead. Sacrifice your own interests for the sake of flowing with the enemy's emotion.
Joseph Crandall sent these over a period of time to the Bagua List. The following is a forward by him and some additional information from Jarek Szymanski sent to the Bagua List.
Forward: This is something I translated a long time ago and just dug out of my files. To redo the mandarin would be too much work at this point. If you are really interested I might scan the characters and send them out as a jpeg.
The lineage of Shi Jitong Bagua has a 36 Stanza poem and a 48 Stanza poem 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.
Shi Jidong (not Shi Jitong) was Dong's adopted daughter's husband. Actually Shi arranged that his wife became Dong's adopted daughter so that she could take good care of the old master. Dong spent last years of his life in Shi's house in Beijing (Shi was one of the wealthiest disciples and owner of Yihe Timber Mill).
Jarek Szymanski
Shanghai, China
Epilogue: This song has 36 stanzas. Bagua's true significance is contained herein. Memorize and try to understand them and practice hard. Skill and hard work will not fail the conscientious person. Practice hard and practice harder. Over a long period of time, its value is lasting. You will become stronger and never stop gaining skills. Raise the martial spirit to be cheerful and healthy.
# # #
Shi Style Baguazhang
Oral Traditions:
The 48 Skill Methods
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 corners and side-to-side, advance and retreat, talking and laughing in the center.
2. Mu Ce - Range Estimation:
To resist the enemy when you cross hands, you must first estimate the range. If there is no movement, gaze at the man's shoulder. Calmly and carefully examine his posture. Seek out the way to go. Reconnoitre and reflect. Only the eyes look forward.
3. Yanming - Sharp Eyes:
The heart's emotions are reflected in the eyes like a mirror. See the situation create the emotion, then the posture responds. If you are very fearful and the mind is confused, your eyes will not follow. The hands will be occupied, the feet confused, and you will lose your cleverness
4. Xianxing - In Advance:
The eyes first seek out the enemy's condition. The four sides and eight directions need to be observed clearly. Allow your movement to change irregularly many times. What enters my eye, I instantly understand.
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. Look ahead and behind, capture the enemy's emotion.
6. Bu Fa - Stepping Method:
If you wish to move the extrmeities, the root must move first. Quick hands are inferior to agile stepping. Turning, moving, entering, yeilding only require half a step. The outer boundary is peaceful, the whole form changes.
7. Ta Zong Men - Tread the Center Gate:
Stride forward like a tiger and with the aspect of a hero. Advance and retreat, look around, look for the enemy's trace. The feet tread the center gate and interlink with the enemy's path. The enemy has to defend 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. Walking follows 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. Continue advancing with strikes that are difficult to evade. Step and advance the body, then step to the front. The hands, feet, and body must be one and arrive together.
10. Lian Zhui - Continuous Chasing:
I advance. If the enemy retreats, I must follow. One step or two steps, I am continuously stepping to follow. Closely press the enemy so there is no way for him to flee. Continuously advance, victory comes in one step.
11. Xu shi - Empty and Full:
For agile movement in the legs, empty and full need to be understood If 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 enemy advances, I retreat by moving with my rear foot. The stepping method of advancing and retreating must be agile, Turning, changing, and transforming in accordance with the enemy's emotion
13. Zhang Fa - Palm Method:
In attack and defence, both palms must be lively. The rear palm goes out and the front palm returns. The tiger's mouth and ox's tongue work together: "Follow the curve to arrive at the straight", understand the body's peril.
14. Gong Fang Xiang Ji - Mutual Attack and Defence:
In mutual attack and defence you must remember firmness. My hand goes out, and defends against the man's strike. Advance to attack, defend and ward-off, turn and transform quickly. When you can attack and be successful 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 is not correct and yet it is not presumptuous to issue. The postures of attack 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 rear arm hides the ox tongue. Swallowing and spitting, opening and closing, flow with the enemy's emotion. Work together with change, close the enemy's posture.
17. Fa Jing - Issuing Energy:
Store up energy till plentiful, like a bent bow. Issue energy like an arrow, swiftly away from the bowstring. With a single purpose, in one direction, strength issues from the back. Have a sunk appearance, be relaxed 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 a fat man, strike at him from either corner. If you meet someone long and 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 his incoming posture only once. Moving or still, quick or slow, you must close and slap. Follow curve, move toward the straight, multiply his defects.
20. Jie Na - Explaining Seizing:
Qin Na must use a double hand motion. Both hands seize, oneself is empty. No matter what, Qin Na flows with his motion. Pierce the nose or 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 moves and the seized posture is empty. Even if his Qin Na is very adroit, My movement 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 not like striking. Depress and bend the man over, many changes are not advisable.
23. Feng Bi - Seal and Close:
The issuing hand flows and follows the enemy's intention to move. To seal and close the enemy I need a lot of skill. If I can seal firmly the posture of the enemy, Victory employs having my hand in the center.
24. Feng Bi - Seal and Close:
Perhaps he has weapons in both hands and is quick like the wind. With one coming and one going, he displays remarkable skill. Close his left hand then his right hand is not used. Both hands coming at the same time 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. Be neither 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 off their ability. The quick strike the slow, and their skill is in their speed. 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. If his incoming posture is as violent as a mountain slide, Get out of the way 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 to control the his brave and fierce posture. Only meet this emotion, it is not appropriate to retreat. Diagonally moving, dodge and yeild like a spirit.
29. Bu Lan Bu Jia - Don't Block, Don't Frame:
Even when the enemy's posture is ruthless, you have no fear. He strikes 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 his attack comes, I walk to the empty space. I do not rely on hand methods, I rely on stepping methods. Enticed to advance, he falls into air 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 leg comes, if the leg is understood, you understand and then attack. The hands 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 walking he can onlyt attack air. Surround, surround one posture, the trail is not fixed. Completely rely on the stepping method and powerful walking.
33. Xie Zheng Huan Hua - Diagonal and True Transformed:
There is straightness within diagonal and diagonalness within straight. The diagonal/true transformation truly is wonderful. When you meet a strong enemy, a strong attack is demanded. Hide suprises within 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 both eyes suffer damage, then the enemy will be in a bind. The importance of the damage suffered, though small in degree, is not understood. A poke in the eyes is a victory of 1,000 techniques.
35. Dong Jie - Movement Understood:
Use stillness to control motion, leasurely await the work. Use motion to control stillness, rely on skill. The man doesn't know me, but I know the man. Meet strength with wisdom, seek the weak with flaunting techniques.
36. Kai He - Open and CLose:
If you desire to close, the correct form is to open first. Observe that open defends, and closed can know the power. Open is in the center of closed and closed is in the center of open. They can meet at the 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 1,000 things; If he is not able to be centered, his effort are in vain. Not stopping is important and not sending out hand. The outgoing hand must instantly be in the enemy's center.
38. Shulian: Skilled/practiced/proficient:
Attack and defend, advance and retreat, because the postures are different. 100 refinements make steel, bitter practice makes you complete. First aim towards being firm and solid, seek to be level and straight. Spiritual wonder is transformed, skill is created in the center.
39. Lingmin - Sensitive/keen/agile/acute:
If the mind is sensitive, its tranformations are inexhaustable. If the eyes are sharp, they can make out the enemy's emotion. If the stepping is agile, the mechanical power is adaptable. If the hand is keen, controling the enemy is the standard.
40. Tu Na - Giving and Receiving:
Inhaling and exhaling, giving and receiving, are controlled from the nose. First it flows throught the Du Mai. Then continues to the Ren Mai to complete the cycle. Qi moves through the body, the will directs its motion.
41. Lizheng Zhudong - Work Hard for the Initiative:
When fighting, you must be able to endure the enemy's atttack. First seek to be invincible, then return the attack. If the posture and surroundings are inferior, toe out and escape. The center having moved, 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. Both arms 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 return to defend and transform him. Turning and revolving, left and right, the waist twists and turns. Take a turn for the better and be out of danger; defeat demands victory.
44. Dang Ji Ji Fa - Prompt Issuing:
The mind takes charge of life, the eyes gaze. The hands and feet coordinate 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 instantly open up. Take him by suprise, unprepared for the attack. Avoid his strength and attack his weak points, victory comes.
46. Ji Ting - Avoid Stopping:
The chaotic original one qi walks heaven's limits. Walking, but not walking too far, the feet change and transform. Bagua's functional movement consists of the walking movements. Standing fixed when convenient becomes fallen flowers.
47. Luo Kong Bu Wen - Fall into Emptyness No Disorder:
Stepping must be lively and the gestures must be accurate. Then, to use 'Falling into Emptiness', the mind must not be disorderly. Curves interlink with curves and are never used up. When there are circles within 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, esteem bravery, strength is the core of strength. When your skill is high, then with one touch, your enemy falls intno emptiness.
Assisting Song:
In Martial Arts, techniques come from theory. If the theory is substantial, then skill can advance. They supplement each other and both can rise high. Constantly improve, have no fixed bounderies. The Inner Gate leads the way, the teacher transmits the instruction. First, toward the firm and stable, seek the level and true. The martial sea has roads, diligently use the boat. Spiritual wonder is transformed and practice is halfway complete.
Joseph Crandall sent these over a period of time to the Bagua List. The following is a forward by him sent to the Bagua List.
Forward: Here are some more goodies from Shi Style Baguazhang. Please bear in mind that I am probably not the best qualified to translate this stuff, but no one else seems to want to do it. Chinese characters often have more than one meaning. In choosing the best meaning I must rely on my own experience with the art and with fighting. Someone else might have another interpretation based on their experience. The martial arts has its own jargon, characters will be used in a martial context that will never show up in a common dictionary. Unless one is privy to the martial meaning of the character, the sentence ends up making no sense. Unfortunately I make mistakes in this area, so you will have to bear with me. Because of the varying ways in which Chinese texts can be interpreted it makes sense to read as many translations as possible in order to sort through the chaff and pick out what pearls may be within. I would encourage anyone with alternate translations to publish and compare with what I submit so that we may all grow in knowledge in the arts.
Joseph Crandall
# # #
Eight stages of stepping training
(based on Zhang Quanliang's book "Baguazhang jingyao").
Forward
Stanislav L. Bereznyuk sent this translation to the Bagua List. He gave his kind permission to me to post it to this website. He asked that I, someone with English as a first language, "correct" it. I feel unqualified to do such a thing, but did what he requested. I tried to do so without changing what he said, or adding any of my own meaning.
Explanatory text.
The whole of Baguazhang training can be divided into several stages over a three-year period. The first two years are for stepping training - eight stages, with three months for each stage (each day at least 1 hour in the morning and 1 hour in the evening). The last year is devoted to the sets training, weapon training, 2-men training, sparring training.
1. Using a pole to push the boat.
This means, that during circle walking forward foot is boat, and the back foot the pole. Circle walking is like a boat, moved using the pole. After long training you will be able to lift up the WHOLE foot, not first the tip or first the heel.
Note: After reading my comments on the text on the Bagua list, Stanislav saw fit to make the following comment, "Also, when "boat" is moved, "pole" shouldn't stay in the same place."
2. To rub the hemp rope.
This means, that during circle walking you should imagine that there is a hemp rope on the ground, and that the feet during stepping must rub this rope. If the foot is raised too high, there will no rubbing. If the foot is too low, you will not be able to step over the rope.
3. To step on thin ice.
This means that during circle walking you should imagine that you are walking on thin ice, with eminent danger of breaking through. During each step your weight is on the back foot with the forward foot moving as if to try the ice. The weight slowly moves from the rear foot to the forward foot. Keep in mind that while walking on the thin ice, it can be broken under either leg, hence, it is impossible to move the weight quickly, but at the same time it should be done as fast as possible.
4. To step on the crawling snakes.
The normal man fears snakes, but if you met a poisonous snake, it is necessary to step on the head (7 cun) and tail, and press to death. For this situation, it is necessary to have bravery and adroitness, and also steadiness, precision, fury. During walking the circle you should imagine that you constantly step on snake's heads.
5. A cat catching a mouse.
For a cat to catch the mouse, speed and precision are necessary. He doesn't eat the mouse immediately. He catches mouse, then liberates, and catches again. During training your psychology should be like psychology of cat catching the mouse.
6. To kick the threshold.
This means, that during circle walking you should imagine that there is wooden threshold across your path, and you have to break through the threshold by kicking.
Note: After reading my comments on the text on the Bagua list, Stanislav saw fit to make the following comment, "In chinese text it was underlined that force should achieve the toe."
7. Moving in the air.
This training is based on the previous six stages. You should place the bricks on the circle, or dig and place poles. Walk stepping on the tops.
8. Moving with weights.
With the foundation of the previous seven stages, you train walking the circle with additional weights on the arms and legs. You can use sandbags and iron bouts as weights for legs, bricks or earthenware things as weights for hands.
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13 Postures of Taiji
| Chen Family 13 | Yang Classic 13 |
| Peng: Wardoff | Peng: Ward Off |
| Lu: Rollback pulling of opponent | Lu: Roll Back |
| Ji: Press/Squeeze, coming forward | Chi: Press/Squeeze |
| An: Down Power | An: Push |
| Cai: Pull Down | Tsai: Pull Down |
| Lieh: Split/Separate | Lieh: Split |
| Jou: Elbow Strike | Chou: Elbow |
| Kao: Bump with shoulber, back, chest, hip, etc. | Kao: Shoulder/Lean |
| Teng: Sudden upward-angled strike | Step Forward |
| Shan: Sudden Emptying downward | Retreat Back |
| Zhe: Bend/Close (opponants arm back on him) | Look Left |
| Kong: Sudden Emptying, not quite downward | Guaze Right |
| Huo: Overall smooth & flowing | Central Equilibrium |
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