Wushu in Malta

Xingyi Quan, is one of the most well known styles of traditional Chinese Wushu. Xingyi Quan, Bagua Zhang and Taiji Quan are generally categorised as Nei Jia Quan (Internal Styles).

Xingyi Quan evolved from Xinyi Liuhe Quan. After 1856, Li Luoneng from Hebei province became famous for creating and spreading Xingyi Quan. The style’s principles are to extract meaning from the form, that is to not simply imitate the shape but to draw the intent from it. With that, Xingyi Quan is a style that meaning, intent and movement have to be unified.

The theory of Xingyi Quan is derived from traditional Chinese culture of Yin and Yang and the five elements, to elaborate on the law of motion in the five element techniques, and uses the twelve animal forms and characteristics which result in practical attack and defence techniques. Xingyi Quan uses Santishi post standing as its basic training, and the five elements fist techniques of Piquan (Splitting Fist), Zuanquan (Drilling Fist), Bengquan (Crushing Fist), Paoquan (Cannon Fist) and Hengquan (Crossing Fist) as the core techniques or mother fists.

The Twelve Animals include Dragon, Tiger, Monkey, Horse, Water Lizard, Rooster, Swallow, Sparrow Hawk,Tai Bird, Snake, Eagle and Bear. The Eight Skills include spreading, intercepting, wrapping, bridging, scooping, butting, passing and guiding. In order to enhance attack and defence, improve skill and enrich technique, Xingyi Quan includes training with the four main weapons of Chinese Wushu, namely Dao (Broadsword), Jian (Straight Sword), Gun (Cudgel) and Qiang (Spear) as well as other rare weapons.

Traditionally, the well known Xingyi Quan routines includes Wuxing Lianhuan Quan, Advancing and Retreating Lianhuan Quan, Xingyi Bashi Quan, Za Shi Chui, Shi Er Hong Chui, An Shen Chui, Ba Zi Gong Lianhuan Quan, Xingyi Lian Quan, Xingyi Liu Shi Si Shi, Xingyi Zonghequan, Wu Xing Lianhuan Dao, Wuxing Lianhuan Jian, Wuxing Lianhuan Gun, Wuxing Zonghe Gun, Wuxing Lianhuan Qiang, Xingyi Da Qiang Ba Shi, Xingyi Shi San Qiang, Xingyi Liuhe Da Qiang etc. There are also rare weapons such as Lin Jiao Dao, Lu Jaio Jue, Metal Chopsticks etc.

Sparring Routines include; Jiao Shou Pao, Wuxing Pao, Wuhua Pao, An Shen Pao, San Shou Pao, Jiu Tao Lianhuan Pao, Shi Shou Pao, Sanhe Jian Duilian, Dui Pi Dao etc. Different Xingyi Quan lines include sets of neigong (Internal) training methods, which are very useful to improve one’s Xingyi Quan, and these are generally kept secret from the general public.

Xingyi Quan improves one's health and strengthens your body and its functions, develops self defence and combat ability, pays great attention to internal strength and spirit development, and improves one's personality overall. The techniques of Xingyi Quan are simple, and incorporate whole body power which develops skill quickly, which is highly effective for self defence. These merits have made Xingyi Quan one of the most popular styles of Chinese Wushu today.

The core principles of Xingyi Quan are “The elbows do not leave the ribs ; The hands do not leave the centre; the hands extend and retract tightly” ; “Drilling, Overturning , extending and retracting” ; “Twisting, turning, back and forth” ; “Rising drilling, sinking overturning” ; “Upper Body Characteristics of compact and tight movements”

“When advancing the front foot steps first, when retreating the rear foot steps first ; when advancing the back foot follows closely, when retreating the front foot must follow” ; “Stepping like a plough toiling the earth，placing the feet as if a rooted tree"” ; “The footwork is fast and stable”

“The hand and foot arrive at the same time, rising and falling together, the trinities in harmony, internal and external six harmonies, display the characteristic of co-ordinated unity.”

“Rising like the wind, falling like an arrow, quickly knocking your opponent down but still feeling it's slow, moving boldly, attacking fiercely and selflessly”. Displaying direct and fast attack, courageous and skilled in battle, with unique attack and defence, always striving for success.”

Xingyi Quan features a grand and imposing attitude with full power, open and stable posture, with a clear and defined contrast in static and dynamic movements, with neat and co-ordinated hand and footwork, and form, power, breath, intent and spirit in unity.

In Xingyi Quan, there are three deep goals: train the essence to transform the energy; train the energy to transform the spirit; train the spirit to transform to emptiness.

Traditionally it is said that by practising Xingyi Quan you can attain a healthy body, a strong body and develop a high level of internal strength. Xingyi Quan has an internal programme which is rich in content and its techniques are also complete with effective martial and practical value. This internal training, which is generally kept secret, gives its practitioners effective results from regular training.

All previous Xingyi Quan generations, through diligent training and studying, have written a lot about the true essence of the style. These include old boxing manuals, theses, and research material, which have carried forward for us to use today as invaluable sources of information to learn from, and to develop and improve Xingyi Quan into the future. The essence and legacy of traditional wushu is to continually refine and improve theory and skills, moving forward and developing the arts for future generations.

Master Di Guoyoung's Xingyi Quan teacher, Grandmaster Zhao Zhong was a well known practitioner in Hai Dian District (Beijing), he was his first teacher. Grandmaster Zhao Zhong’s teacher was Master Liu Huapu, who’s teacher was Shang Yunxiang. Shang Yunxiang’s teacher was Li Cunyi, and his teacher was Liu Qilan. Liu Qilan was a student of Li Luoneng, who was the creator of Xingyi Quan. That makes Master Di Guoyong a 7th generation inheritor of the style.

Quote from Master Di Guoyong - "I am very fond of Xingyi Quan, which I have studied and researched extensively, concentrating very deeply to study and understand its theory. Through many decades of researching numerous Xingyi Quan manuals, and by asking and learning from seniors and older generations, the style has permeated my entire existence. I want to give all my knowledge forward to others who are deeply interested in Xingyi Quan, to make the art shine into the future."

Di Guoyong (Beijing) February 2005

(Translated by Byron Jacobs, May 2010, source http://www.diguoyongwushu.com/index.php/en/xingyi-quan)

Historical Origins of Xingyiquan

Tradition has it that Xingyiquan originated with General Yue Fei (1103 - 1142) of the Song Dynasty. Recent research has questioned the truth of this tradition. General Yue Fei is a national hero in China due to his spirit, character, and nationalism, so it is possible that practitioners of Xingyiquan borrowed his name to gain more recognition for the style.

In recent years scholars have published much research into the origins of Xingyiquan. There are some differences of opinion, but the general consensus is that the Xingyiquan system grew out of Xinyi Liuhequan. That is, that Xingyiquan originated with Li Luoneng (c. 1808 - 1890) of Hebei province, on the foundation of Xinyi Liuhequan that originated with Ji Longfeng (1602 - 1680also known as Ji Jike). Ji Longfeng taught Cao Jiwu (1662 - 1722), who taught Dai Longbang (c. 1713 - 1802), who taught Li Luoneng. This has been cnfirmed by the research of many scholars, most notably Huang Xin'ge, who spent many years on the topic and methodologically examined a huge amount of historical documents. It seems quite certain that Ji Longfeng created Xinyi Liuhequan and Li Luoneng in turn created Xingyiquan.

The three main branches of Xingyiquan - 'three streams from the same sources'- are commonly categorised by region: Shanxi, Hebei, and Henan provinces. The 'source of the stream' is Xinyi Liuhequan. At present, Henan province still refers to the style as Xinyi Liuhequan, and has essentially kept the original characteristics of Xinyi Liuhequan, most notably the chicken step and the ten animals. Shanxi and Hebei provinces refer to the style as Xingyiquan and really represent one branch with only regional and stylistic differences, both coming from Li Luoneng.

By the Qianlong reign period of the Qing Dynasty (1736 - 1796), Xinyi Liuhequan was already an established style with its own techniques and theory in Shanxi and Henan provinces. Li Luoneng studied Xinyi Liuhequan with Dai Longbang for ten years. Li Luoneng had trained in other styles and had a strong foundation in martial arts before studying with Dai, so after ten years of diligent analysis and practical experience he achieved a high level of skill in Xinyi Liuhequan. Li accumulated a great depth of theoretical and practical knowledge over several decades of training, and this gave him a lvel of mastery that allowed him to refine the style and germinate the idea of creating a new style from Xinyi Liuhequan - that is, to create Xingyiquan. By 1856 his style was spreading by this new name.

In classic Chinese there is only a small distinction between the meaning of the characters xin (心 heart, the emotional mind) and yi (意 will, the intentional mind). So the name Xinyi was repetitive, heart also partially means will, and will contains heart in its meaning. Li Luoneng changed only one character xin (心 heart) to xing (形 form, shape, structure)to make the name (form and intent) more meaningful.

Although there is a difference of only one character in the names xinyi and xingyi, this was a milestone of reform in martial arts history, and a beautiful new 'martial flower' was created in the martial arts garden. Li Luoneng bravely undertook a systematic reorganisation of Xinyi Liuhequan. He established a systematic training method with the santishi post standing as the basic training, the five element fists as the foundation, and the twelve animals as the advanced techniques. He based his system on a combination of the ancient Chinese traditional theories of yin yang, and five elements (metal, water, wood, fire and earth); the Daoist life enhancing training, and refining methods and theories,; and martial arts internal refinement training. In this way he developed a three-level martial training (obvious, hidden, and transformed; to 'train essence to transform energy' , 'train energy to transform spirit' and 'train spirit to transform to emptiness'). These aspects were new, and Xingyi towered in the martial world with its systematic approach to training and scientific (for its time) theory. Although the theoretical kernel did not depart from Xinyi Liuhequan, it made a qualitative leap to a higher level. Similarly, the later development of Yiquan on the foundation of Xingyiquan created a new style with its own training methods that emphasised will and spirit.

Of course, the establishment and spread of any style, the improvement of theory and enrichment of the technical system take several generations of work. The Xingyiquan now popular throughout China has evolved in theory and technique as a result of the continued innovation of the 2nd, 3rd, 4th, 5th and 6th generations. With further social advances and developments in scientific understanding, future generations continue to make Xingyiquan's theory and techniques even more logical and modern and enrich all of mankind.

Source - http://www.diguoyongwushu.com/index.php/en/xingyi-quan/historical-origins

Baguazhang is one of the internal styles, one of China’s excellent systems of traditional martial arts, and as such holds an important place in the martial world. Originally called Turning Palms, and only later called Eight Trigrams Palms (Baguazhang), it has also been called Swimming Body Linked Baguazhang, and Eight Trigram Turning Palms. It was created and developed in Beijing, by Dong Haichuan, a native of Anzhujiawu village in Hebei province, during the Qing dynasty. He arrived in Beijing around 1866, and once he started teaching in the imperial palace, Baguazhang quickly became popular in the Beijing / Tianjin area. It gradually spread across the country, and as it spread, the technical and theoretical system also quickly developed and improved.

Baguazhang uses circle walking as its foundational training, and its techniques emphasise horizontal and vertical crossing, and changing techniques while walking. Applications emphasise changing to follow opportunities, and constant adjustment to whatever situation presents. Its theory is based on the Book of Changes – hard and soft mutually contend, the eight trigrams mutually oscillate. It uses the principal of movements that never rest, changes that never stop. It is called Eight Trigrams Palm because it is based on the theory of the Book of Changes and it characteristically uses palm techniques.

While walking around the circle there are four main requirements. These are walk, look, sit, and roll. Looking at Baguazhang’s movement, it is described by the traditional four shapes and four images: “shape like a swimming dragon, regard like a monkey on guard, sit like a tiger crouching, turn like an eagle soaring in circles”, or “shape like a dragon, image like a monkey, sit like a tiger, wheel like an eagle.” Its movement characteristics are: the torso is solid and the footwork is agile, each position continues on from the other, the stepping is level and steady, the turning out and turning in steps are clear, vertical and horizontal movement alternates, it is coordinated and rounded, the power is deep and stable, hard and soft alternate, the spirit connects throughout. There are certain requirements for the form of the body and the hands: the head presses up and the neck is upright, the lower back is erect and the buttocks are tucked in, the chest is contained and the abdomen is firm, the hips are held in and the crotch is raised. There are 'three empties' and four 'hangs'. The three empties are: the palms contain space, the 'palms' of the feet contain space, and the chest contains space. The four hangs are: The elbows settle down to the shoulders, the shoulders settle down to the waist, the waist settles down into the hip joints, the hip joints settle down to the knees, the knees settle to the feet. The upper and lower sections of the body are fully connected, the body is traversed by qi, and the body is stable and balanced.

The requirements for the footwork in Baguazhang are very strict. The feet must lift and lower flatly and stably, the turning out and turning in steps must be clear, empty and substantial must be clearly distinguished, the stepping must be like wading in mud, the torso is like it is sitting in a sedan, the foot must advance rubbing the shin, the inside foot must advance straight and the outside foot must turn in, the knees must hold together, the hips must roll inwards to collect the knees, the groin must be concealed and the buttocks must tuck in.

The basic requirements for the body shape are: release the shoulders and hang the elbows, enclose the chest and stretch open the upper back, keep the chest unobstructed and solidify the abdomen, keep the lower back upright and tuck in the buttocks, roll the hips inward and keep the knees closed, settle the qi to the dantian. The requirements for the hands are: separate all five fingers slightly, round the thumb/index finger web, empty the palm centre, sit the wrist slightly. When using a fist it must be tightly clenched. When using grabbing it must be applied with qi. When moving, Baguazhang shows the characteristics of twisting, rotating, wheeling, and turning, alternating vertical and horizontal actions, movement and power continues without a break, the palms go where the feet lead, stepping and changing happen together, all movement is natural, and the spirit is like a rainbow.

The requirements for hand techniques are: push, lift, draw, lead, displace, hook in, chop, and enter. The characteristics of power and strength are: twist, wrap, screw, wheel, roll drill, contend, rotate without pause, and create opposing forces. Requirements for the body techniques are: rise and lower, use face up and prone actions, rotate and twist, flex and gather, expand and release, use the waist as the central pivot. The feet move with the body, the hands move as the body walks, the whole body is fully connected.

Here are some are sayings from within the traditional teachings: "Straighten the neck and lift the head, tuck in the buttocks and close the anus; Relax the shoulders and sink the elbows, solidify the abdomen and have an unobstructed chest; Roll and screw, contend and wrap, create opposing forces; Have a dragon shape and a monkey manner, crouch like a tiger and wheel like an eagle; Twist and rotate, walk and turn, drive the foot and scrape the shin; Bend the legs and walk as if through mud, keep the centre of the feet hollow; Lift flat and land hooked, connect to the length and breadth; The waist is like an axle, the hands turn like wheels; Fingers are open and palm concave, the arms swing with the shoulders level; Stand like a mountain, move like flowing water; Be like fire above and water below, water is heavy and fire is light; Intention is like an army pennant or signal lantern; The abdomen is the root of the energy, the breath moves like clouds; When the mind is active it creates intelligence and energy moves to the hundred cavities; Open expansively and close tightly, movement and stillness are part of a continuous circle; Combine and concentrate the spirit, energy, intention and strength; The truth of baguazhang is found in the above." (from Jiang Rongqiao, Baguazhang)

The fighting characteristics of Baguazhang are as follows. Attack the centre from the outside; attack the eight directions by using the centre. Watch the opponent while continuing to move. Evade the straight-line attack by hitting at the angle; use the straight line to expel an angled attack. Use moving fighting as the main strategy. When your attack succeeds, continue to press the attack. When your attack fails, use stepping to get away. Change techniques constantly in coordination with walking, avoiding the opponent's attack. Fully utilise moving to create change, utilise change to create opportunity, continuously counter-attacking. Use the strategy of these skills to win. This strategy uses the spirit and principles of the ever-changing trigrams of the Book of Changes.

The system of Baguazhang not only contains superb martial contents and techniques, it also contains outstanding and methodical health development exercises. Regular training of Baguazhang can completely transform all of the internal systems of the body. According to traditional martial arts sources, training baguazhang is the quickest way to find the 'qi feeling'. It is said 'to have a tree grow to old age, first build the roots; to have a person live to old age, first build the legs'. Baguazhang's circle-walking and its particular mud wading step give both legs an equal and full training. The waist also gains a full workout, especially when the palms are turned into the centre of the circle while circle-walking, fully twisting the waist. At the same time, the whole body is adjusted and regulated through the coordination of mindfulness with the body, with the breathing, with the applications, and with preserving health.

The basic foundational training of Baguazhang is circle walking. The basic footwork of Baguazhang is turn in stepping, turn out stepping, and mud wading stepping. The basic hand shape is the dragon claw palm and the ox tongue palm. The basic contents of Liang style baguazhang include: set eight palms, old eight palms, continuous eight palms, sixty-four hands, eight direction palms, dragon palms, nine palace bagua palms, continuous eight elbows, elbow breaking eight postures, and neck breaking eight postures. Weapons include: bagua rolling sabre, bagua dragon sword, bagua spear, seven star pole, bagua big axe, and left handed reversed rubbing sabre. Double weapons include: sun and moon double wheels, bagua midnight and noon mandarin duck daggers, bagua midnight and noon yin yang blades, bagua short clubs. Other contents in the system include solo eight postures, solo thirteen postures, partner training techniques, partner eight forms, six grabbing methods, seventy two leg techniques, bagua partner sabre chopping, and free sparring training.

Training baguazhang nourishes the health, strengthens the body, and develops the ability to defend oneself. The process of learning also teaches and helps one understand China's traditional culture. Baguazhang is like a miniature of China's traditional culture. It is so tightly connected to traditional culture that learning baguazhang teaches you about this tradition. It is a valuable window into understanding traditional ideas and thought.

The baguazhang that I practise is that taught in Beijing by the renowned teacher Li Ziming. “Old Li” learned from Liang Zhenpu, in Ji County, Hebei province. Liang Zhenpu was one of Dong Haichuan’s eight main apprentices. He was an apprentice of Dong’s later years, and his name is in 39th place on Dong’s stele. The verse on Dong’s stele, which gives the lineage, says, “Hai Fu Shou Shan Yong, Qiang Cui Ding Guo Ji, Guang Ming Chang Da Lu, Dao De Jian Wu Ji”. My teacher Li Ziming is in the third generation – under ‘Shou’. Those of us in the fourth generation are under ‘Shan’. I am one of old Li’s first rank of inner apprentices, of which there are only eight (Ma Chuanna, Wang Shitong, Sun Hongyan, Ma Lin, Yang Jiacang, Wang Tong, Zhao Dayuan, and myself, Di Guoyong). I am the youngest of the eight. After us, old Li accepted many more apprentices, over fifty, so his students are spread all over China and the world. These students are making a great contribution to the spread of Baguazhang.

Because Liang Zhenpu was Dong's 'later years' student, he learned a lot from and was helped by the elder apprentices. After Dong passed away when Liang was 18, Liang was taught by many of the elder apprentices and received a great deal, especially from Cheng Tinghua and Yin Fu. In this way, Liang's Baguazhang was formed from the teaching of Dong, Cheng and Yin, and gradually developed into his own system. So Liang's system has Yin Fu's spearing palm as his most important technique, but also has Cheng Tinghu'a throwing methods, and Cheng's dragon claw hand shape is used when doing the turning palms. Liang's full system was gradually developed over the last eighty years. Li Ziming and Guo Guming taught many students, and these students in turn taught many students. In this way, Liang's Baguazhang has spread throughout China and the world. Li Ziming also worked hard on promotion of the school, so that the Liang's Baguazhang became known as one of the schools of Baguazhang.

Li Ziming was a student of Liang Zhenpu’s later years. Li Ziming studied in Ji County in Hebei province with Liang Zhenpu. Guo Guming and Li Ziming were largely responsible for developing and spreading Liang’s baguazhang, such that it is now widely practised in Beijing, across China, and around the world. Since everyone gains different insights in their training of Liang School Baguazhang, there are a few differences in movements of the routines, but through working together the set postures eight palms and the old eight palms are the same. We must not change things as we feel like it; we must maintain certain unanimity. The eight set palms and the old eight palms are the foundation of Liang School Baguazhang, and as such cannot be altered by anyone. A few changes in the other routines will naturally arise due to people's difference in physical characteristics, cultural levels, lifestyle, character, and understanding of the movements and the verses of baguazhang. A few differences are fine, but the basic routine, way the movements are done, and the flavour and characteristics of the styles must not be changed. Dong Haichuan himself taught differently to each student, according to his body type, character, and preferences so that each person could fully realise his abilities. Because of this way of teaching, the various schools of baguazhang developed.

Di Guoyong (Beijing)

(Translated by Andrea Falk, February 2012, source http://www.diguoyongwushu.com/index.php/en/bagua-zhang )