Ba Gua Student Handbook by Tom Bisio

Written By Tom Bisio
© 2015 New York Internal Arts LLC & Tom Bisio

New York Internal Arts
Internal Arts International
Cannot be reproduced or copied without permission from Tom Bisio
and New York Internal Arts LLC
THE EIGHT TRIGRAMS
Pre-Heaven Trigrams Post Heaven Trigrams
THE NINE PALACES
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Contents
Introduction 4
What is Ba Gua Zhang? 4
History of Liang Zhen Pu Ba Gua 8
About the Chief Instructor 10
Lineage And Teachers 12
Student Guidelines 13
Advice For Training in the Chinese Martial Arts 16
The Ba Gua Curriculum 18
Level 1: Foundational Level 21

Introduction to the Beginner Level 22
Tips for Practice 32
Level 2: Core Patterns & Movements 35

Introduction to Core Patterns 36
Level 3: Intermediate Level 49

Introduction to the Intermediate Level 50
Level 4: Advanced Level & Weapons 73

Introduction to theAdvanced Level 74
Glossary of Chinese Characters for Ba Gua Zhang 148
Glossary for Nei Jia & Ba Gua Zhang 159
Recommended Reading For Students 175
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What is Ba Gua Zhang?
Ba Gua Zhang is one of the Nei Jia Chuan (ita) or internal boxing arts. In Chinese wu shu,
(ita) these include:
• Tai Ji Quan (Great Ultimate Boxing)
• Xing Yi Quan (Form-Intention Boxing)
• Ba Gua Zhang (Eight Diagram Palm)
• Tong Bei Quan (White Ape Boxing)
• Liu He Ba Fa (Six Harmonies Eight Methods)
These five arts have in common certain principles that have come to be called
“internal.” This is in part due to the fact that they all stress correct body alignment, the
development of “whole body power” and the unity of mind and body in every action.
The other primary reason these arts are considered to be internal is due to their role as a
type of internal alchemy that transforms Qi1 into Jing (Essence). Because Jing in turn
promotes the Qi and Shen (Spirit; Spiritual Energy or Force)), this transformative
process serves to promote health and prolong life.
Characteristics of Ba Gua Zhang

Ba Gua Zhang or Eight Diagram Palm is a method of boxing that is characterized by
footwork, evasive movement and constant change. The actions of the whole body are
coordinated with the rotation of the waist and the walking action of the legs. This,
combined with relaxation and connection of mind and body, produces an explosive,
coordinated power that comes from the unified action of the entire body and is not
dependent on the relative strength of the external musculature.
Ba Gua’s unique feature is its use of curved steps and its practice of walking around a
circle to train the mind and body and develop whole body power. The importance of
circle walking is stressed in The Thirty-Six Songs, the oral instructions for correct
training handed down through the generations:
This palm is quite different from others,
It is skillful to walk forward and raise the foot. (Song 12)
and
Curve the step and straighten the foot to extend forward.
Walk like pushing a millstone. (Song 3)
Although there are various theories about the origins of Ba Gua Zhang, Dong Hai
Chuan is considered by most people to be the founder of Ba Gua. It is not known for
certain what martial arts Dong studied in his youth, but there is evidence that he
combined martial arts with Taoist meditation practices which involved keeping the
mind empty while walking in a circle. Dong was often quoted as saying, “training in
1
Qi has no simple definition. For now, it can be understood as “energy” or “vital force.” Qi also refers to
breathing and respiration as well as to mists, fog, air and vapor –things that are perceptible. but intangible.
In Chinese medicine Qi is the basis for the body’s activity, but the activity itself is also Qi. Proper or
correct Qi maintains and renews the measured orderly changes that comprise normal bodily processes. In
the martial arts, Qi has an intimate relationship with the power and movement generated through the
muscles and bones in coordination with the breath.
martial arts is not as good as walking the circle.”2 Hence circle walking is considered
one of the key exercises in Ba Gua, because it aids in evasion and counterattack and
enables one to literally turn the opponent’s corner in combat. In addition, circle walking
calms the mind and trains both the spirit and internal energy.
The forms and techniques of Ba Gua are manifestations of the principles of whole body
coordination or “internal connection.” These internal connections are predicated on
using circular and spiral forces to overcome straight line and arced attacks and to
concentrate and suddenly release the body’s full power in combat. Further, in both
training and combat there is an emphasis on internal stillness while the body is in
motion, constantly changing and transforming, able to create infinite techniques
seamlessly linked together. That is why it is said that the basic skills of stepping and
turning can create “1,000 changes and 10,000 transformations.”
Transformation & Change

This idea of transformation can expressed in many ways. Yin and Yang are concepts
commonly used in any discussion of Ba Gua Zhang. In part this arises from the
connection of Ba Gua and the Yi Jing (Book of Changes). Combat can be a changing,
unpredictable situation. Therefore Ba Gua emphasizes continuous movement,
countering and re-countering, and dynamic states of change and transformation. These
ideas are often described by using the juxtaposition of opposites: “stillness within
motion”; “stand like a nail and move like the wind”; and “firmness and gentleness in
mutual assistance.” Another image used by Ba Gua practitioners is that one should
“walk like a dragon, turn like a monkey and change like an eagle,” varying the shape,
spirit and dynamics of one’s movements. Francois Jullien’s description of the dragon
motif in Chinese culture is a beautiful metaphor for this idea of constant change and
could easily serve as description of Ba Gua Zhang in action:
The body of the dragon concentrates energy in its sinuous curves, and coils and uncoils
to move along more quickly. It is a symbol with all the potential with which form can be
charged, a potential that never ceases to be actualized. The dragon now lurks in watery
depths, now streaks aloft to the highest heavens, and its very gait is a continuous
undulation. It presents an image of energy constantly recharged through oscillation
from one pole to the other.3
Ba Gua is referred to as the eight Diagram “Palm,” but it does not focus on the palm
alone. In fact, every part of the body, fist, palm, elbow, shoulder, head, hip, knee and
foot are trained to move and strike freely and continuously. Ba Gua is said to be
characterized by “ambushing hands and hidden kicks.” Within the forms and
movements are sixty-four hands, seventy-two secret kicks, as well as na fa (ita)
(seizing methods), and shuai fa (ita) (throwing methods).
2
Pa Kua Chang Journal, The Origins Of Pa Kua Chang. High View Publications: Vol 3, No. 4 May/ June 1993.
pp. 25-9.
3
The Propensity of Things: Toward a History of Efficacy in China, Francois Julien. New York: Zone Books, 1999.
p151.
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Ba Gua & Military Strategy
Ba Gua Zhang has been likened to guerilla warfare because its chosen tactic is to
evade and counterattack, or to escape and let the opponent fall into emptiness. Ba
Gua specializes in using footwork to move out of the line of the attack and then
counterattacking against the opponent’s weak point rather than confronting him
directly. To illustrate this idea, many Ba Gua practitioners are fond of quoting ancient
classics on military strategy and Ma Ze Dong’s famous sixteen character poem
explaining his tactics of guerilla warfare:
When the enemy advances, we retreat!
When the enemy halts, we harass!
When the enemy seeks to avoid battle, we attack!
When the enemy retreats, we pursue!
These ideas are also present in many of the oral instructions that are considered critical
to understanding and correct training in Ba Gua:
Ba Gua Zhang as a Physical Discipline and Spiritual Path

Although Ba Gua Zhang is a martial art, for many practitioners its most important facet
is it ability to promote health and deeper engagement with the world. In this sense Ba
Gua Zhang provides a template for integrating body, mind and spirit. The foundation
of spiritual health is physical and mental health. Ba Gua emphasis on creating internal
harmony and balance self-cultivation of mind and body and adapting to change help
one to more easily negotiate life and interactions with others. Ba Gua’s martial tactic of
changing with the changing circumstances, or as some people say: “going with the
flow,” helps us to understand and adapt to the natural world, and it manifestations
within us. The seasons, weather, the harmony of majesty of nature with its cycles of
growth flourishing, decay and renewal affect us and move through us. Understanding
change also helps us understand how to have a healthy relationship to ourselves and
with others, so that we can adapt to different situations and cultures.
B a Gua Zhang provides practitioners with an embodied spirituality and philosophy

bases on ancient principles that have withstood the test of time and help us as human
beings to be in tune with ourselves and the world around us. Regular practice of Ba
Gua Zhang develops a singular mindfulness that improves one’ health and approach to
living. From a Daoist perspective Ba Gua reconnects us to the “original mind,” an inner
knowing or inner wisdom that is outside of analytical thinking mechanisms.
Styles of Ba Gua Zhang

When Dong Hai-Chuan began to teach Ba Gua during the Qing dynasty, many
accomplished martial arts practitioners studied from him, including Cheng Ting-Hua,
Song Yong-Xiang, Liu De-Kuan, Liang Chen Pu, Yin Fu, Ma Wei-Qi, and Fan Zhi-Yong.
It is thought that Dong taught each student somewhat differently according to their
natural physical attributes and previous martial arts training, and that later each
modified the principles they learned to suit their individual temperaments and abilities.
For example, Cheng Ting Hua was already quite accomplished at wrestling and
throwing techniques before studying with Dong. Hence, the “Dragon-Claw” palm is
the basic palm shape of Cheng Style Ba Gua perhaps because the rounded, stretched
shape of the hand makes it more useful for grabbing and pulling opponents off balance
in order to throw them. Yin Fu was a thinner man and had studied Lohan Shaolin. Yin
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Style Ba Gua emphasizes sidestepping and using a piercing palm to attack the
opponent’s vulnerable points. Liang Chen Pu studied not only with Dong but also with
Cheng and Yin, so Liang Style Ba Gus combines elements of the both Yin Style and
Cheng Style. The Styles of Ba Gua Zhang that exist today are listed below. They are
generally named after their founders. They all share the same underlying principles:
• Yin Style: Yin Fu ()
• Cheng Style: Cheng Tinghua ( )
• Liang Style: Liang Zhe Pu (!)
• Gao Style: Gao Yi Sheng (#)
• Beijing Gao Style Ba Gua: Gao Wen Chang () and Gao Zi Ying (
)
• Jiang Style: Jiang Rong Qiao (
)
• Shi Style: Shi Ji Dong ()
• Song Style: Song Chan Grong & Song Yong Xiang ()
• Fan Family Style: Fan Zhi Yong ()
• Liu Style: Liu Bao Zhen ()
• Ma Style: Ma Wei Qi (")
• Ma Gui Style: Ma Gui ()
• Gong Bao Tian Style: Gong Bao Tan ( )
• Sun Style: Sun Lu Tang ()
• Fu Style: Fu Zhen Song ( )
• Yin Yang Style ( or Tian Style): Tian Hui ()
Teachers often study more than one style of Ba Gua during their lifetime. For example,
although I have primarily studied with teachers in the Liang Zhen Pu Lineage I have
also studied: Beijing Gao Style Ba Gua Zhang (A mix of Liang Style and Yin Style with
other elements added), Gao Style Ba Gua Zhang, Wu Jun Shan’s Ba Gua (with Fu Shu
Yun) and Jiang Style Ba Gua Zhang.
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History of Liang Zhen Pu Ba Gua
Liang Zhen Pu, whose personal name was Chao Ting, was born in 1863 in Chi County
of Hebei Province. Liang Zhen Pu began his training with Dong Hai Chuan at the age
of fourteen (1877). Dong was a talented teacher and Liang was a dedicated, hard
working student, so Liang made quick progress in Ba Gua. He was Dong’s youngest
student and purportedly well liked by the other disciples. Since Dong died in 1882,
Liang Zhen Pu only studied with him for about five years. Liang was nineteen at the
time of Dong’s death. Therefore, most Ba Gua practitioners surmise that he studied and
practiced with Dong’s disciples, particularly Yin Fu, Cheng Ting Hua, Liu Feng Chun
and Shih Chi Tung.
Liang later returned to Chi County and set up the Te Sheng protection service. After the
advent of the Chinese Republic in 1911, Liang began to teach martial arts at fourteen
middle schools in Chi County. He also taught Ba Gua at the request of the Lu Ping
County athletics department. Later he opened up the Kuei Ying protection service. He
spread Ba Gua throughout Chi County during his lifetime. Liang Zhen Pu died in 1932
at the age of 69.
Of Liang’s disciples, perhaps the best known in Beijing was Guo Gu Min, whose
personal name was Te Lin. Guo was accepted as a disciple of Liang when he was
twenty years old (1907). Guo GU Min remained a bachelor his entire life and was
renowned for his superlative skills in Ba Gua. Guo also studied with Liu De Kuan a
famous practitioner of Xing Yi and Ba Gua. Guo’s knowledge of the Ba Gua forms and
weapons was deep. Based on this knowledge he reputedly authored the 36 songs and
48 sayings that are now studied by most Ba Gua practitioners. Guo lived in Beijing and
Shantung Province, and taught many students. He died in 1968. Some of Guo’s disciples
include Wang Shi Tong and Gao Zi Ying, both of whom taught many students in
Beijing. Gao Zi Ying had many disciples including Gao Ji Wu and Wang Zi Ping and
was friends with many notable boxers including Li Zi Ming. Wang Shi Tong joined Li
Zi Ming’s Ba Gua association during the cultural revolution and one of his more well
known disciples was Wong Tong who later also became a disciple of Li Zi Ming.
Li Zi Ming was born in Chi County, Hebei in 1900. He began to study with Liang Zhen
Pu at the age of eighteen. He studied with Liang from 1918 until Liang’s death in 1932.
Liang visited Tianjin in 1926 and Liang Zhen Pu introduced him to Ching Yuen, one of
Yin Fu’s top students. Li stayed and trained with Ching Yuen. Li also trained with Guo
Ge Min as they were school brothers together under Liang Zhen Pu.
Over the past several decades, Li Zi Ming and his disciples have spread Ba Gua to over
30 cities in China and many foreign countries including Singapore, Norway, the United
States and Australia. Some of Li Zi Ming’s more well known disciples are Vince Black,
Zhao Da Yuan, Zhang Hua Sen, Ma Chuan Xu, Wang Tong and Di Guo Yong.
After Li Zi Ming's death in 1993, Vince Black and Tom Bisio traveled to China several
times to study with Zhang Hua Sen, a senior disciple of Li Zi Ming and former Beijing
Opera performer. Zhang had also studied Tai Ji Quan with Wu style practitioner Wu Tu
Nan. Additionally, Tom Bisio and Vince Black had the opportunity to research Guo
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Gu Min's contribution to the Ba Gua Zhang of Liang Zhen Pu through one of his few
remaining students, Wang Shi Tong.
In more recent years Tom Bisio and other instructors at New York Internal Arts have
had the opportunity to work with Gao Ji Wu and his school brothers who teach Beijing
Gao Family Ba Gua Zhang, an off-shoot of Liang Zhen Pu Ba Gua. Gao Ji Wu’s
grandfather, Gao Wen Cheng, was a disciple of Yin Fu, one of the oldest disciples of
Dong Hai Chuan and founder of Yin style Ba Gua. He also became a disciple of Liu De
Kuan who purportedly created the 64 Linear Forms (64 Hands). Liu De Kuan and Liang
Zhen Pu both taught Guo Gu Min. Although this style does not bear Liu De Kuan’s
name, it is clear that Liu De Kuan was an important contributor. Gao Ji Wu’s father,
Gao Zi Ying, studied with both Gao Wen Chang and Guo Ge Min. Gao Ji Wu in turn
learned from Gao Zi Ying and today teaches Beijing Gao Family Ba Gua in Beijing.
Another influential teacher for students and instructors of New York Internal Arts and
Internal Arts International is Zhao Da Yuan, a disciple of the great Li Zi Ming. Zhao Da
Yuan is famous for his Qin Na skills and for his work training body guards and special
forces operatives. Instructors from NYC recently trained with Zhao Da Yuan in Beijing.
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About the Chief Instructor: Tom Bisio
Tom Bisio began his study of the martial arts and Oriental medicine studying karate at
age 14. A Black Belt in Isshin Kempo at 17, he continued his study of the martial arts
while completing a BA in East Asian studies at Columbia University. During this
period, Tom studied the Filipino martial arts of Pekiti-Tirsia Kali under Leo T. Gaje
and Old-Style Doce Pares Eskrima under the late Filemon "Momoy" Canete. He
competed in full-contact tournaments in New York's Chinatown and tied for first place
as Co-Champion in the Senior Instructor Division at the 1st National Arnis
Championships in Cebu, Philippines, in 1979.
In 1984 Tom began to study Chinese medicine, Xing Yi Quan, Ba Gua Zhang and Tai Ji
Quan with Vince Black. Mr. Black is the founder of the North American Tang Shou Tao
Association (NATSTA), a national organization whose goal is to promote and research
traditional Chinese martial arts and Chinese medicine. Tom also studied Kajukenbo
with Vince Black and had the opportunity to train directly under the art’s founder,
Adriano Emperado. As a representative, and later as President of the NATSTA, Tom
took numerous trips to China and South East Asia where he studied both medicine and
martial arts with many different masters including: Zhao Da Yuan, Zhang Hua Sen,
Wang Shi Tong (Liang Zhen Pu Ba Gua Zhang); Gao Ji Wu (Beijing Gao Gamily Ba
Gua); Li Gui Chang and Song Zi Yong (Xing Yi); Wong Shu Sheng, Ge Guo Liang, Liu
Shu Hang and Li Xue Yi (Gao Yi Sheng Ba Gua Zhang). Tom also studied Xing Yi and
Ba Gua with Liao Wan Fu (Tian Jin) and Fu Shu Yen (Taiwan).
Tom has taught martial arts since 1978. During that time he apprenticed with Chinese
herbalists and experts in acupuncture, Qi Gong, Chinese massage and bonesetting. He
went on to become a licensed practitioner of traditional Chinese medicine.
In 1992 Tom Founded New York Internal Arts (NYIA). At that time classes were held in
lower Manhattan. During the day, the space functioned as a clinic specializing in the
treatment of trauma and sports injuries. In the evenings and weekends, classes in
traditional Chinese medicine, qi gong, and internal martial arts were held late into the
evening.
Since that time NYIA has evolved into a collective of martial arts instructors in the Tri-
State area and abroad who teach and research the arts of Ba Gua Zhang and Xing Yi
Quan. Many of these instructors are also practitioners of traditional Chinese medicine.
We partner with Zheng Gu Tui Na, whose instructors keep the most effective
traditional Chinese medical practices alive and vibrant in the modern world. This
collective has expanded abroad to Europe and Canada and is now called Internal Arts
International (IAI) www.internalartsinternational.com.
In recent years, Tom and the Instructors of IAI have pursued training in Liang Zhen Pu
Ba Gua with Master Gao Ji Wu and Master Zhao Da Yuan. Tom is also a Xing Yi Quan
disciple of the late Master Li Gui Chang. He continues to study Li Gui Chang’s Xing Yi
with his senior school brother Song Zhi Yong. Song Zhi Yong and Gao Ji Wu are senior
advisors to Internal Arts International.
For 25 years, Tom headed a busy clinic specializing in trauma and sports injuries. There
he oversaw and trained other acupuncturists and a constant stream of students from
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various acupuncture schools in the Tri-State area who came to observe and assist in the
treatments. He has been a guest lecturer at the Tri-State College of Acupuncture and the
Seattle Institute of Oriental Medicine, as well the Graduate Program of Oriental
Medicine at Touro College. In 1990 Tom and his associate Frank Butler created Zheng
Gu Tui Na, a system of orthopedic medicine, which they have taught all in the USA,
Canada, Scandanavia and Europe.
Tom is the author of several books, including:
• A Tooth from the Tiger's Mouth: How to Treat Your Injuries with Powerful Healing
Secrets of the Great Chinese Warriors (Simon & Schuster, October, 2004)
• The Essentials of Ba Gua Zhang, co-written with Gao Ji Wu (Trip Tych Enterprises,
LLC, February, 2007)
• Zheng Gu Tui Na, a textbook on Chinese medical massage, co-written with Frank
Butler (Zheng Gu Tui Na, LLC, July, 2007)
• TheAttacking Hands of Ba Gua Zhang, co-written with Gao Ji Wu (Trip Tych

Enterprises, LLC, February, 2010)
• Beyond the Battleground: Classic Strategies from the Yijing and Baguazhang for
Managing Crisis Situations (North Atlantic Books 2016) (Formerly published as
Strategy & Change: An Examination of Military Strategy, The I-Ching and Ba Gua)
• Nei Gong the Authentic Classic: A Translation of the Nei Gong Zhen Chuan (Outskirts
Press 2011)
• Ba Gua Circle Walking Nei Gong: The Meridian Opening Palms of Ba Gua Zhang
(Outskirts Press 2012)
• The Ba Gua Nei Gong Series: Vols 1-6
• Decoding The Dao: Nine Lessons In Daoist Meditation (Outskirts Press 2013)
• Xing Yi Quan Tu Na Si Ba: The Four Breathing Forms of Master Li Gui Chang, by Song
Zhi Yong and Tom Bisio (Outskirts Press 2014)
• Practical Qin Na Part 1: Explanation of the Qin Na Nine Heaven Secret Text, by Zhao
Da Yuan , Edited by Tom Bisio and translated by Tom Bisio and Huang Guo Qi
(Outskirts Presss 2015)
• Practical Qin Na Part 2: Foundational Training, Techniques and Methods, by Zhao Da

Yuan , Edited by Tom Bisio and translated by Tom Bisio and Huang Guo Qi
11
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Student Guidelines
Class Conduct
Classes at New York Internal Arts are conducted in a relaxed atmosphere without rigid
rules or rituals. Questions are encouraged - it is important that everyone understand
what they are doing and why they are doing it. This often means seeing the big picture;
where the techniques and training exercises practiced at one level fit into the whole
process of development.
Because of the informality of the classes it is important that the training be focused and
that the learning time of others be respected. This means no side conversations during
class time. If it is absolutely necessary that you converse with someone in the class, take
it outside into the hall so that you will not disturb the other members of the class. For
the same reason, telephone conversations should be conducted before or after class
unless there is an emergency. This also prevents the instructor having to repeat
corrections or instructions several times.
Try to arrive on time. When you arrive late, someone must stop what they are doing to
buzz you in to the building. This takes away from their training particularly when the
class is performing Qi Gong, Standing or Ding Shi (fixed posture circle walking).
Please be respectful of the process of learning and of the teachers. There is often no One
right way to do a technique. Differences in height, weight, and temperament produce
variations in the way movements are performed. In some cases, different instructors or
assistant instructors do things differently. Therefore, arguing about the way a technique
is performed, or accusations that a particular instructor is incorrect in the way that they
perform a movement or technique wastes valuable time and accomplishes nothing.
In class, work on the technique being presented. If you have a question, ask an
instructor. Listen to the answer. You will miss a chance to make valuable observations if
you immediately dismiss the other person as wrong. If two instructors do something
differently, and you are not sure who is right, ask them in a polite way and they will be
happy to resolve the dilemma. You may find that they are both right - the nature of the
internal arts is that if people are learning correctly, they will not all look the same, or
move in exactly the same way.
How to Learn
It should be possible for someone who trains hard to learn the bulk of the forms and
training procedures and understand the process of how to develop the skills of internal
boxing training in 4-5 years.
Some students may have extensive background in the martial arts or even the internal
martial arts. Training methods may contradict what you have learned before. This may
particularly be true at the basic levels. You do not have to give up what you know, just
put it aside during class time, and be willing to try something a new way. Learning is
much easier with an open, uncluttered mind.
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The internal arts are best learned through cooperative effort rather than competition.
Any technique, lock, throw, etc. can be countered; particularly in class when we are
often practicing a static pre-set response. This is especially true at the basic levels,
because often only part of a technique or attack and defense sequence is being
practiced. Counters are always anticipated, but you will not be able to learn if you and
your partner over-resist each other. Over-resisting can lead to injury. The "see, it doesn't
work" attitude is a major stumbling block to learning, for both you and your partner.
Because you cannot make something work in the moment does not mean it will not
work in the right circumstance, or when your level of skill is higher. Your partner
cannot get the feel of the technique if you fight him/her every step of the way. The
famous Ba Gua Instructor Li Zi Ming said that progress in understanding Ba Gua could
only be made by diligent training with your peers. If possible, get together with other
students to review in between classes.
It is possible that a student may have more experience in the martial arts than some of
the instructors, or possess superior fighting ability. This does not mean that the
instructor has nothing to teach you. All the true teachers I have met were able to learn
from anyone. I have also trained with legendary "street fighters" who couldn't teach to
save their lives. If you can only respect and learn from individuals you are afraid of or
who can beat you up, then you are in the wrong school. If someone is really too
advanced for a particular level, they may be bumped up to the next level of training.
Pay attention to what you are learning. The class is comprised of different people
working on assorted exercises or techniques. There is no one order of learning.
Knowing more forms and techniques does not necessarily mean someone is more
advanced. How much you know is much less important than how well you internalize
the movements. Instructors are often waiting to see changes in the internal body motion
before teaching more material.
Keep A Notebook
Keeping a notebook is an important aid to learning. Keep a notebook and after class
write down various techniques you learned or corrections you received with the date.
This is an invaluable way to remember things. Ba Gua is a dynamic art that adapts to
the circumstances of the moment, so applications or corrections that happen one day
may not be repeated the next class. If one keeps a notebook, it will help you remember
techniques and corrections and make it easier for you to practice at home. Don’t forget
to review your notebook on a regular basis, to remind yourself or your discoveries.
IMPORTANT: From time to time, you may receive handouts, such as a list of exercises,
or the names of movements in a given form. These handouts are invaluable aids in
learning and remembering. Recopy them into your notebook, put them in a ring-binder
or type them into your computer so that you do not lose them. Learn the names of the
movements. In the Chinese martial arts, poetic names are given to movements to
elucidate a feeling or quality that is integral to that movement. These names will not
only help you to understand the movements better, but also serve as shorthand
mnemonics for remembering them.
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Practice at Home
Internal martial arts require quiet, solo practice time in which to observe breathing,
posture, and alignment; this mainly happens when you practice alone. Class time is to
receive corrections, to learn new techniques, forms and training methods, and to get
time working with a partner. It is important for each person to practice everyday on
their own in order to progress. Again, class time is limited so we must make the most of
it.
Other Considerations
If you have a physical problem that prevents you from performing movements
correctly, let the instructor know and we will work around it or seek to improve the
condition, through adjunctive training or even Chinese medical treatments.
Disagreements between students or between students and instructors need to be

resolved before or after class. We appreciate hearing about what bothers you face to
face, rather than hearing about it through a third party.
We do have guests who come to observe the class. If the instructor is busy and they
enter, please greet them, be hospitable and offer them a seat to observe the class. There
are no trial classes so they must observe and talk to an instructor about taking the class.
Please clean up your mess, bottles, food, etc.. Keep the bathroom and school clean as we
are often guests in the training space and no one else should have to clean up after us.
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General Advice For Training in the Chinese Martial Arts
Training in the Chinese martial arts, especially the nei jia quan or internal boxing schools
requires diligence and some willingness to understand the rudiments of Chinese
thought and language. This does not mean you have to speak Chinese or study Daoism.
It does mean that you should acquaint yourself with the basic terminology and concepts
of the martial arts and to some degree Chinese medicine. One way to do this is to
simply keep a notebook. When terms are mentioned in class write them down. There is
a glossary in the back of this training manual to help with terminology, but you may
also want to write down the teacher’s explanations when he or she answers questions
in class.
Each movement has a name, often poetic. Do not dismiss the names as being
unimportant. In the Chinese martial arts poetic names are used because they describe
the essence of a movement in a succinct and memorable way. The names are images
that help to create body patterns. For example to understand “the dragon reveals its
claws,” one must understand how the Chinese think about the dragon and what it
symbolizes in order to understand the specific intention, purpose and performance the
action described by that name.
Keep a notebook. Often as you receive corrections and advice, or begin to figure out
things on your own, you have realizations that are important. If forgotten they must be
rediscovered. By keeping a notebook it is easier to keep track of a correction that helped
you progress and your own process of This is particularly important when you miss a
day between classes and/or training sessions.
Find people to practice with outside of class. Some of the interactive skills require a
partner to practice with. Find someone with whom you can practice with some
regularity outside of class or between seminars. Also two minds are better than one in
researching applications and in correcting one’s movements.
Be patient. The beginning levels require a lot of practice and time. Often this is based on
having faith in the training process as observable results are sometimes slow to reveal
themselves. Plateaus are inevitable and everyone experiences them.
Ba Gua can be painful. The twisting spiraling motions literally wring out the fascia,
muscles and joints re-aligning them. As one part of the body re-aligns and loosens up it
will cause other areas of the body to have to change and accommodate. The body does
not like change and will protest. Do not give up the minute something hurts. Try to
ascertain what is causing the pain. If a movement feels wrong or harmful, it may be that
you have a prior injury or medical condition that makes that movement not right for
you, or you may be doing something incorrectly.
The internal boxing arts are 50% for health and 50% for self-defense. On a very basic
level, this dynamic is evident in the breathing and body alignment practices that form
the foundation of the internal martial arts. These practices are said to aid health by
improving basic body functions and increased resistance to disease. The same
foundational exercises are also used to develop increased efficiency in the underlying
16
mechanics of self-defense movements. The importance of both aspects of the internal
martial arts cannot be emphasized enough. Practitioners who focus on one aspect to the
expense of the other often fail to achieve their goals, and are disappointed with the
results of their training.
Don’t be afraid to practice the self-defense skills. Practicing self-defense skills,

maintaining efficiency and calm in the face of an attack, prepares us for other outside
forces that can so easily affect us, whether they be, irritating noises a stressful work
place, or an abusive boss. In some sense, practicing with a partner is like standard
resistance training to develop strength. The difference being that rather than merely
strengthening muscles, self-defense training forges a strong body, mind and spirit.
Through correct self-defense training, the innate resilience of the human organism can
be exponentially increased conveying enormous health benefits that are rarely
produced by meditation and health exercises alone.
Embrace the health promoting aspects of training in the internal martial arts.
Practicing only the self-defense aspects of the internal arts can damage health,
ultimately weakening the ability to defend oneself. Ironically, this is a self-defeating
equation. The hard training that many martial artists endure in order to perfect combat
skills can take a serious toll on one’s health and vitality, if not balanced properly with
common sense and methods that protect and nurture the health of the body.
17
The Ba Gua Zhang Curriculum
The complete Ba Gua curriculum is extensive, encompassing many different
movements, exercises, techniques, Nei Gong methods, forms, and various weapons.
Generally Ba Gua can be divided into four levels. These are not fixed or written in
stone, but are rather general guidelines for training and learning.
The heart of the Ba Gua Zhang system, the aspects which develop the self defense
ability and health promoting effect, are found in the foundational material. The
foundational level of training consists primarily of Nei Gong (inner exercise) training.
Nei Gong training opens up and correctly aligns and harmonizes the body’s energetic
systems as well as the joints, muscles and fascia. Nei Gong training also develops the
coordination of body, mind and spirit that critical to correctly learning and performing
internal martial arts. Without this foundation the techniques and other methods are like
a house or a building built on a weak foundation.
Level 1: Foundational Level

The Foundational level consists of six distinct Nei Gong Methods:
1. Zhan Zhuang: Standing Meditation (Stake Standing)
2. Yin Yang Patting and Dao Yin Exercises
3. Qi Cultivation Exercises
4. 12 Advanced Standing Postures
5. Ji Ben Gong: Foundational Exercises
6. Foundational Partner Exercises
7. Crane Stepping & Mud Stepping
8. Ding Shi Ba Gua (Circle Walking Nei Gong)
If the foundational material is fully understood and inculcated into one’s everyday
body actions and movements then it is much easier to learn and employ the eight palm
changes and the advanced movements and applications. One important aspect of this
level of training are the foundational partner exercises which help to develop the
fundamentals of power generation, striking, parrying, seizing and locking.
Level 2: Core Patterns and Movements

The three pillars that rest upon the foundation and hold up the rest of the edifice
(keeping the analogy of a house or building) are the Tian Gan (Heavenly Stem) Nei
Gong, and the single and double palm changes. All the other changes and movements
emanate from the Tian Gan Nei Gong and these fundamental palm changes. Therefore
even the great masters spend most of their time practicing the Circle Walking Nei Gong
(Ding Shi), the Tian Gan, and the Single and Double Palm changes. These 3 Pillars, the
Old Eight Palms (Lao Ba Zhang), and the various exercises and linear movements
associated with the eight palms form the second level of training. The Eight Basic Single
Movements, one associated with each of the Eight Lao Ba Zhang changes, are also of
critical importance at this level.
18
Level 3: Intermediate Forms and Applications
The third level expands upon the eight palms by showing numerous variations and
applications (the 64 Hands and 72 Techniques). The 64 Hands (64 Forms), attributed to
the great boxer Liu De Kuan, are characteristic of the Liang system and have three
levels of performance, which must be carefully developed. However the focus at this
level is on smoothly linking techniques and movements into continuous unbroken
sequences, all the while turning walking and changing. This is developed through
extensive practice of Ba Gua Lian Huan, the chain-linking form.
Level 4: Advanced & Weapons

The fourth level encompasses the advanced Nei Gong methods such as Marrow
Washing Nei Gong and Daoist Alchemical meditation, as well as the advanced forms
and weapon forms. These forms round out one’s ability and help one develop Ba Gua’s
subtle body skills. Each weapon - sword, saber, staff, spear, seven star stick (whip stick),
rooster knife, mandarin duck knife, hook-sickle swords, and wind wheel swords -
develops and emphasizes different body mechanics and power dynamics (Shen Fa). The
advanced forms also stress different body dynamics such as smoothly flowing, stepping
and striking: the Cloud Swimming Dragon Body, or the ability to fluidly change the
intention and spirit of the movements, as in The Pre-Heaven Eight Animal Form.
Marrow Washing Nei Gong and Daoist Alchemical meditation further refine the spirit
and the vital energy.
These levels are not fixed in stone, nor is learning completely sequential. In the Chinese
internal arts, learning is circular and recursive. The path to mastery is a constant
revisiting, and reexamining of the beginning levels, each time informed by more and
more “advanced” principles and methods. Through this recursion, one comes to realize
that all the myriad movements and methods lie within the most simple and
fundamental actions. This is an on-going process that can continue throughout one’s
life.
19
LEVEL 1
Foundational Level
Introduction to Level 1: Foundational Level
Skill in Chinese Internal Arts relies on the development of a strong foundation of body
skills. For this reason, the beginning levels take time and require diligent, repetitive
practice, particularly in the standing postures and footwork practice. The legs are the
body’s foundation and provide the root for power.
The Patting Nei Gong opens and clears blockages in the tissues and the energy channels
(meridians), while the Dao Yin exercises regulate the Qi Dynamic. The Qi Cultivation
Exercises work in concert with the basic stake standing exercises (standing meditation).
Together, Basic Standing (Zhan Zhuang) and Qi Cultivation connect one with the subtle
internal body movements. Understanding and feeling these subtle movements is critical
to one’s internal development and to learning more advanced skills.
The Ji Ben Gong Exercises are employed as a warm up for Ding Shi (Circle Walking Nei
Gong) and more advanced practices These “warm up exercises” serve two important
functions. They open up the joints and loosen tight areas. This prepares the body for
more rigorous exercise while removing restrictions to the natural power dynamic of the
body. These exercises also develop basic body alignments and attributes that are
specific to Ba Gua. Coordination is difficult at first, akin to patting your head and
rubbing your stomach at the same time. This is because the two sides of the body need
to be able to perform different but connected actions.
At this level, one also engages with basic skills like footwork and simple partner
exercises like the seven-star drills, leg trapping drills and the basic parries which
develop rudimentary fighting tactics, principles of body positioning and an
understanding of lines of power.
The fixed posture circle walking (Ding Shi) with the mud-wading step (tang ni bu) is
perhaps the single most important skill in Ba Gua Zhang. It might be argued that Ba
Gua begins and ends with Ding Shi. The Ding Shi positions, and the changes between
them, provide effective basic self-defense techniques and are, at the same time the
highest level of self-defense skill – leading the opponent into emptiness. The Ding Shi
practice is also the key Qi Gong/Nei Gong skill in Ba Gua Zhang. Regular practice of
Ding Shi, Crane Stepping and tang ni bu strengthens and tones the entire body and
creates a spiral of qi/breath that ascends up the spine and then descends to store below
the navel in the Dantian. Each posture also specifically opens a different meridian or
group of meridians thereby activating and stimulating the body’s energy system on a
profound level. Ding Shi is the key Yang Sheng (“life nourishing”) practice of Ba Gua
Zhang.
22
Ba Gua Yin-Yang Patting Nei Gong
Ba Gua Yin Yang Pai Da Nei Gong
1. Pat the Head
2. Pat the Dantian
3. Pat Up the Centerline ard Chest
4. Pat the Yin side of the Arm: chest to hand
5. Pat the Yang side of the Arm: hand to shoulder
6. Pat the Yang side of the Arm: shoulder to hand
7. Pat the Yin side of the Arm: hand to chest
8. Pat down the Side of Torso to Dantian
9. Pat the Dantian
10. Pat the Belt Channel 2-3x
11. Pat the outer (yang) side of the Legs: from the hips to the feet
12. Pat the inner (yin) side of Legs: from feet to groin
13. Pat around the genitals.
14. Pat Dantian
15. Pat the Belt Channel 2-3x
16. Pat down the buttocks and back of legs to the Achilles Tendon
17. Pat up the deep inside of the legs to the Dantian
18. Pat the Dantian
19. One hand over the other rub Dantian 36 times clockwise and 36 times
counterclockwise
Ba Gua Leading-Guiding Life Nourishing Nei Gong

Ba Gua Dao Yin Yang Sheng Nei Gong

1. Kidney Breathing for 3-9 breaths
2. Click the teeth 36 times
3. Circle the tongue 9 times; gather saliva and swallow in three parts
4. Warm Hands; massage sides of nose 9 times
5. Press the LI 20 (Ying Xiang) acu-points 9 times
6. Use the fingertips to massage around the eyes 9 times
7. Rub palms and use Lao Gong (P 8) point to warm eyes
8. Wash the face with the palms 9 times
9. “Comb” the hair 9 times
10. Massage the GB 20 (Feng Chi) acu-points 9 times
11. “Beat The Sky Drum” 18 times
12. Press Du 15 and Du 16 (Feng Fu) 9 times
13. Grasp up and down the nape of the neck several times
14. Massage the ears
15. Rub up an down in front of and behind the ear 9 times
16. Massage Du 14 (Da Zhui)
17. Hold GB 21 (Jian Jing)
18. Stroke down the front of your throat 9 times
19. Dredge the chest with interlaced fingers and pull them outward
20. Rub the right side and left sides of the chest 9 times
23
21. Stroke the arm meridians 9 times
22. Massage the left and right ribs 9 times
23. Massage Ren 12 (Zhong Wan) with two fingers 9 times
24. Stroke up from the lower ribs up to the chest and then down to Dantian 9 times
25. Massage Dantian in a circle 36 times clockwise and then 36 times counterclockwise
26. Massage the sacrum and the tailbone 9 times
27. Warm Palms and stroke upward from the sacrum to the kidneys 18 times. Hold the
kidneys and let the heat of the palms penetrate into them.
28. Rub the knees with the palms, circling outward 9 times and inward 9 times.
29. With the palm center (Lao Gong), massage the KID 1 (Yong Quan) acu-point on sole
of each foot 81 times
30. Perform Kidney Breathing 3 times.
31. Stand and massage leg meridians 9 times
32. Relax and breathe into Dantian
Standing Meditation Zhan Zhuang

1.Wu Ji Posture
2. Embrace Posture
3. Ball Floating Posture
Qi Cultivation Exercises Duan Lian Qi Gong

1. Rising and Sinking (vertical)
2. Pushing and Pulling (horizontal)
3. Circling Horizontally (right and left circling)
4. Circling Vertically (forward and back circling)
5. Rotating the Sphere (rolling the ball)
6. Opening and Closing (hooking and filing)
Ba Gua Zhang Twelve Standing Postures Ba Gua Zhang Shi Er Zhan

Zhuang
1. Posture 1: San Ti Shi 4 .

The Old Monk Offers the Alms Bowl Lao Seng Tuo Bo .
2. Posture 2: Hooking Step: Kou Bu
Hide Flower Under Leaf Ye Di Cang Hua
3. Posture 3: Swing Step: Bai Bu
Green Dragon Turns Its Head Qing Long Hui Shou

4. Posture 4: Hawk Step: Ying Bu
Hawk Overturns Its Body Yao Zi Fan Shen
4
This is the Ba Gua Zhang equivalent of Xing Yi Quan’s “Three Body Posture” (San Ti Shi) .
24
5. Posture 5: Sitting Step: Zuo Bu
Black Dragon Searches the Sea Hei Long Tan Hai

6. Posture 6: Resting Step: Xie Bu

Yin Yang Coiling Dragon Yin Yang Pan Long
7. Posture 7: Balance Step: Ping Heng Bu

Wing Spreading Flying Palm Zhan Chi Fei Zhang
8. Posture 8: Single Standing Step: Du Li Bu

White Ape Offers Peach Bai Yuan Xian Tao
9. Posture 9: Crouching (Falling) Step: Pu Bu
Dragon Crouches on Ground Shen Pu Di Long
10. Posture 10: Bow Step: Gong Bu

Embrace the Moon to the Breast Huai Zhong Bao Yue
11. Posture 11: Horse Step: Ma Bu
Three Plates Fall to the Ground San Pan Luo Di
12. Posture 12: Empty Step: Xu Bu
Qi Lin Spits Out the Book Qi Lin Tu Shu
Linking the 12 Postures

1. From the natural stance: Step right foot out and pierce outward with the right hand to
form a right Old Monk Offers Alms Bowl Posture (San Ti Shi).
2. The right foot half-steps forward and then the left foot steps to Kou Bu (Hook Step)
and form Hide Flower Under Leaf.
3. Step left foot out in Bai Bu (Swing Step) as the arms turn and press outward to form
Green Dragon Turns Its Head.
4. Step forward with a right Kou Bu (Hook Step), push the right hand forward and turn
back 180 degrees as the left hand spirals overhead lift and hang the left leg inward to
form the Hawk Posture: Hawk Overturns its Body.
5. The arms pull downward and the left leg extends. Pause. This transitional position
can also be held as a standing posture. Then set the left heel on the floor and bend to
form the Sitting Step: Black Dragon Searches the Sea as you stretch yourright hand
along the left leg and left hand rises behind you in a hook shape.
6. Rise with arms extended, keeping weight on right leg with the left heel resting on
floor. Twist leftward to form the Resting Step: Yin Yang Coiling Dragon.
25
7. Rise up and step the right foot to Kou Bu (hook step) to turn back and form the
Balance Step: Wing Spreading Flying Palm with weight on right leg and left leg
extended out, right hand pointing back and left hand pointing forward.
8. Straighten the body and lift the left knee to form the Single Standing Step with
White Ape Offers the Peach.
9. Step the left foot down in Kou Bu (hook step) as you turn back and the right leg
extends out with the weight sitting on left leg to form Pouncing Step: Dragon Crouches
on the Ground.
10. Shift weight forward to right leg to form the Bow Step: Embracing the Moon to the
Breast.
11. Shift weight back to form the Horse Step: Three Plates Fall to the Ground.
12. Turn left and drill the right hand outward with the left foot empty to form the
Empty Step: Qi Lin Spits Out The Book.
Step out with the left foot and pierce outward with the left hand to form a left San Ti
Shi: Old Monk Offers the Alms Bowl.
Now repeat the sequence on the opposite side
26
The 28 Ji Ben Gong Foundational (“Warm Up”) Exercises
Ji Ben Gong
1. Yin Yang Meridian Patting Method
2. Rotation Of Joints
• Gaze at the Heel
• Cock Pecking Rice
• Rotating the Hips Strengthens the Kidneys
• Hula Hips
• White Crane Rotates the Knees
• White Crane Flexes the Knee
• Rotating the Ankle
3. Inward Hanging Leg
4. Outward Hanging Leg
5. Spring Leg (Toe Kick)
6. Filing and Cutting Leg
• Basic
• Lift and Cut
7. Forward Stomping Leg
8. Backward Stomp as Hands Push Forward
9. Pouncing Step
10. Standing Snake Body
11. Slapping & Flicking Hands
• Single
• Double
12. Three-Way Slapping
13. Body Slapping High & Low
14. Rotating Arms in Opposite Directions
15. Windmill Arms
16. Grasp Empty Hands
17. Twisting Shoulders/Changing Palms (Lengthen Tendons/Pull Bones)
• Arms Only
• Whole Body
27
18. Serving Teacup Exercises
• One Hand (Open; Cover ; Coil; Pierce)
• One Hand (Chop; Coil; Swing Across; Open)
• Tea Cup with Both Hands Moving in Opposite Directions – End in Pierce
19. Drawing Hand
20. Front & Back Piercing Hand
21, Upper Drawing Hand
22. Guiding Hand
23. Drilling and Pulling Hand
24. Piercing Palms
25. Picking Hand
26. Hiding Flower Under Leaf
27. Drill Upward & Millstone Posture
28. Shake & Vibrate Body
28
Basic Footwork Exercises
1) Plum Blossom Stepping: Hourglass Stepping
2) Plum Blossom Stepping: Figure 8 Stepping
3) Kou Bu Bai Bu Linear Exercise
4) Basic Tang Ni Bu: The Slow Walk
5) Crane Stepping (He Xing Bu)
6) Phoenix Walk
Ba Gua Circle Walking Nei Gong (Ding Shi Nei Gong)
1. Downward Sinking Palm (Fierce Tiger Descends the Mountain)
2. Moon Embracing Palm
3. Mountain Pressing Palm (Double Bumping Palm)
4. White Ape Offering Fruit Palm
5. Heaven Upholding Palm
6. Ball Holding Palm (Lion Plays With Ball)
7. Spear Holding Palm
8. Heaven Pointing Earth Penetrating Palm (Heaven & Earth Palm)
9. Yin Yang Fish Palm (Yin Yang Palm)
10. Millstone Pushing Palm (Green Dragon Extends Claws)
Ding Shi Stepping Patterns

1. Basic Turn – Kou Bu to Inside
2. Basic Turn – Kou Bu Outside
3. Bai Bu Inside and Outside
4. Three Step Turn
Foundational Exercises & Partner Drills

I. Piercing Palm Exercises: Solo
1) Stationary
• Palm Up
• Vertical
• Palm Down
• Piercing/Shearing
2) Forward & Back (2 Step)
3) Forward & Back (3 Step)
4) Dodging 3 Step: Forward & Back
5) Side to Side
6) Plum Blossom Triangles
II. Piercing Palm Exercises: Partner

1) One Step Forward and One Back
2) Line Forward & Partner Retreats
3) Dodging Forward & Back
4) Side to Side (3 pierces)
5) Flat Pierce – Advance and Shear
29
III. Seven Star Drills
1. 3 Count Drills
• Stationary
• Spinning
• With turn pierce with elbow and slap chest elbow strike
2. 6 Count Drills
• Basic 4
• Basic 6
• Basic 6 – move on outside
• Basic 6 move and spin on outside
• Basic six move on each – trap legs
• w/ shoulder stroke (and foot sweep)
• w/ hip strike
• triangle stepping hip strike
• w/ foot switch and break arm
• w/ millstone change from low to grab shoulder
• w/ low palm strike counter w/ arm bar
• w/ high attack, pivot and throw
3. Palm Slapping
IV. Leg Trapping Drills

• Inside kou bu – outer reap - inside kou bu
• Inside kou bu – outside bai bu –inside kou bu
• Combine previous exercises
• Free-style leg trapping
V. Parry Drills
1. Basic
• Straight Punches: Shearing Palm Up or Down
• Hooks: Elbow lift or lift arm
• Low Hooks: Cut Down
• Uppercuts: Drill Upward
2. Parry and Pierce (sweeping parries)
3. Parry and Counter
• Parry Straight Punch and Palm Strike to Face
• Parry Hook and Palm Strike to Face
• Parry Upper Cut and Upper Cut with Knuckle to CV 23
• Parry Low Hook & Chop Neck
4. Wedge vs. Grabs
• High Wedge Inside (heaven uplifting) w/ Kick
• High Wedge Outside (heaven uplifting) w/ Double Pierce
• Low Wedge w/ Double upward Palm Strike (monkey offers fruit)
5. Ten-Count Parry Drill
1. Parry Straight Punch (shear)
2. Parry Straight Punch (shear)
3. Parry Hook (lift arm)
4. Parry Hook (lift arm)
5. Parry Uppercut (drill upward)
30
6. Parry Uppercut (drill upward)
7. Parry Low Hook(cut down)
8. Parry Low Hook (cut down)
9. Stop High Grab (high wedge)
10. Stop Tackle: (low wedge)
VI. Na Fa Seizing Exercises

1. Grabbing Wrist Exercises
• Pull
• Push
2. Break Grabs w/ Chin Na Entries
• Cross grab – Golden Threads Wraps Wrist
• Same Side Grab – Clouds Follow Coiling Dragon
• Same Side Grab – White Horse Rolls Leg
• Reverse Same Side Grab – Hide the Flower to attack elbow
• Cross Grab- Turn into Arm Bar
• Cross Grab – Dragon Waves Tail into Galloping Horse Looks Back (Outer Wrist
Lock)
• Double Wrist Grab – Turn to Hide Flower
31
Foundational Level: Tips For Practice
1. Practice the Yin Yang Patting in the morning to open up the meridians and activate
and concentrate the qi. The Dao Yin exercises are an important first step in Qi
Cultivation. They can be done before patting or later in the day.
2. After Yin Yang Patting, practice the Standing Meditation postures (Zhan Zhuang)
daily to develop relaxation, alignment, stamina power and root. Gradually increase the
standing time in embrace Posture to 15-20 minutes.
3. After Zhan Zhuang, practice the Qi Cultivation Exercises. Alternatively try doing Qi
Cultivation first and then experience a subtler version of the same movements
spontaneously occurring inside the body as you hold the Zhan Zhuang Postures.
4. The Ji Ben Gong exercises are critical to the practice of the more advanced methods.
Many of these movements and body dynamics appear again and again throughout Ba
Gua training. They are also the basis of many of the martial techniques and so must be
completely mastered. Use them as part of your daily warm up following the Dao Yin
exercises and before practicing other skills.
5. Practice the footwork drills and Piercing Palm exercises as much as possible.
6. Ding Shi Ba Gua Zhang (fixed posture circle walking) is the key Nei Gong Practice
which teaches proper circular stepping, and builds internal strength. Once you learn
them, practice the walking postures on the circle at least 5 times a week.
7. One can also do Standing in the morning and Ding Shi later in the day.
These two practices are the key foundational practices for more advanced training.
8. Add in practice of the 12 Standing Exercises. These are another type of Qi cultivation
training that also develops the twisting spiraling power that is used in Ba Gua. They
also develop strength and stability in the joints.
9. Practice Ding Shi around a post, a stake in the ground or a tree. As you walk you can
spiral inwards narrowing the circle and spiral outwards widening it. When practicing
with the post, keep your attention on it even when you are not facing it directly.
10. Try and get together outside of class to master the parry drills, foot trapping and the
7-Star Drills until they are reflexive.
11. If you do not have a partner then visualize the applications and partner work and
perform the 7 Star Drills, na fa skills and parry drills in the air like shadow boxing.
Some of these exercises, like piercing palms, Seven Star and leg trapping drills, can be
practiced against a post.
A very good morning practice session can consist of:

• Dao Yin – 10 minutes
• Standing and Qi Cultivation: 20-30 Minutes
32
• Ji Ben Gong: 15-20 minutes
• 12 Standing Postures: 10 minutes
• Ding Shi: 20-30 minutes
Total: 1 hour and 15 minutes to 1 hour and 40 minutes
33
34
LEVEL 2
Core Patterns
&
Movements
Introduction to Level 2: Core Patterns and Movements
The key elements in Level 2 are the three pillars mentioned earlier:
1) The Tian Gan (Heavenly Stem) Exercises build on the basic warm-ups, but more
specifically develop torsional winding or “silk reeling” power. These exercises wring
out the spine, section by section and then develop integration of the spinal movement
with the movement of the ribs, legs and waist. As the Du Channel runs through the
spine, the Tian Gan exercises help to remove blockages which impede the upward and
downward movement of the Qi.
2) The Single Palm Change is the basis of all the other changes and movements in Ba
Gua. The Single Palm Change Zhan Zhuang (standing exercise) is essentially the
opening movements of Lao Ba Zhang. It is also an excellent practice method to develop
the power dynamics of the Single Palm Change.
3) The Double Palm Change is an extension of the Single Palm change which works
with more complex internal spirals and circles. The Single and Double Palm Changes
develop the coordination of the feet and hands while stepping, wrapping and turning
smoothly. It is said by many practitioners that the Single and Double Palm Changes
contain all other changes and can be expanded to perform infinite changes and
transformations.
This level also introduces some other key elements which continue the development
of Body Skills (Shen Fa) and foundational martial skills:
4) The Basic Linear Movements teach basic self-defense principles, including lines of
power, direct and indirect attacks, and bridging movements. Because each linear
movement is an abbreviated expression of one of the basic eight circular palm changes
(Lao Ba Zhang), they can be combined with the circular palms to produce a wide
variety of defensive and counter-attacking tactics.
5) Lao Ba Zhang (Old Eight Palms) circular palm changes which develop variations of
the foundational single and double changes. The Single and Double palm changes
comprise the first two palms of Lao Ba Zhang. The other six combine single and double
changes with different types of footwork and changes that emphasize the eight
directions and six facings: front, back, up, down, turning leftward and turning
rightward. These Eight Palm Changes are the heart of the Liang system of Ba Gua
Zhang.
6) Elements of the Four Methods of Attack and Defense are also introduced at this
level in order to develop foundations for the various aspects of the art of Ba Gua, which
include striking (da fa) seizing and locking (na fa or qin na ), kicking (ti fa), and throwing
(shuai fa). To this end methods of controlling, locking and striking with the elbow, basic
kicking skills, falling skills (a pre-cursor to the practice of throwing) and various qin na
locking, joint seizing methods are introduced in order to build a foundation for more
advanced techniques.
36
Single Palm Change Zhan Zhuang
• Old Monk Hold Out the Alms Bowl
• Hide Flower Under Leaf
• Millstone Pushing Posture
Single and Double Palm Changes of Gao Ji Wu

• Single Palm Change (Dan Huan Zhang)
• Double Palm Change (Shuang Huan Zhan)
Lao Ba Zhang (Old Eight Palms)

Opening
1. Old Monk Hold Out the Alms Bowl (Lao Seng Tuo Bo )
2. Hide Flower Under Leaf (Yi Di Cang Hua
)
3. Hawk Spirals up to Heaven (Yao Zi Zuan Tian $"#)
4. Millstone Pushing Posture (Tui Mo Zhang )
1. Single Palm Change – Piercing Palm

Dan Huan Zhang (Chuan Zhang)
1. Millstone Pushing Palm (Tui Mo Zhang )
2. Shepard Boy Points the Way (Mu Zi Zhi Lu"!)
3. Hawk Penetrates the Forest (Yao Zi Chuan Lin $"
4. Hide Flower Under Leaf (Yi Di Cang Hua
)
5. Hawk Spirals up to Heaven (Yao Zi Zuan Tian $"#)
2. Double Palm Change – Hand Covering Palm

( ) Shuang Huan Zhang (Gai Shou Zhang)
2. Shepard Boy Points the Way (Mu Zi Zhi Lu"!)
4. Pick Off the Helmet from Behind the Head (Nao Hou Zhai Kui )
5. Horse Rings the Bell (Ma An Ling Sheng )
37
7. Hide Flower Under Leaf (Yi Di Cang Hua ))
8. Hawk Spirals Up to Heaven (Yao Zi Zuan Tian .,-#)
9. Millstone Pushing Palm (Tui Mo Zhang $+)
3. Body Turning Palm (Hidden Hand Palm)

+'+Hui Shen Zhang (Yan Shou Zhang)
2. Hidden Hand Sweeping Strike (Yan Shou Sao Zhang'+)
4. Hawk Spirals Up to Heaven (Yao Zi Zuan Tian .,-#)
4. Body Splitting Palm

+ Pi Shen Zhang
2. Tai Shan Presses Down the Head (Tai Shan Ya Ding "&)
3. Hawk Penetrates the Forest (Yao Zi Chuan Lin .,

4. Tai Shan Presses Down the Head (Tai Shan Ya Ding "&)
5. Hawk Penetrates the Forest (Yao Zi Chuan Lin .,

7. Hawk Spirals up to Heaven (Yao Zi Zuan Tian .,-#)
5. Opportunity Seizing Palm

!+ Shun Shi Zhang
1. Millstone Pushing Palm (Tui Mo Zhang)
2. White Snake Coils Its Body (Bai She Chan Shen )
3. Hang the Golden Bell Upside Down (Dian Dao Jin Ling)
4. Wave Body, Step & Pierce Downward (Yao Shen Chuan Xia (
%)
5. Double Spreading Arms (Shang Zhang Ge Bei *)
6. Three Plates Fall to the Ground (San Pan Luo Di )
38
7. White Tiger Shakes Its Tail (Bai Hu Yao Wei )#)
8. Iron Plated Boot Kicks the Chest (Tie Xue Chuai Xiong(5')
9. Walk a Circle in the Uplifting Heaven Palm (Zou Tuo Tian Zhang1 -)
10. Slowly Change to the Millstone Pushing Palm (Tui Mo Zhang -)
6. Step Following Palm

- Shun Bu Zhang
1. Millstone Pushing Palm (Tui Mo Zhang -)
2. Shepherd Boy Points the Way (Mu Zi Zhi Lu0.)
3. Hawk Penetrates the Forest (Yao Zi Chuan Lin 40
4. Ten Ton Weight Falls to the Ground (Qian Jin Zhui Di /
)
5. Rhinoceros Gazes at Moon (Xi Niu Wang Yue $",)
6. Hide Flower Under Leaf (Yi Di Cang Hua * )
7. Hawk Spirals Up to Heaven (Yao Zi Zuan Tian 402)
7. Palm #7: Yielding Body Palm or Downward

Dropping Palm (Slicing Palm)
- (&-) Rou Shen Zhang (Xiao Zhang)
2. White Snake Coils It Body (Bai She Chan Shen )
3. Pierce The Palm Downwards (Chuan Zhang Wang Xia -!%)
4. Slice Left & Right (Zuo You Xiao Zhang3+&-)
5. Hide Flower Under Leaf (Yi Di Cang Hua * )
6. Hawk Spirals up to Heaven (Yao Zi Zuan Tian 402)
8. Flat Piercing Palm (Testing Palm)

-(-) Ping Chuan Zhang (Tan Zhang)
2. Four Dragons Drawing Water (Si Long Dao Shui )
3. Flat Piercing Palm (Ping Chuan Zhang -)
39
4. Horizontal (Upward) Chop to the Rear (Heng Kan Hou Mian)
5. Hawk Penetrates the Forest (Yao Zi Chuan Lin -+

6. Hide Flower Under Leaf (Yi Di Cang Hua &)
7. Hawk Spirals Up to Heaven (Yao Zi Zuan Tian -+,)
8. Millstone Pushing Palm (Tui Mo Zhang "))
Eight Linear Movements (Ba Shou)

1. Uplifting Palm ) Tiao Zhang
2. Yin Striking Palm (') ) Liao (Yin) Da Zhang
3. Opening Palm ) (Kai Zhang)
4. Wind Wheel Chopping Palm ) Feng Lun Pi Zhang
5. Heaven & Earth Palm ) Tian Di Zhang
6. Ten Ton Weight Falls to the Ground & Rhino Gazes at the Moon
(Qian Jin Zhui Di) $#( (Xi Niu Wang Yue)
7. Insert the Flowers Under the Armpit & Phoenix Enters the Nest
%* () (Cha Hua Ye Zhou) .! (Dan FengTou Chao)
8. Face Slapping Palm: Vertical & Horizontal ) (Pai Mian Zhang)
40
The 16 Tian Gan Exercises
1. Sword Hand
2. Diagonal Chop
3. Covering Hand Palm
• basic covering palm
• covering palm with chicken head
4. Reverse Covering Palm
5. Drill and Pull
• cross body drill and pull
• forward drill and pull
7. Piercing Palm
7. Hawk Penetrates the Forest
8. Tiger Plays with Ball (Rolling Upward)
9. Rolling Back-Fist
• 3 count rolling back-fist
• 2 count rolling back-fist
• continuous rolling back-fist
10. Bursting Fist
11. Shoulder Roll (2 Directions)
12. Cobra Out Of Basket
13. Drill & Chop
14. Spiral Upward & Press Downward
15. Moving The Mountain
16. Rocking Horse With Three Roots
• rocking horse with downward pressing
• rocking horse with pushing
• rocking horse with coiling and piercing
41
Miscellaneous Single Movement Exercises
1. Walk Forward & Scissor Kick - 3 Styles
• lead poke and kick
• rear poke and kick
• pull and kick
2. Pulling Hand & Piercing Kick
3. Rolling Chopping Hand
4. Bumping & Pushing
5. Chopping Hand With Tiger Push
6. Chopping Hand With Two Palm Strikes
7. Walk Forward & Flicking Fist (and with backfist)
8. Dragon Body
9. Immortal Sifts The Rice
10. Walk Forward With Lion Holds The Ball
11. Paddle Wheel Arms & Millstone Sweep
12. Picking Hand With Step
Kicking: Developmental Exercises:

1. Crane Step
2. Phoenix Walk
3. Lift Leg, Scoop Step and Bai Bu Stepping
Stationary Kicking Drills

1. Straight Kick
2. Diagonal Kick
3. Inward Crescent
4. Outward Crescent
5. Inward Hanging Leg
6. Sweeping Kick
7. Pull and Knee
8. Upward Kick
9. Turn and Back Kick
Kicking Drills
1. Drill and Pull with Basic Ba Gua Kick
2. Drill and Pull with Wrist Wrap and Stomp Kick
3. Drill and Pull with Stomp Kick to Outward Cutting Kick
4. Two Hand Pull and Inward Hanging Leg
5. Drill and Pull and Upward Kick
6. Drill and Pull with Covering hand and Sweep
7. Double Pull with Upward Scraping Kick and Down Stomp Step
8. Swing Arms with Outward Crescent Kick
9. Pull and Knee Strike
10. Cover and Inward Knee Strike
11. Basic Ba Gua Kick; Inward Crescent Kick; Back Kick
12. Drill and Pull with Stomp Kick; Inward Slicing Kick; Spin and Spin with
Downward Scraping Kick
13. Run Away Back Kick; Turn Cover Leg; Sweep; Spin and Outward Cutting Kick
42
14. Drill Grab and Cover and Sweep Kick Outward Cutting Kick w/ same leg
15. Figure Eight Stepping with Kicks and Knee
Six Basic Wrist Qin Na

I. Opposite Side Grab
1. Departing Horse Looks Back (Zou Ma Hui Tou ) or Golden Rooster Nods
Head
2. Golden Threads Entangles the Wrist (Jing Si Chan Wan
)
3. Uphold the Spear to Strike the Tiger (Tuo Gun Da Hu )
II. Same Side Grab
1. Clouds Follow the Coiling Dragon
2. White Horse Rolls its Hoof
3. Hook and Hang Up the Jade Bottle
Wrist Qin Na Variations

I. Principle of White Horse Rolls its Hoof or Immortal Child Points the Way (Xian Tong
Zhi Lu )
1. Wrist Grab Using Elbow (Xiang Zi Carries the Basket)
2. Lapel Grab
3. Shoulder Grab: Phoenix Ties Wings (Feng Huang Shu Chi )
4. Elbow Grab
5. Throat Grab
II. Principle of Hook and Hang Jade Bottle

1. Breaking a Low Grab (same side)
2. Upper Arm Grab
3. Waist Grab
III. Principle of Overturn Heaven’s Seal (Fan Tian Yin)
1. Forearm Against Either Arm
2. Above Elbow (Reach under and turn Body)
3. Chest (with Elbow control and twist) – Hang The Heavy Flag on the Post
4. Head/Hair
Elbow And Shoulder Qin Na

1. Basic Arm Bar (Hide Flower Under Leaf) – Blunt Sickle Harvests Grain (Dun Lian
Ge Gu)
2. Embrace Moon to the Breast (Hide Flower Under Leaf)
3. Under Elbow Wrench (Hide Flower Under Leaf)
4. Varus/ Valgus Elbow Wrenches (Sparrow Hawk Spirals and Millstone)
5. Single Palm Change (Sparrow Hawk Spirals and Millstone)
6. Bent Arm Lock (Covering Palm)
7. Making the Figure 10 (Covering Palm)
8. Climb Tree to Break the Branch: (Pan Gua Zhe Zhi ) - (Sparrow Hawk Spirals and
Millstone)
43
1. Golden Threads Wraps the Wrist
2. White Horse Rolls Its Leg
3. Tying the Phoenix’s Wings (lapel grab)
4. Galloping Horse Looks Back (outer wrist lock)
5. Clouds Follow Coiling Dragon (drill and pi)
6. Step Back and Lead the Sheep (reverse outer wrist lock)
7. Golden Bracelets
8. Basic Arm Bar
9. Hammerlock
10. Embracing Yang/Gathering Yin (gooseneck)
11. Raise the Spear to Kill the Tiger
12. Embrace Pi Pa in Arms
13. Thousand Catty Finger
14. Finger Locks
15. Old Pine Leans Over (figure 4 lock)
16. Lapel Grabs
Lead; Seize and Pull Drills

1. Basic Pressing Shoulder
2. Pulling and Stepping with Arm Bar
3. Wrist Radius Head Qin Na with Stepping
4. Pulling an Stepping with Arm Bar and Poke
Eight Linking Qin Na: Eight Comprehensive Grasping-Seizing Form

( Ba Ba Zong Na)
1. Oriole Grabs the Throat (Huang Ying Qia Su %&)
2. Xiang Zi Carrying a Basket (Xiang Zi Kua Lan#)
3. Overturn Heaven’s Stamp (Zheng Fan Tian Yin !
)
4. White Horse Rolls Its Hoof (Bai Ma Gun Ti ) - also called Golden Rooster
Nods Head (Jin Ji Dian Tou )
5. Golden Threads Entwine the Wrist (Jin Si Chan Wan)
6. Embrace the Moon to the Breast (Huai Zhong Bao Yue " )
7. Galloping Horse Looks Back (Zou Ma Hui Tou $)
8. Golden Cicada Sheds its Skin (Jin Chan Tuo Qiao ) or use Overlord
Drives the Chariot (Ba Wang Jia Che )
44
Basic Elbows: Stationary
1. Upward Striking Elbow
2. Backward Striking Elbow
3. Lateral Striking Elbow
4. Wing Spreading Elbow
5. Inward Wrapping Elbow
6. Upward Lifting Elbow
7. Downward Dropping Elbow
8. Body Embracing Winding Elbow
Ba Gua Zhang Eight Attacking Elbows

Ba Gua Zhang Ba Gong Ji Zhou
1. Double Stretching Elbow
2. Chest Embracing & Pouncing Elbow
3. Turn the Body & Sit (Lower) the Elbow
4. Turn the Body & Cover with the Elbow
5. Walk Forward & Lift the Elbow
6. Turn the Body & Explode the Elbows Backward
7. Withdraw the Body & Pierce the Elbow
8. Queen Wang’s Thread Winding Elbow
Slap Away Millstone Exercises

1. Basic
• from side
• from above
2. With Foot Trap
3. Step in with Clothes Line
4. Step in with yin strike/shoulder strike
5. Step back w/ Rotary Throw
Spinning Exercises
1. Push to Chest & Spin
2. Push from Outside and Spin
3. Continuous Spinning
Winding/Entangling Hand Throws & Techniques

1. Piercing and Entangling
2. Outside Position on Neck: Neck and Elbow Rotary Throw
3. Inside Position on Neck: Bump and Backward Hip Throw
4. Low Position: Pierce Low, Grab Collar and Hip and Pivot to Throw
5. High Position: Pierce to Eyes, Turn and Lock Elbow with Forearms
6. Deep Entwine and Step Behind to Monkey Cleaning Teeth
7. Entangle and Outer Wrist Throw (add Figure Four Throw)
8. Entwine and Turn into Arm to Block and Break Shoulder
9. Entwine and Outer Wrist lock to Wrapping and Grab Throat
10. Entwine and Slap Face with Left and Pull Arm Attack Elbow step Across and Throw
45
Falling Skills
1. Rolling Front
2. Rolling Back
3. Side Break-Falls
4. Back Break-Fall
5. Rolling Sideways
6. Front Breakfall
Seizing Hand Locks and Throws

1. Wrist Seizing Hand and Twist Wrist: left hand rotates pinky side upward
2. Elbow Seizing Hand: Forearm controls his elbow and step across throw
3. Shoulder Seizing Hand: Seize Armpit and left hand slips to hammerlock as block leg
Ba Gua Throwing
1. Rotary Throw
2. Leg Pickup Throws
• Inside
• Outside
3. Clothesline Throw
• Outside: w/Hip Displacement Throw
• Inside
4. Yin Yang Throws
• Classic Yin Yang Palm Throw
• Outside Yin Yang Palm Throw
5. Downward Pressing Palm Throw
• Basic
• Phoenix Throwing Wing
6. Monkey Cleaning Teeth
7. Single Palm Change Throws
8. Double Palm Change Throw (scoop legs)
9. Ten Ton Weight Falls to Ground
• Straight
• Side-Holding Upper arm
• Cross Body
Circling Piercing Palm Exercises

1. Pierce Palm Up
2. Three Piercing Palms
3. Three Piercing Palms w/ Lotus Kick
• catch leg and throw
4. Three Pierces; Pull partner across circle and walk
• clothesline if resists
5. Three Pierces and enwrapping Arms as walk
6. Enwrapping Arms with turning and spinning
46
Core Patterns and Movements: Tips For Practice
1. Continue to perform the warm-ups, followed by stake-standing and Ding Shi as
much as possible. Add in the 12 Stake Standing Exercises. Follow them with a few
minutes of the Qi Cultivation Exercises. If time is short, do less repetitions of each
exercise so that you can spend time on the Tian Gan exercises.
2. The opening to Lao Ba Zhang can be done as a Qi Gong Exercise or more smoothly
thinking about applications. Practice both ways and spend time perfecting the stances
and positions of each of the three postures. Pause holding the Old Monk Holds Out the
Alms Bowl Posture, the Hiding Flower Under Leaf Posture and the Millstone Posture.
This can be a type of stake standing exercise. This will prepare you for the next level.
3. Crane Stepping is a key exercise for developing a light quick step. Additionally it is
important in developing kicking skills, so it should be practiced until it is comfortable.
Gao Ji Wu recommends 20-30 minutes at a time. When practicing crane form stepping,
keep the body level – don’t bounce up and down. If necessary balance something on
your head (a plastic cup) to make sure your stepping is level and smooth.
4. Practice Tian Gan as part of the warm-ups. The Tian Gan exercises are very important
in developing winding power and torsion power. Because the Tian Gan exercises
develop the ability to use the waist to generate torsional spiraling power and free the
spine of restrictions to turning, twisting, extending and flexing. In this sense they can be
said to “wring out” the spine. They also develop the so-called “silk reeling power,”
used to off-balance, lock and strike the opponent If possible perform 10-20 repetitions of
each, in the order they are listed, before practicing Ding Shi or Lao Ba Zhang. They are
practiced in that order because each exercise builds on the exercises that preceded it. If
time is limited, practice the ones that you have the most difficulty with.
5. The Single and Double Palm Changes are the key to Lao Ba Zhang (the Old Eight
Palms) and more advanced techniques. Practice them until they are smooth and fluid.
After Ding Shi practice the body is connected and stable – this is a good time to practice
the Single and Double Palm Changes of Gao Ji Wu. These changes help develop
winding and wrapping energy while changing and stepping.
6 Practice the Eight Linear Movements frequently in lines and stepping forward and
back. Get comfortable with performing them with different types of steps.
7. Practice Lao Ba Zhang slowly and precisely, feeling the actions of coiling and
drilling, embracing/wrapping and pressing/separating.
8. In practicing Lao Ba Zhang, pay attention to the turning of the waist. The actions of
the arms come from the steps, the folding of the kua (inguinal area) and the turning of
the waist.
9. Practice the Qin Na/Na Fa techniques as much as possible outside of class. If you
have no one to practice with, visualize the techniques and perform them in the air.
Always remember to use the idea of initiating movements from the body and not the
47
hand, as in Black Dragon Waves its Tail and Hiding Flower Under Leaf (ning-twist; guo-
wrap) & Sparrow Hawk Drills Up to the Sky and Lone Goose Leaves the Flock (zuan-
drill; fan-overturn). If you are wrestling with your partner or using muscular strength,
stop, relax and analyze what is wrong. Perfect as many Qin Na methods as you can.
Imagine grabs and how you might neutralize them
10. Rolling and Falling is an important skill. Practice whenever you can. Make the rolls
slow and smooth.
11. Keep in mind that ultimately Ba Gua is really just a set of principles that are learned
through the basic training methods in the beginning level. These key principles and
exercises provide a foundation that are built upon at the intermediate and advanced
levels - these beginning levels are the key to mastery.
12. This level adds a lot of new material that builds on what came before. Slowly master
all the techniques in order to build a base for more advanced forms and methods.
13. Keep practicing Ding Shi. Ding Shi is the beginning and the end of training. It is
basic, but its practice also generates some of the most advanced techniques.
14. Lao Ba Zhang is at the heart of Ba Gua Zhang. By combining Ding Shi and Lao Ba
Zhang infinite changes and applications can be created.
15. This level adds elbow strikes. The Eight Elbows form shows how Lao Ba Zhang
movements can be used in close quarters by employing elbow strikes.
16. Kicking skills are an important part of Ba Gua Zhang. Every step is potentially a
kick. Many of the advanced Linear Movements include kicks – so training the kicking
drills along with the crane step will help the linear movements and vice-versa.
17. The Circling and Piercing Palm exercises develop the piercing palm and the ability
to change and open and close lines of attack. Practice them frequently until they are
reflexive.
18. A good strategy for training is to start with standing and progress sequentially
through Tian Gan, Ding Shi and Lao Ba Zhang, followed by the Eight Attacking Elbows
and the Eight Kicks. If you do this every day, even in a short session, they will become
part of your natural movement.
19. Another important practice method is to mix the eight linear movements (Ba Zhang)
with the Lao Ba Zhang palm changes. Explore how linear number one is really hidden
within the first palm change. This is true for each linear movement and its respective
palm change.
20. Do the warm-ups for kicking: Phoenix Walk; Lift Leg, Scoop Step and Bai Bu; Crane
Form Stepping before practicing the kicks. These are the developmental exercises for
kicking. Do the kicks easily and lightly, using the principles developed in the basic
warm-ups, so that the hip opens and the leg muscles are loose and relaxed.
48
LEVEL 3
Intermediate Level
Introduction to the Intermediate Level
The Intermediate level continues to develop and integrate foundational work, while at
the same time introducing a more complete expression of the Ba Gua movements and
their employment in attack and defense. To this end, students learn variations of the
Lao Ba Zhang and the 64 Hands. The 64 Hands are the straight line fighting sets of Ba
Gua that are extensions of the basic palm changes and the eight basic linear movements.
These 64 movements can be performed individually or in linked sets. They develop
practical self-defense skills while integrating footwork with striking, kicking seizing
and throwing.
The 13 Elbows is an important form with variety of practical movements that are
chained together in a linear sequence. It expands on the use of the elbow in striking
controlling and locking.
The 72 Techniques add another repertory of practical applications that also combine
and integrate, kicking, striking, locking and throwing. These techniques are essentially
sophisticated and practical applications of the Single and Double Palm Changes. They
have considerable overlap with the 64 Hands allowing the two sets of techniques to be
mixed freely in order to create a vast number of applications.
Ba Gua Lian Huan, the Ba Gua linking or “chain linking form” develops the ability to
combine linear and circular movements in a continuous unbroken sequence. Its
employment of the Crane Step further develops kicking skills and their combination
with hand skills. Ba Gua Lian Huan introduces the “dragon body” or “cloud swimming
dragon” movements which are characteristic of Ba Gua Zhang.
Pushing hands exercises similar to those found in Tai Ji quan are known as Rou Shou
(Rolling Hands) in Ba Gua. The Rou Shou exercises develop higher level interactive
skills that help in all facets of self defense and enhance the ability to sense the
opponent’s intention.
Ba Gua whipping hand exercises, which strengthen tendons and ligaments and help to
develop powerful relaxed strikes, are also taught at this level.
Although weapons are considered advanced training, the basics of the Chinese Saber
and Ba Gua Yin-Yang Staff are often introduced at this level. The Yin-Yang Staff is
particularly useful as it directly connects the hands and the waist together, so that they
move as an integrated unit.
50
Ba Gua Chain Linking Palm Ba Gua Lian Huan Zhang

1st Palm: Single Changing Palm
1. Hook Step and Hide Elbow

Kou Bu Yan Zhou
2. Green Dragon Turns Head

Qing Long Hui Shou
3. Advancing Step Piercing Palm

Shang Bu Chuan Zhang
4. Turning Body Covering Palm

Hui Shen Gai Zhang
5. White Snake Spits Out Tongue

Bai She Tu She
6. Withered Tree Entwines Roots
Ku Shu Pan Gen
7. Advancing Step Penetrate and Kick

Shang Bu Chuan Ti
8. Sparrow Hawk Drills Upward to Heaven

Yao Zi Zuan Tian
Song of the Single Changing Palm

The posture on one side is not a miracle,
Training on both left and right sides is beneficial.
Left form should be changed to right and vice versa
Pull the body backward by retracting the steps for good opportunity.
51
2nd Palm: Hand Covering Palm
1. Hook Step Covering Palm

Kou Bu Gai Zhang
2. Blue-Green Dragon Tests Its Claws

Qing Long Tan Zhua
3. Shaking Body Crouching Dragon

Yao Shen Pu Di Long
4. Red Phoenix Faces Sun

Dan Feng Chao Yang
5. Heavenly Emperor Holds up Pagoda

Tian Wang Tuo Ta
6. Black Dragon Waves Tail

Wu Long Bai Wei

Yao Zi Zuan Tian
8. Turn Over the Body Rotate and Walk

Fan Shen Zhuan Zou
Song of the Hand Covering Palm

Two forms of covering palm go to pounce on the face.
Move away the clouds to see the sun and walk freely.
Left form should be changed to right and vice versa,
Phoenix faces the sun and comes out upward.
52
3rd Palm: Overturning Palm
1. Turning Body Leading Hand

Zhuan Shen Ling Shou
2. Hook Step and Backward Overturning Palm

Kou Bu Fan Bei Zhang
3. White Robe Cutting Grass

Bai Pao Zha Cao
4. Cat Washes Face

Mao Xi Lian
5. Qi Lin Spits Out Letter

Qi Lin Tu Xin
6. Advancing Step Pouncing Palm

Shang Bu Pu Zhang

Wu Long Bai Wei

Shang Bu Chuan Ti

Yao Zi Zuan Tian
Song of the Overturning Palm

Overturning forms should bump together,
Changes in the two hands can lead to firm and powerful strength.
Pull the body by the long hand without hurrying.
53
4th Palm: Splitting Hand Palm
1. Go Forward to Uplift Yin (Uplift the Groin)

Shun Bu Liao Yin
2. Turning Body Splitting Palm

Fan Shen Pi Zhang
3. Wind-Wheel Splitting Palm

Feng Lun Pi Zhang
4. Zhou Cang Carries The Saber

Zhou Cang Kang Dao
5. Liu Chuan Offers the Melon

Liu Chuan Jin Gua
6. Golden Silk Brushes Eyebrows

Jin Si Ma Mei

Wu Long Bai Wei

Yao Zi Zuan Tian
Song of the Splitting Hand Palm

Chop with the hand and walk freely.
Tricky methods should be sought with both hands.
Don’t turn the head backward without kou bu.
54
5th Palm: Posture Following Palm
1. Escape and Change the Shadow

Tuo Shen Hua Ying
2. White Snake Hides in the Grass

Bai She Fu Cao
3. Sucking Step Testing Palm

Xi Bu Tan Zhang
4. Advancing Step Pushing Palm

Shang Bu Tui Zhan
5. Leopard Cat Climbs Tree

Li Mao Shang Shu
6. Step Down with Splitting Palm

Luo Bu Pi Zhang
7. Raise Knee Turning Back Hammer

Ti Xi Fan Bei Chui

Wu Long Bai Wei

Shang Bu Chuan Ti

" ! Yao Zi Zuan Tian
Song of the Posture Following Palm

The 5th form is to follow the posture and change the shadow.
The hand follows the foot to stretch (open).
Dodge and move in different positions and win by changing steps.
55
6th Palm: Step Following Palm
1. Thousand Ton Weight Falls to Ground

Qian Jin Zhui Di
2. Sun and Moon Move Together

Ri Yue Bing Xing
3. Golden Cicada Sheds Skin

Jin Chan Tuo Ke
4. Stroking Hand Plays with Pearls

! Lu Shou Xi Zhu
5. Great Roc Spreads Wings

Da Peng Zhan Chi
6. Body Shaking Alligator Form

# Yao Shen Tuo Xing
7. Hook Step Ground Crouching Dragon

Kou Bu Pu Di Long
8. Black Dragon Waves Tail and Sparrow Hawk Drills Upward to Heaven
( Wu Long Bai Wei and (" Yao Zi Zuan Tian)
Song of the Step Following Palm

The 6th form is to follow the step with double pulling.
Many changes in thousand ton weight falls to the ground.
Sun & moon go parallel for opening and closing.
56
7th Palm: Downward Dropping Palm
1. Hook Step Dropping Palm
Kou Bu Ta Zhang
2. Advancing Step Uplifting Palm

Shan Bu Tiao Zhang
3. Rotating to Slice Two Gates

Pian Xuan Liang Men
4. Wind-Wheel Splitting Palm

Feng Lun Pi Zhang
5. Golden Rooster Stands on One Leg

Jin Ji Du Li
6. Golden Rooster Pecks Rice

Jin Ji Shi Mi
7. Golden Rooster Shakes Tail

Jin Ji Dou Ling

Wu Long Bai Wei

Shang Bu Chuan Ti

Yao Zi Zuan Tian
Song of the Downward Dropping Palm

The 7th form is to drop downward for delicate changes,
Thrust flower and strike the waist transversely.
Turn the body and step backward like a dragon.
57
8th Palm: Horizontal Piercing Palm
1. Immortal Watches Chess Game

Xian Ren Guan Qi
2. Sweeping Ear with Single Hammer

Sao Er Dan Chui
3. Four Dragons Drawing Water

Si Long Qu Shui
4. Turn Body and Wave the Lotus

Zhuan Shen Bai Lian
5. Hook Step Hiding Palm

Kou Bu Ye Zhang
6. Giant Python Turns Over Its Body

Da Mang Fan Shen
7. Turn Body and Ground Crouching Dragon

Zhuan Shen Pu Di Long
8. Advancing Step Piercing Palm

Shang Bu Chuan Zhang

Yao Zi Zuan Tian
Song of the Horizontal Piercing Palm

The 8th form is to pierce horizontally toward the face,
By changes in the two hands and walking steps.
Walk like the wind, stand like a nail.
58
Straight Line Eight Diagram Sixty-Four Palms (64 Hands)
Zhi Tang Ba Gua Liu Shi Si Zhang
"8 First Line

1. Step Forward with the Uplifting Palm
0 jin bu tiao zhang
2. Lion Rolls the Ball
shi zi gun qiu
3. Entangling Hand Hidden Strike
# chan shou ye zhuang
4. Crouching Tiger Leaps the Ravine
'(, wo hu tiao jian
5. Punch Under the Elbow
% zhou di kan chui
6. Turn Over the Arm Splitting Strike
& fan bi pi chui
7. Double Whip to Press the Elbow
14
% shuang bian ya zhou
8. Step Forward with the Cutting Elbow
0% jin bu jie zhou
"8 Second Line

1. Green-Blue Dragon Extends its Claw
37 qing long tan zhua
2. Brush the Sleeve and Strike Continuously
)/ mo xiu lian chui
3. Cloud Dragon Offers its Claw
27 yun long xian zhua
4. Move Away the Clouds to See the Sun
2* bo yun jian ri
5. Pat the Chest and Pounce with the Elbow
pai xiong pu zhou
6. Turn the Body and Butt with the Elbow
.-5% zhuan shen ding zhou
7. Punch the Ear with Penetrating Strike
+$! guan er chuan chui
8. Hungry Tiger Tears Open the Heart
6( e hu ba xin
59
%<Third Line
1. Step Forward Unite and Strike
3 jin bu tuan zhuang
2. White Ape Offering Peach
" bai yuan xian tao
3. Wind Wheel Overturning Elbow
90* feng lun fan zhou
4. Immortal Watches the Chess Board
- xian ren guan qi
5. Golden Silk Brushing the Eyebrow
6&# jin si mo mei
6. Jade Maiden Throws the Shuttle
$ yu nu chuan suo
7. Stepping Back and Lead the Sheep
1' tui bu qian yang
8. The Overlord Sends Off the Guest
7 2 ba wang song ke
% < Fourth Line

1. Departing Horse Turns Back
.:8 zou ma hui tou
2. Two Immortals Preach the Dao
4 er xian chuan dao
3. Body Overturning Splitting Strike
)/ fan shen pi chui
4. Wild Horse Crashes Through the Trough
5: ye ma zhuang cao
5. Great Roc Spreads its Wings
;( da peng zhan chi
6. White Robe Scythes the Grass
",+ bai bao zha cao
7. Zhou Cang Shoulders the Broadsword
zhou cang kang dao
8. Liu Quan Advances the Melon
3! liu quan jin gua
60
: Fifth Line
1. Escaping Body Changing Shadow
tuo shen hua ying
2. Stroking Hand, Slicing [Kick] and Trample
luo shou bian cai
3. Advancing Step Bumping Strike
" jin bu zhuang chui
4. Head On Spring Kick to the Knee
!# ying mian tan xi
5. Sweep the Ear with Single Strike
sao er dan chui
6. Arm Overturning Charging Strike
fan bi chong chui
7. The King of Heaven Holds Up the Pagoda
tian wang tuo ta
8. Queen Mother Winds Thread
wang mu guai xian
$ Sixth Line

1. Thousand Kilo Weight Falls to Earth

qian jin zhui di
2. Sun and Moon Advance Together
ri yue bing xing
3. Golden Cicada Shedding Skin
jin chan tuo qiao
4. Lean On Mountain Squeezing
yi shan ji kao
5. Pull the Hand and Bump with the Knee
lu shou zhuang xi
6. Lazy Dragon Lies on Pillow

lan long wo zhen
7. Twist and Lift the Hand to Slap Upward
niu shou ti liao
8. Step Forward with the Downward Pressing Palm
jin bu ta zhang
61
'< Seventh Line
1. Thrust Flower Under the Elbow (Gao: Thrust Flower Into Ribs)
., cha hua ye zhou
2. Lone Phoenix Enters the Nest
dan feng tou chao
3. File Inside and Stamp Outside
1 li cuo wai duo
4. Cover the Elbow and Push the Mountain
, yan zhou tui shan
5. Wind Elbow and Wave the Lotus
*,/ chan zhou bai lian
6. Turn Around Beat the Waist (like a Drum)
42- zhuan shen lei yao
7. Ape Climbs the Pole
%$" yuan hou pa gan
8. Bend the Bow to Shoot the Tiger
0 wan gong she hu
'< Eighth Line

1. Four Dragons Drawing Water
; ! si long qu shui
2. Embrace Moon To Breast
huai zhong bao yue
3. Immortal Sifts the Rice
() xian ren bo mi
4. Stroking Hand Plays with the Pearls
& luo shou xi qiu
5. Zhang Fei Steals Horse (by Trickery)
8:9 zhang fei pian ma
6. Slice Two Revolving Doors
#5 pian xuan liang men
7. Wind Wheel Splitting Palm
73 feng lun pi zhang
8. Lone Goose Leaves the Flock
6+ gu yan chu qun
62
Ba Gua Zhang Thirteen Elbows (Zhang Hua Sen)
1. Lt. Millstone Posture
2. Windmill Chopping Palm
3. Slant Flying
4. Coiling the Hand and Stomping the Knee
5. Side Cutting Kick
6. Pao Quan(Pounding Fist)
7. Entwine Stop & Strike Up with the Elbow
8. Cover High & Strike Underneath (Punch)
9. Cover The Elbow & Slap (Poke) High
10. Cover High and Slap Underneath
11. Jump, Sweep & Switch Feet with Pi Quan (Splitting Fist)
12. Entwine, Step & Strike Up with the Elbow
13. Turn Around & Push Up with the Elbow
14. Slap the Chest & Strike with the Elbow
15. Immortal Studies the Chess Game
16. Retreating Step and Cover with the Elbow (Lt)
17. Retreating Step and Cover with the Elbow (Rt)
18. Retreating Step and Cover with the Elbow (Lt)
19. Turn, Entwine with the Rt Hand, Step Left Foot Forward and Lt Penetrating
Palm
20. Turn 180 Degrees, Step Through and Strike with the Left Palm
21. Retreating Step and Lift & Pull (Lt)
22. Retreating Step and Lift & Pull (Rt)
23. Retreating Step and Lift & Pull (Lt)
24. Step with Upward Striking Palm into Revolving Hands Hit Two Doors as
Cross Behind with the Lt. Foot.
25. Step Feet Together & Poke with Both Hands
26. Rt. Kou Bu to Turn with Windmill Chopping Palm
27. Step Left Out & Millstone Sweeping Throw
28. Swallow Skims the Water
29. Left Piercing Palm & Step Back as Swing Arms Into Lt. Millstone Posture
63
EIGHT DIAGRAM PALM SEVENTY TWO TECHNIQUES
50%1 Ba Gua Zhang Qi Shi Er Zhao
1. Golden Rooster Shaking Wing Feathers

8 Ji Ji Dou Ling
2. Hawk Grasps the Shoulder

732 Yao Zi Zha Jian
3. Bend the Bow to Shoot the Tiger

,# Wan Gong She Hu
4. Leopard Cat Climbs the Tree

"' Li Mao Shang Shu
5. Uproot the Willow Tree

Dao Ba Chui Liu
6. Buddhist Guardian Explores the Sea

.) Ye Cha Tan Hai
7. Hungry Tiger Pounces on its Prey

& E Hu Pu Shi
8. Push the Mountain Into the Sea

*! Tui Shan Ru Hai
9. Move Away the Clouds to See the Sun

/ Bo Yun Jian Ri
10. Uphold the Spear to Strike the Tiger

+ Tuo Qiang Da Hu
11. Lu Bu Plays with Halberd

-6 Lu Bu Wan Ji
12. Make the Character “Ten”

%4 Shi Zi Ban Lou
13. Wipe the Eyebrows with Gold Silk

( Jin Si Ma Mei
14. Hawk Turns Over Its Body

73 $ Yao Zi Fan Shen
64
15. Overlord Draws the Bow
( Ba Wang Kai Gong
16. Steal the Peach from Underneath the Leaf

.&$ Ye Di Tou Tao
17. White Robe Scythes the Grass

0 Bai Pao Zha Cao
18. Golden Thread Entwines the Wrist

#' Jin Si Chan Wan
19. Cloud Dragon Shows Its Claws

/*4 Yun Long Xian Zhao
20. The Overlord Ties Up the Pig

(3 Ba Wang Kun Zhu
21. Turn Over the Body and Stamp the Egg

!5 Fan Shen Duo Zi
22. Two Dragons Drawing Water

)" Er Long Xi Shui
23. Zhang Fei Beats the Drum

1 Zhang Fei Lei Gu
24. Golden Silk Pats Elbow

#2 Jin Si Pai Zhou
25. Fire the Cannon to Heaven

% Huo Pao Chong Tian
26. Lone Goose Leaves the Flock

+ Gu Yan Chu Qun
27. Red Phoenix Looks toward the Sun
, Dan Feng Chao Yang
28. Heavenly Emperor Opens the Umbrella

%( Tian Wang Da San
29. Insert the Flowers Into the Ribs

- Cha Hua Yei Lei
65
30. Topple Mount Tai Shan
' Ban Dao Tai Shan
31. Queen Mother Winds the Thread

,- Wang Mu Guai Xian
32. Old Cat Climbs the Tree

!& Lao Mao Shang Shu
33. Taoist Acolyte Claps His Hands

)0 Dao Tong Ji Zhang
34. Wild Horse Crashes Through the Trough

/ Ye Ma Chuang Cao
35. White Horse Rolls Its Hoof

( Bai Ma Gun Ti
36. Lean in Close and Strike

5#
Wei Shen Kao Da
37. Move the Elbow to Block Horizontally

1 Heng Lan Jin Zhou
38. Golden Cicada Sloughs Its Skin

+ Jin Chan Tuo Qiao
39. Roll Up the Sleeve to Kick and Stamp

6%8 Lou Shou Pian Cai
40. Pound and Pierce Through the Ear

Guan Er Chuan Chui
41. Drunk Breaks Through the Mountain Gate

4
Zui Da Shan Men
42. Zi Xu Goes Through the Pass

27 Zi Xu Guo Guan
43. White Snake Spits Out its Tongue

"*. Bai She Tu Xin
44. Bind Up the Hands Like the Character “Ten”

$3% Shi Zi Kun Shou
66
45. Pull Away the Roof Beam and Change the Pillar
3 Chou Liang Huan Zhu
46. Old Monk Rings the Bell

"42 Lao Seng Zhuang Zhong
47. Black Dragon Entangles the Waist

). Wu Long Chan Yao
48. Yellow Dragon Grasps the Arm

5 Huang Long Zhuo Bang
49. The Immortal Crosses the Bridge

+ Xian Ren Guo Qiao
50. King of Heaven Upholds the Pagoda

&('$ Tian Wang Tuo Ta
51. Draw the Bow to Shoot the Arrows

! Kai Gong Sa Jian
52. Black Dragon Enters the Cave

He Long Ru Dong
53. Hold The Pi Pa in the Arms

Huai Bao Pi Pa
54. Roll Up the Sleeves and Pound

捋手冲捶 Lu Shou Chong Chui
55. Hook and Hang Up the Jade Bottle

/ Gou Kua Yu Ping
56. Galloping Horse Moves Diagonally

6- Zuo Ma Huo Xie
57. Point to the East to Strike the West

1 * Zhi Dong Da Xi
58. Point to the Mountain to Sell the Millstone

1# Zhi Shan Mai Mo
59. White Ape Offers Peach

0,% Bai Yuan Xian Tao
67
60. Roll Up the Sleeves Chop and Pound
)& Lu Shou Pi Za
61. Follow the Leg Upward to Hit the Groin

, Shun Tui Liao Dong
62. The Wind Sweeps Away the Leaves

# Shun Feng Sao Ye
63. Phoenix Spreads Wings

' Feng Huang Zhan Chi
64. The Immortal Props Up the Waist

" Xian Ren Cheng Yao
65. Tiger Enters the Flock of Sheep

! Hu Ru Qun Yang
66. Immortal Watches the Chess Game

Xian Ren Guan Qi
67. Oriole Grabs The Throat

(* Huang Ying Qia Su
68. Break the Tendons Outward

+ Wai Bai Jin
69. Blunt Sickle Harvests Rice

Dun Lian Ge Gu
70. Respect Virtue and Uphold the Whip

敬德托鞭 Jing De Tuo Bian
71. Overturn the Heavenly Seal

$ Fan Tian Yin
72. Fire the Cannon Toward the Gate

% Yin Men Kai Pao
68
Whipping Hand Exercises
1. Slapping Points and Flicking Hands
2.Throw Arms 4 Ways
• Back
• Up
• Front
• Out
2. Alternate Ridge Hand – Horse Stance
3. Alternate Fingers Push Out (ridge hand) - one foot forward
4. Alternate Drill Hands Out (chop) – one foot forward
5. Throw One hand Upward on Diagonal
6. Whip Hands Outward Circle – elbow as axle
7. Whip Hands Inward Circle – elbow as axle
8. Teacup Hands To backs of Hand Touching/Reverse to Double Chop
9. Teacup Hands To Pushing the Mountain
10. Shake wrists (one goes in/other goes out)
11. Throw Hands (wrist) Up Diagonal
12. Chopping Wrapping (leg-hand-leg-shoulder)
13. Drill-Poke-Pluck
Ba Gua Rolling Hands Exercises

1. Hip Sucking Palm
• single hand and double hand
• single hand and lift leg
• hip
• leg
2. Vertical Hip Sucking Palm
2. Covering Palm
3. Double Pulling Palm (arm bar)
• with Circling Step
4. Entangling Palm (wrapping arms)
5. Hand Tearing Palm (spinning; turning)
6. Uplifting Palm Pushing Exercise
7. Yin Striking Palm Pushing Exercise
8. Pushing the Mountain
9. Walking Double Pushing (embrace moon & push mountain)
69
Intermediate Level: Tips For Practice
1. Continue practicing Ding Shi and Lao Ba Zhang as well as the Tian Gan exercises.
2. Ba Gua Lian Huan employs the “dragon body.” Training Ba Gua Lian Huan
requires fine tuning the other skills so that the body moves smoothly and seamlessly
like a “cloud swimming dragon.” Each palm relates to the palms of Lao Ba Zhang, (the
first palm of Lao Ba Zhang to the first palm of Lian Haun and so forth through the eight
palms). This is also true for the Eight Linear Movements and the Eight Lines of the 64
Hands. In this way each new form builds upon the last one and each informs and is
informed by the other. Try and understand for yourself why the forms are structured
this way. Also, notice how Lian Huan blend movements from the 64 Hands with
circular turning movements.
3. Endlessly practice the Black Dragon Waves its Tail and Sparrow Hawk Spirals up to
Heaven. These two movements are emphasized throughout Ba Gua Lian Huan. They
are key movements that are characterized by ning-twist and guo-wrap, as in Black
Dragon Waves its Tail, and zuan-drill and fan-overturn, as in Sparrow Hawk Drills Up
to the Sky and the Millstone posture. These four movements are essential actions in Ba
Gua Zhang that can be employed in countless ways. The leg actions of lifting and
setting down to step use the principles of Crane Stepping. This can help your kicking
techniques.
4. Work on the seamless blending of tight circles and larger circles. This is one of the
points emphasized in Ba Gua Lian Huan. Keep a forward driving force even when
circling tightly.
5. The 13 Elbows should be practiced on both sides until the movements are smooth and
reflexive. This form blends circular and linear combat skills into practical applications
and develops footwork for forward, backward and side-to-side attack and defense
movements.
6. If you have been practicing the Eight Linear Movements (Eight Single Movements)
all along then the 64 Hands will be easier to learn, although to master them will take a
lot of practice. Practice the 64 Hands as individual movements on both sides as well as
in the connected sequence.
7. The 64 Hands illustrate many practical applications of the Single and Double
Changing Palms, combining locking, throwing, striking and kicking. Try to relate these
movements to the eight single movements, the single and double palm changes and the
Lao Ba Zhang palm changes they are associated with, so that you understand them as
extensions of the basic principles rather than fixed techniques.
8. Try mixing the 1st line of the 64 Hands with the first palm change of Lao Ba Zhang.
Mix them freely just using one or two or all eight. Do the same with the other seven
lines of the 64 Hands.
70
9. The whipping hand exercises will give the movements you already know a different
power dynamic. They can be practiced as part of your warm up or after Tian Gan.
10. At this level there are many throws so continuing falling practice is essential.
11. In throwing, seek to make the techniques effortless by studying the angles of off-
balancing and correct body dynamics.
12. Ba Gua Pushing Hand exercises develop the skills of attaching, sticking, absorption
and projection. Get together outside of class and practice these and other partner skills.
Pushing hands is an exercise in which starting slow and relaxed will develop refined
skill. Do not make it competitive. Help each other to figure out correct application and
usage.
13. The Qi Cultivation exercises and Zhan Zhuang develop subtle body skills that are
very useful in developing body connection for freestyle push hands. Continue to
practice them as you engage in push hands practice, or use them as a warmup before
push hands practice.
14. Upon completion of this level, the student will have learned the key elements of Ba
Gua Zhang. Even if training ends here, there is a life time of material to practice in
what has been already learned. The Advanced level adds other forms and weapons
exercises to round out one’s knowledge of the art so that it is more complete.
71
72
LEVEL 4
Advanced Training
&
Weapons
Introduction to Advanced Training & Weapons
The advanced forms and weapons training round out one’s training in Ba Gua. The
advanced forms help to make the stepping and changes more fluid and natural, while
also introducing different aspects of movement intention and self-defense. For example
the Dragon Palm focuses on the development of the Ba Gua Swimming Dragon body
actions, while the Changing Palms Form develops fluidity and smoothness. The Xian
Tian Eight Animal Palms introduces some concepts from Xing Yi Quan and the idea of
changing the intention to change the body’s expression of movement and power. In this
Eight Animal Form, the practitioner transforms the body from one animal to another as
the form takes on the appearance of the dragon, snake, tiger, horse, monkey, swallow,
hawk and lion. Lastly, Ba Mian Zhang (Eight Facings Palm or Eight Directions Palm)
deveops fast changes with attacks to multiple directions.
Weapons training teaches the practitioner to extend their intention beyond the limits of
their body and each weapon trains the body’s attributes in a unique way. For example,
the Yin-Yang Staff in particular connects the hands and the waist together so that they
move as an integrated unit, and it develops strong basic power dynamics. The Ba Gua
Saber, the Rooster Claw Knives and the Mandarin Duck Knives are three of Ba Gua’s
most important weapons. The saber develops strength and power in cutting, hacking
and slicing movements while the rooster claw knives develop strength in the arm-
shoulder connection and improves skill in pulling, hooking, filing and piercing. The
Mandarin Duck Knives are light and their crescent shape naturally develops and
enhances the actions of hooking, wrapping, piercing, deflecting and slicing. Other
weapons like the Heart-high Stick and the Ba Gua Jian (Straight Sword) develop
dexterous, quick and refined movements. On a practical level once the traditional
weapons are mastered, anything can be used as a weapon.
Variations of the techniques and forms studied earlier are also learned in order to round
out one’s understanding of the art. This enables one to better teach students with
different body types, different needs and varied temperaments. Understanding
variations allows one to better adapt to the potential for change inherent in a particular
situation, and also allows each individual to develop their own unique expression of the
art. To this end, more free style practice of rolling hands combined with stepping
introduces freely changing in accordance with your partner’s movements.
Lastly the advanced levels introduce advanced Nei Gong Methods such as the Marrow
Washing Nei Gong and Daoist Alchemical meditation. These Nei Gong methods, aim at
transforming Essence (Jing) into Spirit (Shen). They are extensions of those earlier
methods like Patting, Dao Yin, Qi Cultivation Exercises, Ji Ben Gong, Zhan Zhuang,
Circle Walking Nei Gong (Ding Shi) and Tian Gan.
In the advanced Level other miscellaneous abilities such as vital point striking are also
covered.
74
Eight Changing Palms
Ba Zhuan Hua Zhang (Li Zi Ming)
Open the Form

Open and Uplift Heaven to Press Downward
Turn the Body and Hold the Ball
First Palm: Lion Plays With Ball

Lion Rolls the Ball with Kou and Bai Steps
Lion Turns Over the Body to Change Directions
Second Palm: Downward Piercing & Uprooting Palm

Pierce Down Like a Sinking Needle
Walk out and Snake Spits Out Tongue
Chop Down and Uproot the Willow
Turn and Walk to Push the Millstone
Third Palm: Body Rotating Double Chopping Palm

Kou Bu, Fold the Elbow and Pound Outward
Rotate the Body with Wrapping Arms and Pound Again
Strike Downward Rotate the Body, and Open the Wind Wheel
Rotate the Body with Wind Wheel Splitting and then Walk to Push the Millstone
Fourth Palm: Attack, Kick & Make Noise in the East to Attack the West
Piercing Palms Left and Right
Gesture High and Kick Back Low
Walk and Feint to the East and Attack the West
Fifth Palm: Butterfly Flits Among the Flowers

Turn the Body and Pierce High
Flit Among the Flowers and Walk to Push the Millstone
Sixth Palm: Three Piercing Palms Defeat Both Gods & Demons
Kou Bu and Pierce Three Times
Walk to Push the Millstone
Seventh Palm: Yin Striking & Body Rotating Palm

Zig –Zag Steps and Snake Attacks the Groin
Covering Palm and Turn the Steps
Drill with the Hand to Cover and Turn the Steps Again
Step Back as the Eagle Reveals Its Talons
Walk to Push the Millstone
75
Eighth Palm: Changing Palms & Stand on One Leg to Touch Heaven
and Earth
Wind the Body and Walk to Change the Palms
Change the Palms Again With Agile Steps
Covering Palm and Turn the Steps
Pierce Underneath, Turn Over the Body and Stand One Leg to Touch Heaven
and Earth
Walk Forward to Push the Millstone
76
Pre-Heaven Shape-Form Imitating Palm: Eight Animals
Xian Tian Xiang Xing Zhang ($*+/ (Gao Ji Wu)
I. Qian Trigram: Snake Shape Smooth Body Palm
5+/ Qian Gua She Xing Shun Shi Zhang
1. Hide Elbow and Posture Following Snake Form

,0 + Yan Zhou Sun Shi Si She Xing
2. Green Dragon Extends Claws and Turn the Body to Walk

Qing Long Tan Zhao Xuan Shen Xing
3. Crouching Step Thrusting Palm and Snake Enters the Cave

'/ Wo Bu Cha Zhang She Ru Dong
4. Hand Follows Foot, Open, Straighten and Twist the Body

!
% Shou Sui Jiao Kai Ting Shen Ning
5. Silver Snake Coils Around Willow Tree and Spits Out Its Tongue
-& Yin She Pan Liu She Tu She
6. Koubu Turn the Body and Dragon Extends its Claw

3#2 Kou Bu Xuan Shen Long Tan Zhao
7. Bend Body, Pounce on Ground and Snake Comes Out of Cave

Fu Shen Pu Di She Chu Dong Ta Di Shen
8. Baibu, Turn the Body and Stamp the Enemy’s Chest

63" Bai Bu Zhuan Shen Ta Di Shen Long Xian Zhao
9. Left Pulls, Right Seizes, Dragon Offers its Claw

4.1)2 Zhou Lou You Zhua Long Xian Zhao
10. Extend Left Hukou to Seize the Throat

4 Zuo Shen Hu Kou Qia Hou Long
77
II. Kan Trigram: Dragon Shape Piercing Hand Palm
9(1 Kan Gua Long Chuan Shou Zhang
1. Green Dragon Extends its Claws and Turn the Body to Walk
567 Qing Long Tan Zhao Zhuan Shen Zou
2. Step Forward and Hit Upward to Split the Face

!- Jin Bu TIao Da Pi Mian Ying
3. Golden Dragon Coils Around the Pillar & Right Foot Stamps Down
3.
Jin Long Pan Zhu You Jiao Deng
4. Cloud Dragon Offers its Claw to Grasp the Face

/'54 Yun Long Xian Zhao Zhua Qi Mian
5. Shake the Head and Walk Forward

," %7 Yao Tou Huang Nao Wang Qian Zou
6. Step Back and Cover the Elbow to Protect the Chest

$*2) Tui Bu Yan Zhou Hu Qian Xiong
7. Chop Inward, Slice Outward with Yin Yang Palm

Li Kan Wai Xiao Yin Yang Zhang
8. Left and Right Forms Cut the Enemy’s Neck

8.0 Zuo You Liang Shi Zhan Di Jing
9. Cloud Dragon Offers its Claw Like Fetching an Object

/'5& Yun Long Xian Zhao Ru Qu Wu
10. White Snake Spits Out its Tongue and Poke the Eyes
#+ Bai She Tu Chuo Yan Jing She
78
III. Gen Trigram: Body Turning Tiger Striking Palm
85 / Gen Gua Hui Shen Da Hu Zhang
1. Turn the Body Strike the Tiger Rotate and Walk

2+ Hui Shen Da Hu Zhuan Shen Xing
2. Kou Bu and Squat Down and Brace Up with Two Palms

7!/ Kou Bu Dun Dang Shuang Zhang Cheng
3. Withdraw Step and Pile Hands to Cut the Grass

6 . Che Bu Luo Shou Shi Zha Cao
4. Step Forward and Punch the Face with Drilling Fist

Jin Bu Zuan Quan Ying Mian Chong
5. Crouch and Leap Over the Ravine to Strike the Face with the Fist
'$ Wo Bu Tiao Jian Quan Ji Mian
6. Hungry Tiger Pounces on its Prey and Pulls Open the Enemy’s Chest

, E Hu Pu Shi Ba Di Xiong
7. Pull the Two Hands Apart and Ring the Bell with the Head
! %31 Shuang Shou Lou Kai Tou Zhuang Zhong
8. White Ape Upholds the Palms and Offers the Peach

-*"!/& Bai Yuan Xian Tao Shuang Zhang Tuo
9. Lift the Knee and Strike Upward to the Fatal Spot

#( 0 Ti Xi Shang Da Zhi Ming Chu
10. Stamp the Feet Downward Without Mercy

)4 Xia Duo Er Zu Bu Liu Qing
79
IV. Zhen Trigram: Swallow Overturning Hand Covering Palm
06 +
"/ Zhen Gua Yan Fan Gai Shou Zhang
1. Swallow Overturns Hand Covers and Turn the Body Nimbly

+
"3 Yan Fan Gai Shou Zhuan Shen Ling
2. Pull Upward Insert Downward Dragon Pounces on the Ground

%( Shang Tuo Xia Cha Pu Di Long
3. Cross the Hands Under with Palm Centers Hollow.

#"(/* Shuang Shou Xia Cha Zhang Xin Kong
4. Lift Knee Jumping Step and Spread Wings to Fly

$',#. Ti Xi Yue Bu Shuang Zhan Chi
5. Swallow Dodges and Walks to Pass Through the Willow Trees

5+4 Shan Zuo Yan Zi Liu Lin Chuan
6. Swallow Rolls Up its Tail and Turn the Body to Strike

+4& Yan Zi Juan Wei Hui Shen Da
7. Ring Linking Piercing Palm and Grab the Face

/1 Lian Huan Chuan Zhang Zhua Qi Mian
8. Golden Rooster Stand on One Leg and Pile the Hands to Split
7" Jin Ji Du Li Luo Shou Pi
9. Golden Rooster Pecks Rice and Follow-Step Bursting (Beng)

! Jin Ji Shi Mi Gen Bu Beng
10. Cloud Dragon Offers its Claw and Grab the Face
-)21 Yun Long Xian Zhao Zhua Qi Mian
80
V. Xun Diagram: Monkey Shape Jumping Body Palm
65 &2/ Xun Gua Hou Xing Zong Shen Zhang
1. Learn to Jump Nimbly like a Monkey

)(&2 Yao Xue Huo Xing Song Shen Ling
2. Turn the Body Advance and Retreat Like a Whirlwind

1"' Zhuan Shen Jin Tui Si Xuan Feng
3. Shrink the Body Extend the Palm to Pounce on the Enemy’s Face
/ Suo Shen Tan Zhang Pu Di Mian
4. Stepping Back Moving Body Forward Most Nimbly

"*3 Tui Bu Jin Shen Yi Zui Ling
5. Hand Strikes the Canopy and Eyes Look

+ Shou Da Liang Peng Yong Mu Kan
6. Turn the Body Lift the Knee to Stand on One Leg

1!$ Xuan Shen Ti Xi Du Li Shi
7. White Ape Upholds and Offers Peach with a Single Hand

-#% Bai Yuan Tuo Tao Dan Shou Xian
8. Right Kick Left Stamp and Turning Over the Body Stomp
, 4
8 You Ti Zuo Duo Fan Shen Chuai
9. Turn Over the Body Hit the Ears like Picking Fruit

. & Fan Shen Guan Er Zhai Guo Xing
10. Step Back to Grasp and Pile [the Hands] Monkey Pounds the Rope
"07 Tui Bu Zhua Luo Hu Dao Sheng
81
VI. Li Diagram: Body Twisting and Horse Exploring Palm
5 %1 Li Gua Ning Shen Tan Ma Zhang
1. Moving Backward and Twisting the Body is Called Horse Exploring

% Dao Bu Ning Shen Tan Ma
2. Pile the Hands Step Up and Wipe the Eyebrow Cleverly

6! Luo Shou Shang Bu Ma Mei Ling
3. Walk Forward Poke and Splitting Strike to the Face

'- Jin Bu Tiao Da Pi Mian Ying
4. Zhang Fei Slicing Horse Lifting Knee and Foot

0&)
Zhang Fei Pian Ma Ti Xi Jiao
5. Turn and Slice Two Gates with Revolving Body

+$ 2 Pian Xuan Liang Men Sui Shen Zhuan
6. Turn the Body Split and Smash ,Lift Up and Lean {the Body]
/ Fan Shen Pi Zha Huo Liao Kao
7. Hands and Feet Open and Control with Twisting Yao

!
, Shou Jiao Qi Kai Ba Yao Ning
8. Left Pulls and Right Extends for Horse Exploring palm

4.%1 Zuo Luo You Shen Tan Ma Zhang
9. Fists Embrace and Pile and Advance to Bump

"63 Shuang Quan Bao Luo Jin Bu Zhuang
10. Hands and Feet Move Unceasingly in the Horse Shape

!
(#* Shou Jiao Bu Ting Si Ma Xing
82
VII. Kun Trigram: Hawk Overturning Palm
( )&" Kun Gua Yao Zi Fan Shen Zhang
1. Hawk Body Overturning Rotating Chop

)&% Yao Zi Fan Shen Zhuan Shen Pi
2..Hawk Enters the Forest and Advances to Strike

)&
Yao Zi Ru Lin Jin Bu Ji
3. Hawk Shrinks its Body to Strike Upward and Chop

)& Yao Zi Shu Shen Tiao Da Pi
4. Hawk Penetrates the Forest and Dodges East and West

)& Yao Zi Chuan Lin Shan Dong Xi
5. Hawk Face Upward [Leans Body] to Pierce and Kick

)&* Yao Zi Yang Shen Chuan Deng Chuai
6. Hawk Rolls the Body and Entangles the Wrist to Chop

)& Yao Zi Gun Shen Chan Wan Pi
7. Step Smoothly to Punch Suddenly and Stamp with the Right Foot
! Shun Bu Chong Quan You Jiao Ta
8. Hawk Seizes the Shoulder and Eyebrow Wiping Palm

)&$" Yao Zi Zhua Jian Ma Mei Zhang
9. Hawk Overturns its Body to Hold Up the Yin (Groin)

)& " Yao Zi Fan Shen Liao Yin Zhang
10. Hawk Drills Up to Heaven to Punch Directly

)&'# Yao Zi Zuan Tian Zhi Quan Chong
83
Dui Trigram - Lion Rolling Ball Palm
1 .) Dui Gua Shi Zi Gun Qiu Zhang
1. Walk Out Coordinate the Hands and Twist theYao

& Chui Bu He Shou Ba Yao Ning
2. Lion Rolls the Ball and Extend the Body to Walk

.# Shi Zi Gun Qiu Tan Shen Xing
3. Lion Overturning Body Ball Holding Posture

.
Shi Zi Fan Shen Fu Qiu Shi
4. Squat Crotch, Sit Kua and Press with the Hands

20* Dun Dang Zuo Kua Shang Shou Zheng
5. Lion Shakes Head and Opens the Mouth

.'(/ Shi Zi Yao Tou Da Zhan Zui
6. Walk Forward, Push the Ball and Pounce with Both Hands
Jin Bu Tui Qiu Shuang Shou Pu
7. Step Backward and Hide the Elbow to Protect the chest.

!%+ $ Tui Bu Yan Zhou Hu Qian Zhang
8. Walk Forward, Uphold the Ball Toward the Sky

" Jin Bu Tuo Qiu Mian Chao Kong
9. Green Dragon Extends its Claws and Pounces on the Enemy’s Face
, Qing Long Tan Zhao Pu Di Mian
10. Green Dragon Turns Body and Walks

-# Qing Long Zhuan Shen Sui Bu Xing
84
Ba Gua Swimming Body Dragon Palm
Ba GuaYao Shen Zhang (Li Zi Ming)
First Palm
1. Walk Forward With The Uplifting Palm
2. Kou Bu & Turn Back (270 degrees) To Strike The Waist Like A Drum
3. Hawk Turns Its Body
4. Entwining Roots of The Ancient Tree
5. Remove The Helmet From The Head
6. White Snake Spits Out Its Tongue
7. Black Dragon Whips Its Tail
8. Sparrow Hawk Penetrates The Forest
Second Palm
2. Green Dragon Retreats Into Its Cave
4. Wind Wheel Chopping Palm
5. Great Peng Bird Spreads Its Wings
7. Turn Back (270 degrees) To Strike the Waist Like A Drum
8. The Goddess Upholds The Plates
Third Palm
1. Green Dragon Extends Its Claws
2. The Eagle Reveals Its Talons
3. Wild Donkey Kicks Backward
4. Black Dragon Shows Its Claws
5. Monkey Frolics In The Forest
A. Monkey Enters The Cave
B. Monkey Climbs The Tree
6. Pulling The Arm & Cutting The Waist
7. Move The Ground & Shake The Mountain
8. Goddess Serving Teacups Front & Back
Fourth Palm
1. Black Bear Claws The Tree
2. White Snake Moves Through The Grass
3. Hang The Golden Hook Upside Down
4. Great Pong Bird Spreads Its Wings
5. Boy Immortal Turns His Elbows
6. Step Forward & Pierce With The Elbow
7. Kou Bu, Slap The Chest & Strike With The Elbow
8. Phoenix Turns Over Its Body
85
Fifth Palm
1. The King Offers The Wine
2. Golden Dragon Coils its Body
3. Bind Up The Reins & Overturn The Cart
4. Advance To Strike the Enemy
5. Snapping Kick To The Knee Face to Face
6. Pluck With The Hand To Stamp One's Chop (Seal)
7. Heaven & Earth Palm
8. Shake The Body & Pierce The Ear
Sixth Palm
1. Fierce Tiger Pushes The Mountain
2. Giant Snake Turns Its Body
3. Ten Ton Weight Drops To the Ground
4. The Sun & Moon Advance Together
5. Golden Cicada Sheds Its Skin
6. Leaning Against The Mountain
7. Pluck With The Hand & Strike With the Knee
8. Lazy dragon Lays Its Head On The Pillow
10. Wild Stallion Kicks Down the Gate
11. Rolling Chopping Hand
12. Small Ghost Pushes the Millstone
13. White Snake Spits Out Its Tongue
Seventh Palm
1. Wind & Rain Together
2. Swallow Skims The Water
3. Lone Goose Leaves The Flock
5. Pull the Arm & Cut The Waist
6. Move The Ground And Shake The Mountain
6. Entwining Hand & Piercing Palm
8. Wild Horse Crashes Through The Manger
9. Great Peng Bird Spreads Its Wings
10. Zhou Cang Shoulders The Broadsword (3x)
11. Swallow Skims The Water (2x)
12. White Snake Moves Through The Grass
13. Swing The Lotus Kick
86
Eighth Palm
1. Turn Backward To Separate Yin & Yang
2. The Butterfly Darts Among The Flowers
3. The Magpie Alights On The Branch
4. Rib Cutting Kick
5. Hang Up The Silver Bell
6. Turn Both Ends (Heaven & Earth) To Reverse The Situation
7. Turn Back & Strike The Waist Like A Drum
8. The Goddess Upholds The Plates
87
Ba Mian Zhang: Eight Diagram Swimming Body Eight
Directions Palm (Wang Shi Tong)
Ba Gua You Shen Ba Mian Shi Zhang
1st Palm: Downward Dropping Palm of the Qian Diagram
Begin: Walk Counter-clockwise with Downward Dropping Palm
1. Turn left: Zhang Fei Acquires A Horse By Trickery

(NW)
2. Turn left: Wind/Thunder Chopping Palm

(NE)
3. Turn left: Pierce With A Forward Palm

(SW)
4. Turn right: Covering Palm

(SE)
5. Turn right: King Drawing The Bow

(East)
6. Turn left: Horse Whipping Palm

(West)
7. Turn left: Uplift And Dropping Palm

(North)
8. Turn left: Lion Rolling Ball Palm

(South)
Walk Clockwise with Ball Holding Posture
88
2nd Palm: Ball Holding Palm of the Kan Diagram
Begin – Walking clockwise with Lion Holding Ball Posture
1. Turn right: Lion Opens Its Jaws Palm

(North)
2. Turn right: Backward Piercing Palm

(South)
3. Turn right: Pulling & Slicing Palm

(NW)
4. Step forward w/ Lt. Foot Crossing Hand & Rubbing Palm

(NE)
5. Turn left: Black Bear Waving Palm

(SE)
6. Turn left: King Offering Wine Palm

(SW)
7. Turn left: Eagle Claw Palm

(West)
8.Turn Right: Snake Hiding In The Grass Palm

(East)
White Tiger Shaking Tail and Walk Counter-clockwise with Pointing To

Heaven & Earth Penetrating Posture
89
3rd Palm: Heaven Pointing & Earth Penetrating Palm of the Gen Diagram
Begin: Walking Counter-clockwise with the Pointing To Heaven &

Penetrating The Earth Posture.
1. Open The Palm Laterally

(NE)
2, Turn left: Hawk Turning Body Palm

(SW)
3. Turn left: Escape Without A Trace to form Lion Jumping On the

Ball Palm
(NW)
4. Turn left: Wild Goose Wing Spreading Palm

(SE)
5. Turn left: Groin Slapping Palm

(West)
6. Turn left: Black Dragon Extending Claw Palm

(East)
7. Turn left: Raising Curtain To Gaze At The Moon

(South)
8. Turn right: Strike With The Iron Plated Foot

(North)
Walk Clockwise in the Heaven Uplifting Posture
90
4th Palm: Uplifting Heaven Palm of the Zhen Diagram
Begin: Walk Clockwise with Uplifting Heaven Palm
1. Immortal Sifting Rice Palm

(East)
2. Turn left: Uprooting The Willow Tree Palm

(West)
3. Turn left: Spreading Wing & Flying Palm

(North)
4. Turn left: Four Dragons Fetching Water Palm

(South)
5. Turn left: Small Ghost Pushing Millstone Palm

(NE)
6. Turn right: Body Turning Palm

(SE)
7. Turn left: Open The Window To Welcome The Wind Palm

(NW)
8. Turn right: Face Slapping Palm

(SW)
Walk Counter-clockwise with the Spear Upholding Posture
91
5th Palm: Spear Upholding Posture of the Xun Diagram
Begin: Walk Counter-clockwise with the Spear Upholding Posture
1. Blue Dragon Leaving Cave Palm

(SE)
2. Turn left: Lateral Chopping Palm

(NW)
3. Turn left: Push the Mountain Into The Sea Palm

(SW)
4. Turn right: Oblique Chopping Palm

(NE)
5. Turn right: Immortal Points the Way Palm

(North)
6. Turn right: Strike Horizontally With The Iron Cross Bar

(West)
7. Step left: Immortal Points The Way Palm

(East)
8. Turn left: Strike Horizontally With The Iron Cross Bar

(South)
Walk Clockwise with embracing The Moon Posture
92
6th Palm: Embracing The Moon Palm of the Li Diagram
Begin: Walk Clockwise with The Embracing the Moon Posture
1. Double Elbow Protecting Heart Palm

(South)
2. Turn left: Snake Flicking Its Tongue Palm

(North)
3. Turn left: Brushing Away The Clouds To See the Sun Palm
(West)
4. Step left: Inserting The Flower Under The Armpit

(East)
5. Turn left: Hungry Tiger Pounces On Its Prey Palm

(SE)
6. Turn right: Heaven & Earth Palm

(NE)
7. Turn Left Spiraling Palm

(SW)
8. Turn left: Posture Following Palm

(NW)
Walk Counter-clockwise with the Yin Yang Fish Posture
93
7th Palm: Yin Yang Fish Palm of the Kun Diagram
Begin: Walk Counter-clockwise with the Yin Yang Fish Posture
1. Lonely Phoenix Returning To Its Nest Palm

(SW)
2. Turn right: Lifting Jacket Palm

(NE)
3. Turn right: Lone Goose Leaving Flock Palm

(NW)
4. Turn right & step forward: Face Slapping Palm

(SE)
5. Turn right: Black Bear Turning (Back) Palm

(West)
6. Turn right: Phoenix Spreading Wings Palm

(East)
7. Step backward and turn right: Rhinoceros Gazing At The Moon Palm
(North)
8. Turn left: Stomp On The Ground & Pierce The Palm

(South)
Walk Clockwise with Millstone Pushing Palm
94
8th Palm: Millstone Pushing Palm of the Dui Diagram
Begin: Walk Clockwise with the Millstone Pushing Palm

1. Turn right: Clap Two Hands
(West)
2. Turn left: Immortal Picking Up Melon Palm

(NW)
3. Turn left: Strange Giant Snake Turning Body Palm

(NE)
4. Turn left: Leopard Cat Climbing Tree Palm

(North)
5. Turn right: Eagle Revealing Its Wisdom Palm

(South)
6. Turn right: Body Rubbing Palm

(SE)
7. Turn left: Golden Monkey Wiping Its Eyebrows Palm

(SW)
8. Turn right: Wind Moves The Lotus Leaves Palm

(East)
Walk under your arm to walk clockwise in the Uplifting Heaven Palm and
then press hands down to end.
95
ADVANCED NEI GONG
1. Marrow Washing Nei Gong Xi Shui Jing
2. Regulating the Du Meridian: Spinal Meditation
3. Daoist Meditation
• Wu Ji Meditation
• Microcosmic Orbit Meditation Xiao Zhou Tian

• Macrocosmic Orbit Meditation Da Zhou Tian
• Golden Fluid Returning to Dantian Nei Gong Jin Ye Huan Dan Tian
Nei Gong
96
Ba Gua Yin Yang Staff
Ba Gua Yin Yang Gun (Gao Ji Wu)
Ba Gua Yin Yang Staff Ji Ben Gong 1: Stationary Basics

1. Basic Lateral Strike
2. Lateral Strike & Poke
3. Triple Hit
4.Turning Over Body Strike
5. Twisted Step Vertical Strike & Poke
Ba Gua Yin Yang Staff Ji Ben Gong 2: Striking & Stepping

1. Single Palm Change
2. Triple Hit Single Palm Change
3. Rowing and Circle Walking - Two Directions
4. Double Palm Change (Overturning Strike) and Poke
5. Circle and Poke, Withdraw, Smash and Poke
6. Poke Upward, Turn Body Over and Smash, Poke Upward and Walk
Ba Gua Yin Yang Staff Form

Open the Form
• Poke forward with the Staff
• Wrap with the Staff and Walk counter-clockwise with Yin-Yang Staff
1. Single Changing Staff

• Kou Bu and Raise the Staff
• Bai Bu and Strike with the Staff
• Walk, Wrap and pull the Staff to Walk with Yin-Yang Staff
2. Striking and Pulling Staff

• Turn, Pull and Row with the Staff
• Turn and Strike with the Staff
• Walk, Wrap and pull the Staff to Walk with Yin-Yang Staff
97
3. Downward Striking Staff
• Walk with the Hidden Staff
• Bai Bu, Walk Forward and Split the Vertex
• Walk and Strike the Staff Downward in Coiling Stance
• Step Forward and Pierce with the Staff
• Walk with the Hidden staff
4. Concealing Piercing Staff

• Step Forward and Pierce Quickly with the Staff
• Walk and Strike the Staff Downward in Coiling Stance
• Walk with the Hidden staff
5. Upward Piercing Body Overturning Staff

• Wrap with the Staff and Pierce Upward
• Kou Bu, and Overturn the Body Lift the Leg and Strike Downward
with the Staff
• Step Back and Pierce Upward with the Staff
• Wrap with the Staff & Walk the Circle
Change direction with the Single Changing Staff
• Walk, Wrap and Pull the Staff to Walk with Yin-Yang Staff
6. Upward Blocking and Body Changing Staff

• Withdraw the Body and Lift the Staff
• Wrap with the Staff, Step Behind and Pierce Downward
• Step Out and Pierce with the Staff
• Turn, Walk Forward and Strike Downward with the Staff
• Turn and Pierce with the Staff
• Withdraw the Body Strike Downward, Wrap, Row and Walk the Yin-
Yang Staff
7. Lateral Striking Staff

• Bai Bu and Drill to Strike Laterally with the Staff
• Step Forward and Strike Laterally with the Staff
• Turn and Pierce with the Staff
• Walk, Wrap and Pull the Staff to Walk with Yin-Yang Staff
8. Dragon Turning Body Sealing Staff
98
• Bai Bu and Drill with the Staff
• Kou Bu to Hit the Temple
• Bai Bu and Cover with the Staff
• Overturn the Body and Poke Back with the Staff
• Seal with the Staff
• Turn the Body and Drill with the Staff
• Seal with the Staff
• Walk, Overturn and Strike Down with the Staff
• Step Out and Pierce with the Staff
• Walk and Pull the Staff to Walk with Yin Yang Staff
99
Ba Gua Dao (Saber) Basics – Ji Ben Gong
Ba Gua Dao: Ji Ben Gong

Broadsword Ji Ben Gong 1: Basic Cuts and Thrusts
1. Half Cuts
2. Two Handed Cuts
3. Three Basic Thrusts
4. Thrust and Retract
Broadsword Ji Ben Gong 2: Basic Postures and Changes

1. Gaze at the Sea & Parade the Banner - Outside Change
2. Gaze at the Sea & Parade the Banner - Inside Change
3. Millstone Posture Saber Out: Inside & Outside Change
4. Millstone Posture Saber Back: Inside & Outside Change
Broadsword Ji Ben Gong 3: Walking, Parading and Covering with the

Saber
1. Parade the Banner
2. Walk under the Blade
3. Cover with the Saber
4. Wave the Banner
5. Pick Up the Moon From the Bottom of the Sea
6. Parade the Banner
7. Walk under the Blade
8. Cover with the Saber
9. Step Back and Cut Down with the Saver
10. Gazing at the Sea
Broadsword Ji Ben Gong 4: Chopping and Slicing

1. Turn and Rotate the body for a Whirlwind Saber
2. Recognize the Stirrup and Remove the Saddle
3. Turn the Body and Chop with the Saber
4. Uplifting Yin (Groin) Saber
5. Slice the Shoulder Rotate and Walk
Ba Gua Dao Ding Shi: Four Postures and Eight Changes

1. Millstone Posture
• Walking Clockwise Inside Change: Thrust
• Walking Counter-Clock Inside Change: Thrust
• Walking Clockwise Outside Change: Forehand Cut
• Walking Counter-Clock Outside Change: Backhand Cut
2. Ball Holding Posture

• Walking Clockwise Inside Change: Hang the Saber Tip Up
• Walking Counter-Clock Inside Change: Hang the Saber Tip Down
100
• Walking Clockwise Outside Change: Thrust by the hip
• Walking Counter-Clock Outside Change: Thrust by the Shoulder
3. Heaven Upholding Posture

• Walking Clockwise Inside Change: Forehand Cut
• Walking Counter-Clock Inside Change: Thrust/Backhand Cut
• Walking Clockwise Outside Change: Thrust/Forehand Cut
• Walking Counter-Clock Outside Change: Backhand Cut/Thrust
4. Heaven & Earth Posture

• Walking Clockwise Inside Change: Cut and Pull Down
• Walking Counter-Clock Inside Change: Thrust and Lift Up
• Walking Clockwise Outside Change: Thrust by Hip
• Walking Counter-Clock Outside Change: Thrust Over the Shoulder
Eight Star Blocking Set with Dao

1. Solo
Attack: Stepping Forward and Backward
1. Forehand
2. Backhand
3. Vertical
4. Stab
5. Stab and step up
6. Forehand Diagonal
7. Stab and step up
8. Backhand diagonal
Defense: Stepping forward and Backward

1. Parry blade In
2. Parry blade out
3. Parry upward
4. Pull in to parry (palm faces right)
5. Shear w/ stabbing motion
6. Parry with back of blade
7. Shear with stabbing motion
8. Shear with back of blade
2. Blocking Set with Partner
3. Blocking Set Back and Forth

Person A Person B
Forehand Parry Blade In
Parry Blade Out Backhand
Vertical Parry Upward
Pull in parry (evade) Cut horizontally
Stab rt hang guard (evade)
Parry back of blade Forehand Diagonal
Forehand Diagonal Parry back of blade (go around head)
101
Parry back of blade Backhand Diagonal
Press across body with flat of blade On guard
4. Other Blocking Drills

1. Forehand Cut Back and Forth, Parry with Back of Blade : Linear
• Three targets Neck; Arm; Wrist
2. Thrusts Back and Forth – Linear
3. Forehand Cut Back and Forth, Parry with Back of Blade
• Circle Walk
• Sudden Switch to counter-clock millstone posture (sword Back)
4. Thrust Back and Forth
• Circle Walk
• Sudden Switch to counter-clock millstone posture (sword Back)
5. Circular Walking, One gives forehand and Opponent does backhand and then
sudden switch to counter-clock millstone posture (sword Back)
6. Downward Cut and opponent blocks up – He downward cuts and you block then
sudden Switch to counter-clock millstone posture (sword Back)
7. From Circular Walking:
Person A Person B
Forehand Back of Blade Block
Quick Backhand Parry blade out
Forehand Parry blade in
Pull Switch to counter-clock millstone posture (sword Back)
8. Freestyle Oractice
Eight Single Movements with Saber
64 Forms with Saber
102
Eight Diagram Palm Slicing Rotating Saber
Ba Gua Zhang Pian Xuan Dao (Gao Ji Wu)
1. Open Step to Show the Pattern

Kai Bu Liang Shi
2. Whirlwind Hiding Saber

Xuan Feng Cang Dao
3. Walk Forward and Pierce with the Saber

Jin Bu Zha Dao
4. Turn the Body (Back) and Chop with the Saber

Fan Shen Pi Dao
5. Uplift the Saber Rotate and Walk

Tuo Dao Zhuan Zuo
6. Turn Over and Lift Up the Saber (to Rear)

Fan Liao Dao
7. Turn Over and Chop the Saber

Fan Pi Dao
8. Turn Over the Body and Chop with the Saber

Fan Shen Pi Dao
9. Turn, Rotate and Carry the Saber

Zhuan Shen Dai Dao

Pian Bang Zhuan Zuo
11. Turn and Rotate the body for a Whirlwind Saber

Zhuan Shen Xuan Fang Dao

Ren Deng Ban An

Fan Shen Pi Dao
103
14. Retreating Step and Greet the Saber
Dao Bu Ying Dao
15. Turn Over the Body and Push the Saber

Fan Shen Tui Dao
16. Lift Knee, Intercept and Block with the Saber

Ti Xi Jie Lan Dao

Fan Pi Dao
18. Left Whirlwind Saber

"
Zuo Xuan Feng Dao
19. Giant Python Turns Over Its Body

$ Da Mang Fan Shen
20. Rearward Piercing Saber

! Bei Hou Zha Dao
21. Advance and Pull the Hand to Hack with the Saber
# Shang Bu Lu Shou Duo
22. [Kou Bu] to Pierce the Saber Rearward

! Bei Hou Zha Dao
23. Exploring Sea Form (Lifting Leg)

Tan Hai Shi
24. Escape and Change the Shadow

Tuo Shen Huan Ying
25. Lazy Dragon Turns Over Its Body

Lan Long Fan Shen
26. Rearward Piercing Saber

! Bei Hou Zha Dao

Liao Yin Dao
104
28. Belt Ring Saber
Dai Huan Dao

Fan Shen Pi Dao

Dao Bu Ying Dao

Fan Shen Pi Dao
32. . Uplifting Yin (Groin) Saber

Liao Yin Dao

!" Pian Bang Zhuan Zuo
34. Whirlwind Saber

Xuan Feng Da
35. Sweep Away a Thousand Armies

Heng Sao Qian Jun
36. Twine the Head and Wrap the Brain

Chan Tou Chan Nao
37. Double Hand Hacking Saber

Shuang Shou Duo Dao
38. Slice Leftward and Rotate the Saber

# Zuo Pian Xuan Dao
39. Pouncing Step Embracing Saber

Pu Bu Bao Dao
40. Pulling Out Heart Saber

Tao Xin Dao
41.Embracing Saber Charging Stab

Bao Dao Chong Ci
105
Ren Deng Ban An

Fan Shen Pi Dao

Dao Bu Ying Dao

Fan Shen Pi Dao

Liao Yin Dao

Pian Bang Zhuan Zuo
57. Retreating Step Piercing Saber

Dao Bu Zha Dao
58. Lift Knee Intercept and Block with the Saber

Ti Xi Jie Lan Dao

Fan Pi Dao
60. Turn Over the Body and Chop with the Saber
Fan Shen Pi Dao

Liao Yin Dao

Pian Bang Zhuan Zuo

Ren Deng Ban An
64. Turn the Body and Chop with the saber

Fan Shen Pi Dao
106
Dao Bu Ying Dao

Fan Shen Pi Dao

Liao Yin Dao

"# Pian Bang Zhuan Zuo
69. Lazy Dragon Turns Over Its Body

Lan Long Fan Shen
70. Turn the Body and Wave the Flag

" Zhuan Shen Yao Qi
71. Scoop Up the Moon from the Sea Bottom

! Hai Di Lao Yue
72. Turn the Body and Explore the Sea

" Zhuan Shen Tan Hai
73. Twine the Head and Wrap the Brain

Chan Tou Chan Nao
74. Scoop Up the Moon from the Sea Bottom

! Hai Di Lao Yue
75. Double Hand Carrying Saber

Shuang Shou Peng Dao
76. Twisting Body Whirlwind Saber

Ning Shen Xuan Feng Dao
77. Gather Up the Form

Shou Shi
107
Ba Gua Saber: Sixty-Four Methods
Ba Gua Dao Liu Shi Si Ban Fa (Wang Shi Tong)
Part I
1. Hold the saber in the right hand
2. Wave the saber clockwise
3. Pierce the leg and wrist downwards
4. Pull (draw) the knife and walk counter-clockwise
5. Lower the body to cover the left shoulder
6. Strike the leg and wrist
7. Move the saber in a circle
8. Wave the saber forward & upward (upward slash)
9. Slice the left knee and walk
10. Lower the body to form gazing at the sea posture
11. Cut the waist
12. Turn the body to gaze at the sea
Part II
13. Cover with the saber to the right side
14. Hold up and hook
15. Pierce the wrist to the right and pull the saber and walk
16. Carry the saber on the right shoulder
17. Cover with the saber toward the left side
18. Lift the leg to poke the face
19. Pick up the moon from the bottom of the sea
20. Cut the west in interior and exterior
21. Cover with the saber forwards
22. Step backward and chop three times
23. Step forward and chop forward
24. Step backward and pull the hand 1
25. Turn the body backward and chop
26. Pull the hand
27. Chop with the saber 2
29. Pull the hand
30. chop with the saber 3
32. Roll the saber backward and lift the right leg
33. Pierce (straight thrust)
34. Pierce forward and jump back and pull the saber to walk
35. Form gazing at the sea posture
108
PART III
36. Drill the body upwards to wave the flag
37. Pick up the moon from the bottom of the sea & walk clockwise
38. Twist the body, cover with saber to gaze at the sea and walk
39. Turn counter-clockwise, block the wrist, slice the throat and walk
40. Turn clockwise, pierce the wrist and slice the neck to walk
41. Drill the body upwards to wave the flag
42. Lower the body and strike the saber backwards
43. Move the saber in a circle
44. Strike forward with the saber
45. Slice the left shoulder and block
46. Cover with the saber
47. Wave the flag
48. Pick up the moon from the bottom of the sea
49. Walk and form gazing at the sea posture
PART IV
50. Block the wrist with the saber and walk
51. Poke the face
52. Drill the body upwards and wave the flag
53. Hang the saber vertically downwards and cut toward the waist
54. Turn counter-clockwise and rotate clockwise to gaze at the sea
55. Turn backward to gaze at the moon
56. Cover with the saber backward
57. Wave the flag
58. Step forward toward the left to strike the brain
59. Step left and walk forward with the right to turn the body and drop
the head
60. Press the saber to gaze at the sea
PART V
61. Thrust the saber over the arm and poke out
62. Cover with the saber backwards to gaze at the sea
63. Cut toward the waist in the interior and exterior
64. Walk the circle and hide the saber to end the posture
109
Ba Gua Jian (Straight Sword)
Basic Exercises
1. Ci (Thrust; Pierce)
• Zheng Li Ci (Vertical Thrust)
• Fan Li Ci (Reverse vertical Thrust)
• Zheng Pi Ci (Palm Up)
• Fan Ping Ci (Palm Down)
2. Pi (Chop)
• Zheng Pi (Vertical)
• Fan Ping Ci (Diagonal)
3. Liao (Slide, Block and Cut)
4. Tiao (Pluck; Lift Up)
5. Beng (Bursting)
6. Tui and La (Push and Pull Sword Handle)
7. Heng (Horizontal)
• Zheng Ping Beng(Palm Up)
• Fan Ping Beng (Palm Down)
8. Cuo (File)
9. Jiao (Wrap; Stir)
10. Lan (Obstruct)
• Nei Zhong Lan (Inside)
• Wai Zhong Lan (Outside)
• Nei Xia Lan ( Low Inside)
• Wai Xia Lan (Low Outside)
11. Dian (Point)
12. Le (Draw Back)
13. Ge (Block Upward)
14. Hua (Flower)
• Upward
• Wrist Cutting
Ding Shi Postures

1. Wave the Banner
2. Search the Sea
3. Pushing the Millstone
4. Hiding Flower under Leaf
110
Circle Ding Shi Posture Changes
Start in the Pushing the Millstone circle walking posture
1. Pierce And Withdraw: end in Hiding the Flower circle walking posture.
(Millstone Pushing to Hiding Flower)
2. Pierce and Push the Millstone: end in Pushing the Millstone circle walking posture.
(Hiding Flower to Millstone Pushing)
3. Lift and Cover With the Sword: end in Hiding the Flower circle walking posture.
(Millstone Pushing to Hiding Flower)
4. Immortal Changes His Shadow: end in Pushing the Millstone circle walking posture.
Lift the Sword to Wave the Banner circle walking posture.
(Hiding Flower to Millstone Pushing)
5. Cross and Wipe: end in Search the Sea circle walking posture.
(Wave Banner to Search Sea)
6. Scoop and Lift: end in Wave the Banner circle walking posture.
(Search Sea to Wave Banner)
7.Strange Boa Turns the Body: end in Search the Sea circle walking posture.
8. Escape with the Body and Dissolve Shadow: end in Wave the Banner circle walking
posture. (Search Sea to Wave Banner)
9. Chop Mt. Huashan Powerfully: end in Search the Sea circle walking posture.
10. Clouds Block and Fog Covers: end in Wave the Banner circle walking posture.
11. The Immortal Spreads the Net: end in Search the Sea circle walking posture.
12. Cloud Dragon Playing with Water: end in Wave the Banner circle walking posture.
To start again lower the sword to form the Millstone Pushing circle walking posture.
Eight Single Movements with Jian
64 Forms with Jian
111
Eight Diagram Palm Rotating Ring Sword
Ba Gua Zhang Zhuan Huan Jian 1) (Gao Ji Wu)
64',+
Yu Bei Shi Mian Xiang Nan Bing Bu Zhan Li, Zuo Shou Chi Jian
Preparatory Form Face Toward the South Feet Together, Left Hand Holding Sword
1. Immortal Points The Way (/)

Xian Ren Zhi Lu
2. Stop The Horse & Listen To The Wind (

87)
Le Ma Ting Feng
3. Walk Forward & Enter The Nest (2')

Jin Bu Tou Chao
4. Chop the Huang Shan Mountains Forcefully ()

Li Pi Hua Shan
5. Turn the Body & Slice the Arm (0(-)

Niu Shen Pian Bang
6. Block Horizontally, Slice & Walk (&%(.)

Heng Lan Pian Zou
7. Galloping Horse Turns Its Head (.8)

Zou Ma Hui Tuo
8. Bird Enters The Forest (9$)

Su Niao Tou Lin
9. Push Open The Window To See The Moon (!*#")

Tui Chuang Wang Yue
10. Strike With The Golden Whip Backward (35 )

Dao Da Jin Bian
11. Whip The Galloping Horse (8 5)

Kuai Ma Jia Bian
112
12. Turn Over The Body & Chop With The Sword (')
Fan Shen Pi Jian
13. Supporting Hand Wiping Form ()

Ma Shi Fu Shou
14. Fierce Tiger Turns The Body ("(')

Meng Hu Zhuan Shen
15. Immortal Enters the Cave ()

Xian Ren Ru Dong
16. Sitting Step Chain Linking () )

Zuo Bu Lian Huan
17. Follow The Wind, Guide The Clothes (*,+%)

Shun Feng Ling Yi
18. Three Rings Hook The Moon ( )

San Huan Tao Yue
19. Turn The Body Backward To Pierce Straightly (

' )
Hui Shen Zhi Ci
20. Turn & Walk To Wave the Flag ((&)

Zhuan Zuo Yao Qi
21. White Snake Hiding In The Grass (#!)

Bai She Fu Cao
22. Dodge The Body To Change The Shadow ( ')

Tuo Shen Huan Ying
23. Giant Python Turns Over Body ($')

Da Mang Fan Shen
24. Chop The Mountain Behind The Back ( )

Bei Hou Pi Shan
113
25. Follow The Wind to Sweep The Leaves (-.)
Shun Feng Sao Ye
26. Turn The Body To Block The Waist (Yao) ('&#)

Zhuan Shen Lan Yao
27. Step Backward & Wipe The Wrist ()")

Tui Bu Ma Wan
28. Move Away The Grass To Search For The Snake ($%)
Bo Cao Xun She
29. Phoenix Enters The Nest ()

Dan Feng Tou Chao
30. Turn Backward To Chop The Face (

&,)
Hui Shen Pi Mian
31. Ghost (North) Star Plays With The Dipper (/)

Kui Xing Xi Dou
32. Hook and Hang, Lead and Circle (* )

Gou Gua Dai Huan
33. Touch (Dot) Ni Wan (Mud Ball) With the Sword ()
Jian Dian Ni Wan
34. Embrace The Moon In The Arms ()

Huai Zhong Bao Yue
35. White Snake Spits Letter (Tongue) ( % )

Bai She Tu Xin
36. Flock Of Geese Play With The Sea (!0)

Qun Hong Xi Hai
37. Iron Fan Greets (Welcomes) The Wind (+(.)

Tie Shan Ying Feng
114
38. Golden Rooster Spreads Wings (-1')
Jin Ji Sa Bang
39. Sweep Away One Thousand Troops ()

Heng Sao Qian Jun
40. Turn & Walk With A Swarm of Swords (+)#)

Zhuan Zuo Qun Jian
41. Turn Over The Hand (Backward) To Block The Wrist (%)
Fan Shou Jie Wan
42. Pull the Whip Behind The Back ($*.)

Bei Shen La Bian
43. Chop Backward with Marvelous Hand (

$)
Miao Shou Bei Zhan
44. Ghost (North) Star Plays With The Dipper (0)

Kui Xing Xi Dou
45. Swallow Penetrates The Forest ( )

Yan Zi Chuan Lin
46. Jump, Net & Hang on the Wall (&" )

Teng Luo Gua Bi
47. Hate The Happiness That Comes Too Late ( ,)

Hen Fu Lai Chi
48. Lie Down To Look At Marvelous Clouds ()

Wo Kan Qiao Yun
49. Whirlwind Wringing Sword (/!)

Xuan Feng Jiao Jian
50. White Snake Spits Letter (Tongue) (()

Bai She Tu Xin
115
51. Ghost (North) Star Plays With The Dipper (#)
Ku Xing Xi Dou
52. Hang Chops & Offer The Sword ()

Gua Pi Xian Jian
53. Wave (Open) The Fan against The Wind (" )

Ying Feng Hui Shan
54. Liu Hai Plays With Toad ()

Liu Hai Xi Chan
55. Drop The Step & Chop With The Sword ()
Luo Bu Pi Jian
56. Twist The Body To Explore The Sea (

)
Niu Shen Tan Hai
57. Pick Up the Moon from The Bottom Of The Sea ( )
Hai Di Lao Yue
58. Blue Dragon Turns Over Body ( %)

Qing Long Fan Shen
59. Turn The Body To Explore the Sea ()

Zhuan Shen Tan Hai
60. White Crane Shows Wings ($)

Bai He Liang Chi
61. Two Rings Hook the Moon ()

Shuang Huan Tao Yue
62. Turn Over The Body To Chop The Face (!)

Fan Shen Pi Mian
63. Coiling Step Chain Linking ()

Rao Bu Lian Huan
116
64. Crouching Tiger Listens To The Wind ()
Fu Hu Ting Feng
65. Retreat The Step & Return To The Origin ()

Tui Bu Huan Yuan
117
Seven Star Staff Qi Xing Gan
Heart High Stick Xin Gao Gan
Whip Stick Bian Gan
Qi Xing Gan Ding Shi: Four Postures and Eight Changes

1. Millstone Posture:
• Walking Clockwise Outside Change: Turning Whipping Strikes
• Walking Counter-Clock Outside Change: Turning Whipping Strikes
2. Yin Yang Posture

• Walking Clockwise Inside Change: Whirl Stick and strike with both Ends
• Walking Counter-Clock Inside Change: Whirl Stick and strike with both ends
• Walking Clockwise Outside Change: Change Hands and Thrust to Rear
• Walking Counter-Clock Outside Change: Change Hands and Thrust to Rear
3. Spear Holding Posture

• Walking Clockwise Inside Change: Switch Hands and Lift Stick
• Walking Counter-Clock Inside Change: Switch Hands and Lift Stick
• Walking Clockwise Outside Change: Turn over body Smash Down and Lift Stick
• Walking Counter-Clock Outside Change: Turn over body Smash Down and Lift
Stick
4. Heaven and Earth Posture

• Walking Clockwise Inside Change: Short Poke and Smash Down
• Walking Counter-Clock Inside Change: Short Poke and Smash Down
• Walking Clockwise Outside Change: Thrust Backward and Smash Down
• Walking Counter-Clock Outside Change: Thrust Backward and Smash Down
118
Basic Seven Star Staff Form (Zhang Hua Sen)
1. Hold the stick along the right side of the body
2. Single palm change & walk counter-clockwise with the stick
behind you in the Yin Yang Posture
3. Poke out from under the right arm
4. Step lt. forward & poke the top of the foot
5. Step rt. and lt., striking twice
6. Retreat 2 Steps w/ double vertex strike
7. Wrap, step rt. forward and strike
8. Rotate the arms to cover and slap the stick downward
9. Poke the groin and escape without a trace
10. Lift the left leg and poke over the shoulder
11. Swing the right leg and strike backward to the knee
12. Toe in with the right foot and cover the head to strike the ankle
13. Bai bu and double force backhand whip
14. Kou bu, cover the head and back hand whip again
15. Cover the head, feet together and place the stick in the left
hand
119
Intermediate Seven Star Staff Form (Li Zi Ming)
Starting Position: Stand with the feet together with the staff standing vertical in the
right hand and the butt of the staff on the ground.
1. Tai Gong Gazes at the Stream and Hooks a Fish

2. Hang the Stick to Scrape the Ear and Left Temple
3. When He Moves, Offer the Chisel
4. Overturn the Body to Strike the Ear and Temple
5. Turn the Body and Push the Boat with Flowing Hands
6. Turn and Poke Back and Down
7. Turn the Body and Intercept with Stealthy Steps
8. Twist the Body, Step Rightward and Strike the Ribs
9. Fold the Elbows and Cover
10. Twist the Body, Step Leftward and Strike the Ribs
11. Shrink the Body and Return the Hand to Strike the Horse’s Head
12. Twist the Body, Step Rightward and Dot the Liver and Kidney
13. Twist the Body, Step Leftward and Dot the Liver and Kidney
14. Coiling Root Staff and Whipping Strike
15. Hoe the Ground to the Rear
16. Flick Upward and Circle and Turn the Tip to Attack the Shoulder
17. Rotate Inward and Poke the Shoulder
18. Pierce Right and Left Below the Waist
19. Fold the Elbows and Smash and Poke to the Four Directions
20. Eliminate the Weapon, Toss the Wrist, and Dot Twice
21. Hanging Hook Dots the Wrist Joint
22. Embrace the Staff and Guard the Head
23. Split and Stick with the Staff
24. Circle Inward to Seek the Wrist and Head
25. Step Forward and Drill to the Throat
26. Swing the Staff in a Circle with Circular Steps to Cover the Eight Directions and
Then Strike and Poke
27. Steady Body, Stillness and Movement Tai Gong Hangs Rod and Hook
Finish the Form: Return to Start Position.
120
Advanced Seven Star Staff Form (Li Zi Ming)
Starting Position: Stand with the feet together with the staff standing vertical in the
right hand and the butt of the staff on the ground.
1. Tai Gong hooks a Fish
2. Wind, Stomp and Throw the Staff Forward
3. Step Forward to Circle, Twist and Dot the Eyes
4. Flowing Hands Strike the Four Corners
5. Angle the Staff and Walk a Circle (counter-clockwise)
6. Angle the Staff and Walk a Circle (clockwise)
7. Wave the Body, Circle the Staff and Strike the Ribs (right)
8. Wave the Body, Circle the Staff and Strike the Knee (left)
9. Empty the Step and Coil the Staff
10. Coil and Pull the Staff and Insert the Flowers to Poke the Knee
11. Turn the Body and The Weaver Parts the Flax
12. Turn the Body with Winding Strikes to the Left and Right
13. High Hand Descends to Dot the Hua Gai Point5
14. Crouch the Body and Pound the Jaw
15. Seven inch Rear Chisel Pounds the Scrotum
16. Parry and Tread, the Staff Goes to Sweep the Ankle
17. Shrink Er Men Left and Protect the Brain
18. Toss the Rod, Pounce on the Ground and Dot the Head
19. Cover Twist and Pound the Scrotum
20. Intercept and Pierce to Chase the Wind Like Lightning
21. Uphold the Staff to Poke Over the Top and Hit Tai Yang
22. Press the Staff on the Ground
23. Drill Upward with the Staff
24. Poke the Solar Plexus
25. Pierce Forward, Pound backward and Pierce Again
26. Walk a Circle Counterclockwise and Push the Millstone
27. Walk Forward and Whirl the Staff Upward
28. Reverse the Hand and Split the Head
5
REN-20 (Hua Gai) Florid Canopy attacking this point can damage the lung.
121
29. Jump the Step and Toss the Staff to Strike on the Right
30. Flowing Steps and Hold the Staff in One Hand (left-right-left)
31. Move at Will - Up, Down, Left and Right
32. Roll the Silk Ball Backward
33. Stand on One Leg and Strike
34. Steady Body, Stillness & Movement Tai Gong Hangs Rod and Hook
Finish: Step Down and Return to the Starting Position
122
Xing Yi - Ba Gua Cane
形意 Xing Yi Ba Gua Zhang (Vince Black)
1. Starting Position
2. Lift The Cane
3. Turn (90 degrees), Poke Low & Dragon Chop
4. Step Forward & Thrust the Crook
5. Turn (180 degrees), Poke Low & Dragon Chop
6. Step Forward & Thrust the Crook
7. Turn (90 degrees) & Poke Low
8. Strike with the Crook
9. Strike with the Tip
10. Hook with the Crook, Twist the Body and Spread the Arms
11. Step, Cloud with the Crook and Step Again to Pull & Hook with Both
Hands
12. Kou Bu, Turn (180 degrees) and Poke With the Tip
13. Turn (90 degrees), and Strike Down with the Crook
14. Step out and Push the Cane Outward Horizontally
15. Step Back into Dragon & Hook and Pull the Neck
16. Step Back and Pull the Cane Again
17. Draw Back into the Empty Stance and Wrap the Cane Under the Arm
to Hook the Leg
18. Half Steps Forward & Back to Cloud and Hook with the Cane
19. Kou Bu and Turn to the Front To Poke with the Cane like a Sword
20. Finish the Form
123
Ba Gua Rooster Claw Yin Yang Knife (Wang Shi Tong)
Ba Gua Hook Sickle Swords
Ba Gua Ji Zhao Yin Yang Rui !
Ba Gua Gou Lian Jian %'(
1. Step out and raise the elbow to walk (turn) the circle,
Chu Bu Jia Zhou Zou Zhuan Huan
#",
2. Toe in and cut outward to pierce upward.
Kou Bu Wai Jie Xiang Shang Chuan

3. Toe out and turn the body to cover downward,
Bai Bu Fan Shen Chao Xia Gai
)
4. Turn over the body with sliding step to strike upward, block and
pierce.
Fan Shen Wo Bu Liao Jia Chuan

5. Poke the neck and lock the throat and block leftward and rightward.
Ci Jing Suo Huo Zuo You Lan
$
6. Walk forward and lift the knee to pierce underneath the tibia.
Jin Bu Ti Xi Jing Xia Chuan
*
7. Step back to hook, embrace and pull first,
Tui Bu Gou Lou Lu Dang Xian

&
8. Walk forward and embrace the heart to walk a circle.
Jin Bu Bao Xin Zhuan Yi Quan
"
124
9. Chop the mountains leftward and rightward like a whirlwind,
Zuo You Pi Shan Ru Feng Juan
&!
10. Cover the vertex and use the fist underneath the elbow again.
Gai Ding Zai Yong Zhou Xia Quan
" #
11. Turn the body to use the millstone rubbing elbow swiftly,
Zhuan Shen Ji Yong Mo Pan Zhou
$ #
12. Turn and walk circle to link the head and tail in dragon motion.
Zhuan Zou Long Hang Shou Wei Lian
$%
13. Necessary to remember to press the elbow in turning the body,
Fan Shen Qie Ji Mang Ya Zhou
#
14. And slice the ear quickly without any stain on the knife.
Xue Er Kuai Ba Dao Shang Guang

15. Turn the body to poke with the elbow toward the ribs,
Zhuang Shen Ding Zhou Shi Ci Lei
$#
16. Turn over to cover the vertex and strike down (drop) heaven.
Diao Tou Gai Ding Da Ta Tian

17. Pursue the wind with quick step to double poke the ribs,
Jian Bu Zhui Feng Shuang Ci Lei

125
18. Toe in and spread the wings to whip the horse.
Kou Bu Zhan Chi Ma Jia Bian

19. The form looks like white crane appearing in the clouds,
Xing Ru Bai He Yun Zhong Xian

20. Walk like swallow flying through the willows,
Zuo Ru Yan Zi Liu Lin Chuan

21. Rub the clouds to pull back the knife and return to the origin.
Mo Yun Shou Rui Shi Huan Yuan

126
Ba Gua Spear (Ba Gua Qiang)
Ba Gua Qian Ding Shi
1. Millstone Posture:
• Walking Clockwise Outside Change: Turn back, change hands and thrust
• Walking Counter-Clock Outside Change: Turn back, change hands and thrust
2. Spear Holding Posture

• Walking Clockwise Inside Change: Change hands and Strike Up
• Walking Counter-Clock Inside Change: Change hands and Strike Up
• Walking Clockwise Outside Change: Turn over Change and Slide Poke
• Walking Counter-Clock Outside Change: Turn over Change and Slide Poke
3. Heaven and Earth Posture

• Walking Clockwise Inside Change: Poke and Switch Hands
• Walking Counter-Clock Inside Change: : Poke and Switch Hands
• Walking Clockwise Outside Change: Lever, Poke Back and Switch Hands
• Walking Counter-Clock Outside Change: Lever, Poke Back and Switch Hands
4. Heaven Upholding Posture

• Walking Clockwise Inside Change: One Hand Thrust
• Walking Counter-Clock Inside Change: One Hand Thrust
• Walking Clockwise Outside Change: Turn Back and Hit Laterally Twice
• Walking Counter-Clock Outside Change: Turn Back and Hit Laterally Twice
127
Bai Yun Ba Gua Spear
Opening
1. Hold the spear in the left hand.
2. Drop the tip and circle the tip clockwise as you step the left foot out
and strike forward with the right palm.
3. Grasp the butt of the spear in the right hand and lift overhead and
lower to guard position as you walk a small circle counter-clockwise.
1st Palm Change

1. Walking counter-clockwise as the right foot steps out, shift weight to
right foot, block (lan) upward with the spear and thrust.
2. Sliding grip change to upward strike. Then shift weight to left foot
and thrust.
3. Step right foot to left foot (chicken leg) and block across then step
right foot out to right and thrust.
4. Lift left knee and palm up sliding thrust
5. Step left foot down and turn )to outside of circle as lower spear to
guard and turn to walk clockwise.
2nd Palm Change

1. Walking counter-clockwise, as the left foot steps block (lan) upward
with the spear. Rotate the spear along the left side of the body and
release the right hand so that the left hand holds the spear in the
center. The right foot steps forward and the left hand thrusts as the
right hand covers.
2. Turn 180 degrees and the spear swings right to left still held in the
left hand with the shaft against the left ribs. Gather and thrust with
the right hand still covering.
3. The right hand now grasps the butt of the spear, walk the right foot
even with the left and turn leftward to slam the spear down flat.
4. Lift the left leg and lift the spear levelly overhead.
5. Snake creeps down and poke with the spear as the weight shifts left.
6. Sliding grip change to strike down, but as you turn right and the
spear drops draw it in as draw in the right foot. Then seal outward
with the spear level and step the right foot out.
7. Walk clockwise and return to guard position.
128
3rd Palm Change
1. Walking counterclockwise as the right foot makes kou bu, and the left
begins to step, lift the spear overhead (tip down) and then step the
left out and execute a winding, arcing thrust.
2. Turn 180 degrees and smash down with the spear (right foot
forward). Execute a quick one-handed (right) thrust as you step the
left foot forward and as the left foot lands, catch the spear in the left
hand on guard.
3. Twist the stance (left dragon stance) turn left and arc and twist the
spear to thrust to the rear. Consolidate and turn the stance slightly to
seal out with the spear.
4. Then pivot back, turning right and Smash the spear down as you
pivot to a right gong bu.
5. Step forward and execute a basic sliding thrust.
6. Then slide the left hand to the right and turn right as you twirl the
spear to step the left foot out and execute a basic sliding poke. Follow
the spear to walk the circle. You do not change direction
4th Palm Change

1. Walking counterclockwise, as the left foot makes a kou bu, lift and
make a high lan (block) with the spear as the left foot draws in to
form an left empty stance.
2. Step the left out and smash down with the spear.
3. Slight left bai bu and right jumping kou bu to turn left and to the rear.
Land on the right leg and two-handed (right hand behind left)
sliding, extended thrust with left leg off the ground and back and
body laid out flat.
4. Step left forward to guard position and walk counterclockwise. You
do not change direction.
5th Palm Change

1. Walking counterclockwise, the left foot makes a Baibu as you lift the
handle of the spear up and dip the tip down. Continue to walk right
Koubu, Left Baibu and left forward step as the spear levels out and
pierces outwad so to hands are together on the butt.
2. Turn 90 degrees and swign spear right to left and seal downward to
the left as hand open to hold the spear in a flat down hit (Horse
Stance)
3. Whip spear up horizonatally in front of the chest (horse Stance)
4. Circle Spear down to point at knee in Gong Bu.
5. Circle spear down again and lift left leg.
129
6. Walk outward along the circle in millstone pushing posture . You do
not change direction
6th Palm Change

1. Walking counterclockwise, the right foot makes kou bu, and as the left
steps out do Lan , Na , Zha.
2. Step the right foot out and swich grip to Lan , Na , Zha.
3. Step back left, right forward and left back again as you pull hand
back and sweep the spear counterclockwise with hands together in
thre circles linked to the three steps.
4. End by pulling spear across cheat and then walk in millstone posture
clockwise.
7th Palm Change

1. Walking counterclockwise, the right foot makes kou bu and Lan with
the spear.
2. Step left forward and short thrust with spear.
3. Step right foot in kou bu and strike with butt of spear.
4. Step left in bai bu, and press spear out with tip down (turn begins)
5. Koubu and turn all the way around and thrust.
6. Reaquire weapon and walk in Millstone posture counterclockwise
(No direction change)
8th Palm Change

1. Walking counterclockwise, go throught the following Ding Shi
Postures: Heaven Uplifiting,
2. Spear Holding
3. Heaven and Earth
4. Millstone.
5. Do both directions.
130
WIND WHEEL SWORDS
Feng Lun Jian (Wang Shi Tong)
1. Face East - Feet Together, Hands at Sides

2. Step Forward & Divide Heaven and Earth
3. Rotate Arms to Hold the Swords Overhead
4. Drop the Swords to Hang Like Bracelets
5. Turn to the North and Parry and Poke (5 times)
6. Cover the Head to Separate the Neck
7. Spin, Swing the Arms (left circles head) & Use the left backward
Thrusting Step to Strike to the Rear (face south)
8. Rt. Cover, Step Lt. Forward & Poke with the Left
9. Lt. Cover, Step Rt. Forward & Poke with the Right
10. Lift the Step (Rt.) to Turn to the SE and poke with Left
11. Turn and Whirl the Arms ( right makes an extra circle) to Slice with
the Swords (end facing west)
12. Walk Forward and Right Snake Turns Over Its Body (east)
13. Step Rt. Down and Walk Lt. Forward; Rt. Parry and Poke with the
Lt. Sword
14. Walk Forward, Parry and Poke with the Right Sword
15. Walk Forward & Left Snake Turns Over Its Body (west)
131
16. Step Lt. Down and Step with Rt. As You Separate the Swords to Slice
Obliquely to the South
17. Cover with the Left, Step the Left Forward Twist the Stance and Stab
Downward with Both Swords (south)
18. Turn Rightward to the East , Hang the Left Leg Inward & Separate
the Swords Left & Right
19. Jade Maiden Throws the Shuttle (NE)
20. Jade Maiden Throws the Shuttle (NW)
21. Step Back and Strike Back to the Southeast
22. Kou Bu, Step Back and Strike Back to the Southwest
23. Swallow Skims the Water & Cover the Head to Slice the Waist (north)
24. Swallow Skims the Water & Cover the Head to Slice the Waist (north)
25. Cover the Head & Separate the Neck (palm-up variation)
26. Retreat (step back south) with Cat Washes Its Face (Lt.)
(then repeat four more times)
27. Umbrella Covers Head & Step (Rt.) Forward to Stab the Waist (north)
28. Step with the Left, Kick with the Right and Push Both Swords Forward
29. Step Down, Cover the Head and Separate the Neck (palm-up)
30. Turn, Step Back to the NE and Slice Diagonally to the SW
31. Turn, Step Back to the SE and Slice Diagonally to the NW
32. Jump to the NW and Slice Diagonally to the SE
33. Jump to the SW and Slice Diagonally to the NE
34. Walk to the Northeast Cover with the Left & Poke
Downward with the Right
35. Raise the Arms to Ride the Chariot (NE)
36. Rotate the Swords, Cover Your Left Wrist and Raise the Right Sword as
You Lift the Left Leg to Hang Inward (N)
132
37. Walk Forward to the North & Swing Both Swords To Stab Diagonally
Upward (3-5x)
38. Cover the Head to Separate the Neck
39. Retreat stepping south with Cat Washes Its Face 3x (Lt.; Rt; Lt)
40. Turn Left & Walk a Counterclockwise Circle in the Posture of Raise
the Arms to Ride the Chariot - Until You Face North
41. Cover the Head to Separate the Neck & Spin to Strike North
42. Draw Rt. leg back and Rt hand back and Strike (north) and Walk in an
Arc from the North to the Southwest in Pushing Mountain Posture
43. Cover the Head (west) & Separate the Neck Striking North
44. Jump, Slice and Spin to the North to Form Phoenix Facing Sun (S)
with the left leg hanging inward.
45. Swing the Swords & Walk a Figure 8 (end facing east)
46. Stab Downward Crossing the Rt. Sword Over the Lt. (east)
47. Rotate the Swords, Cover Your Left Wrist and Raise the Right as You
Lift the Left Leg (east)
48. Step Down and Rotate The Arms to Hold the Swords Overhead
49. Drop the Swords to Hang Like Bracelets
50. End the Form
133
Rooster Claw Mandarin Duck Knife (Gao Ji Wu)
(Ba Gua Double Paired Knives)
;73@!?(@
Ji Zhao Yuan Yang Yue Pu (Ba Gua Shuang Yue)
Stance of Millstone Pushing Rooster Knives (Face the west and walk the circle
rightward.) 6'+@0-51$
yu bei shi tui mo yue (mian xiang xi you xing quan).
SET 1: QIAN DIAGRAM 4) "?

di yi tang: qian gua
1. Forcefully separate and Raise the Knifes by Stretching Force in the Arms
(northwest).
:@- er zheng li fen liao yue (xi bei)
2. Walk forward to block and pierce with the knife (toe in) (Push the window and
look at the moon.)
%
@+,8shang bu dang chuang yue (kou bu) (tui chuang wang yue)
3. Turn the body and Chop with the Knife (bow step).
&@ hui shen kan yue (gong bu)
4. Toe in and pierce with the knife.

@ kou bu chuan yue
5. Turn over the body and cover with the knife.

&@ fan shen gai yue
6. Thrust the knife backward.

@ bei hou cha yue
7. Sparrow hawk drills into the sky.

A<=* yao zi zuan tian
8. Bend the knee and block with the knife.

#.@ qu xi jie yue
9. Drop the step and pierce with the knife.

@ luo bu chuan yue
10. Slice the two gates (Downward-Sinking Palm Knife) (Walk the circle leftward).
2/ 9@>1$pian xuan liang men (xia chen zhang yue)
134
SET 2: KAN DIAGRAM
!
di er tangkan gua
1. Forcefully separate and raise the rooster knives by stretching force in the arms
(north). "er zheng li fen liao yue (bei)
2. Walk forward with the right step and pierce with knife rightward.
" shang you bu you chuan yue
3. Walk forward with the left step and pierce with knife leftward.
" shang zuo bu zuo chuan yue
4. Separate and raise the rooster knifes by stretching force in the arms (toe in to turn
the body).
" er zheng li fen liao yue (kou bu hui shen)
5. Toe in and turn the body backward for lion opening the mouth.
kou bu hui shen shi zi zhang kou
6. Drop the step and pierce with the knife leftward.

" luo bu zuo chuan yue
7. Walk forward with the right step and pierce with knife rightward.
" shang you bu you chuan yue
8. Retreat with the right step and pierce with knife leftward.
" tui zuo bu zuo chuan yue
9. Ox tongue palm and a millstone-pushing knife (Walk the circle rightward).

") niu she zhang tui mo yue (you xing quan)
135
SET 3: GEN DIAGRAM .,
di san tang: gen gua
(northeast).
*- er zheng li fen liao yue (dong bei)
2. Right hand-leading knife (strike the ears).

(- you ling shou yue (guan er)
3. Left hand-leading knife (slice the face).

+-" zuo ling shou yue (xiao mian)
4. White snake spreads out the grass.

bai she pu cao
5. Walk forward with the alligator-moving knife.

/$- qian jin tuo xing yue
6. Retreat backward with the alligator-moving knife.

/$- hou tui tuo xing yue
7. Neck-slicing knife
- pian jing yue
8. Bear style (hold the waist).

%#' xiong xing (shuang jia yao)
&!)-+$pian xuan liang men (xia chen zhang yue)
136
SET 4: ZHEN DIAGRAM !
di si tang zhen gua
(east).

" er zheng li fen liao yue (dong)
2. Rake the knee and uplifting strike to the abdomen with the knife (right).
" lou xi liao fu yue (you)
3. Rake the knee and uplifting strike to the abdomen with the knife (left).
" lou xi liao fu yue (zuo)
4. Rake the knee and walk forward to cover the head with the knife.
" lou xi shang bu gai tou yue
5. Split with the knife in the snake style (right).

" she xing pi lun yue (you)
6. Split with the knife in the snake style (left).

" she xing pi lun yue (zuo)

" niu she zhang tui mo yue (you xing quan)
137
SET 5: XUN DIAGRAM
di wu tang xun gua % 21
1. Forcefully separate and raise the rooster knifes by stretching force in the arms
(southeast).
- 3
er zheng li fen liao yue (dong nan)
2. Walk forward to ward off and pierce with the knife.

3 shang bu dang chuan yue
3. Turn the body and chop with the knife.

3 hui shen kan yue
4. Toe in and pierce with the knife.

3 kou bu chuan yue
5. Turn over the body and cover with the knife.

3 fan shen gai yue
6. Thrust the knife backward.

3 bei hou cha yue
7. Sparrow hawk drills into the sky.

4./! yao zi zuan tian
8. Drop the step and separate and raise the knives with upward stretching force in
the arms.
- 3 luo bu er zheng li fen liao yue
9. Jump with the step and push the knife backward.

"'#3 tiao bu xiang hou tui yue
10. Jump with the step and lift the foot to chop with the knife.
"3 tiao bu tai jiao kan yue
11. Crouching step and push the knife downward (horse style).
$&#3(wo bu xia tui yue (ma xing)
12. Walk forward with the step and pierce with the knife rightward.
+3 shang bu you chuan yue
*&,30)pian xuan liang men (xia chen zhang yue) (zuo xing quan)
138
SET 6: LI DIAGRAM
di liu tang li gua $
1. Forcefully separate and raise the rooster knives with stretching force in the arms
(south).
% er zheng li fen liao yue (nan)
2. Pierce with the knife three times (leftward, rightward and middle).
%#! san chuan yue (zuo you zhong)
3. Toe in and turn the body to separate and raise the knives with stretching force in
the arms.

% kou bu hui shen er zheng li fen liao yue
4. Toe in and turn the body backward for lion opening the mouth.

" kou bu hui shen shi zi zhang kou
5. Uplifting strike the abdomen with the knife by stamping with the foot (right).
% deng jiao liao fu yue (you)
6. Uplifting strike the abdomen with the knife by stamping with the foot (left).
%# deng jiao liao fu yue (zuo)

% niu she zhang tui mo yue (you xing quan)
139
SET 7: KUN DIAGRAM
di qi tang kun gua # 3
(southwest).
04&er zheng li fen liao yue (xi nan)
2. Great Roc spreads wings.

. da peng zhan chi
3. Golden rooster climbs the frame.

jin ji shang jia
4. Golden rooster pecks the rice.

! jin ji shi mi
5. Golden rooster stays in the nest.

% jin ji bao wo
6. Golden roosters collide.

"1 jin ji shuang zhuang
7. Step Backward and ride (straddle) the tiger.

$ tui bu kua hu
8. White ape offers the fruit.

-( bai yuan xian guo
9. Golden rooster shakes the feathers rightward and leftward.

+25 you zuo jin ji dou ling
10. Pierce with the palm rightward in the original place.

,
+/ yuan di you chuang zhang
*'/42)pian xuan liang men (xia chen zhang yue) (zuo xing quan)
140
SET 8: DUI DIAGRAM
di ba tang dui gua
,
(west).
* -#er zheng li fen liao yue (xi)
2. Walk forward with the step and pierce the ear with the knife.
- shang bu guan er yue
3. Step Backward and chop with the knife.

"- tui bu pi yue
4. Toe in and turn the body and stamp with the foot.
kou bu hui shen deng jiao
5. Drop the step and walk forward to thrust the knife downward.
$- luo bu hang bu xia cha yue
6. Turn the body and swallow skims over the water.

'+ hui shen yan zi chao shui
7. Drop the step and pierce upward with the knife.

- luo bu shang chuan yue

)!-(& niu she zhang tui mo yue (you xing quan)
Ending form (facing the west).

%# shou shi (mian xiang xi)
141
Ba Gua Point Striking Stick (Ba Gua Dian Xue Gun)
Upper Limb
1. Radial Nerve at Wrist (LU 7)
2. Median Nerve and Indirect Attack to Heart (P 6)
3. Forearm Mound (LI 10)
4. Triceps Tendon (SJ 10)
5. HT 3 (“funny bone”)
6. Center Biceps
7. Center to Bottom Deltoid
8. SI 11 – Center Scapula (Weakens Arm – Radial Nerve Motor Point)
Front of Torso
1. Muscle Below Clavicle (ST13) - seal breath and release legs)
2. Sternal Notch (Ren 22)
3. Ren 17 (Center Sternum)
4. LIV 14 (Under Breast)
5. GB 22 (Crease Under Armpit)
6. Above GB 22
7. LIV 13 (Front Floating Rib)
8. Ren 2-3 (pubic bone/bladder)
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Head & Neck
1. Carotid Sinus
2. Ren 24 (Chin Hollow)
3. Under Nose (Du 26)
4. Side Neck
5. GB 20-DU 16 (Back of Occiput)
6. ST6 (cheek)
7. ST7 (Jaw Hinge)
8. BL1 (eye corner)
9. Mastoid Bone
10. TH17 (Behind Earlobe)
11. Thyroid Cartilage
Back of Torso
1. Back of Mid-Trapezius
2. Heart Zone – Between Scapulae
4. GB25 – Kidney- Back Floating Rib (where elbows hang)
5. DU1-Coccyx
Lower Limb
1. LIV 9 (Inguinal area)
2. SP10-Medial Collateral Ligament
3. Patellar Ligament (under kneecap)
4. SP6/LIV5 (inside shin)

143
5. ST42-High Point of Foot
6. Ankle Joint- Front
7. GB31 (side of thigh)
8. Front of Thigh Above Knee
9. Inside/Outside Ankle Joint
10. Outside Hamstring Tendon
11. Hamstring Center
12. Top of Calf
13. Achilles Tendon
144
Advanced Level Forms And Weapons: Tips For practice
1. The Xian Tian (Pre-Heaven) Eight Animal Form explores the transformative quality
of the Ba Gua movements. By changing one’s intention the same movement can look
like a monkey climbing a tree, a cloud swimming dragon or a snake coiling around a
pole. Practicing the Xian Tian palms refines intention and movement to a high degree.
In a practice session, it is best to start with Lao Ba Zhang and Lian Huan and then
proceed to practice the Xian Tian Form.
2. The Changing Palms Form develops smoothness and yin and yang polarity changes
that are deceptive and fluid. Follow practice of Ding Shi and Lao Ba Zhang with this
form and experiment with combining changes and varying the walking patterns.
3. The Whipping Hand Exercises and the Dragon Body Single Movement Exercise make
an excellent warm up for the Dragon Palm, as these kind of strikes are contained within
the form. When performing the Dragon Palm, let the body whip the arms and initiate
the changes, so that the action of one posture rebounds you into the next posture.
4. Ba Mian Zhang is a very sophisticated form that combines elements of Ding Shi, the
64 forms, the Dragon Palm and the Changing Palm. Each set of eight movements is
proceeded by one of the Ding Shi and is in some way an expression of that Ding Shi
Posture and its inherent energies. See if you can understand how the internal dynamic
of the Ding Shi posture relates to these more complex movements. With this form, we
come full circle to return to the foundation. This allows one to directly experience how
the most advanced techniques and movements are merely expressions of the basics.
5. The use of the Four Primary Weapons (sword, saber, staff and spear) are explored in
form and application. Understanding these four weapons allows one to understand
both their similarities and the four different energies they employ. Developing these
energies, aids empty hand practice and develops the agility and flexibility of the body
movements. Weapons training also teaches one how to extend power outward through
the weapon.
6. Some of the staff movements are also similar to the elbow techniques. Try performing
the elbow exercises and the Eight Attacking Elbows during the same practice session to
experience the connection of the body movements between the various elbow strikes
and the Yin Yang Staff.
7. Feel how the Yin Yang Staff helps you to develop large power dynamics combined
with wrapping and winding force.
8. Many of the weapons have a component that is a series of Ding Shi postures with
basic changes. These fundamentla movements are the key to understanding the more
complex and lengthy weapon forms.
9. The Ba Gua Saber is a weapon used in most styles of Chinese martial arts and was in
the past, along with the spear, the primary battlefield weapon. In modern times the long
machete is the equivalent weapon. The Ba Gua Saber is one of the key Ba Gua weapons.
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It develops body connection and strength and refines the movements of piercing and
chopping. It develops strength and teaches one how to apply Ba Gua principles to
edged weapons, sticks and clubs. Rather than using arm strength alone, let the waist
and the step move the saber. Practice the form and individual movements several times
a week. The Slicing Saber Form uses the large Ba Gua Saber and is ideal for
Foundational devleopment and body connection. The 64 Ba Gua Saber uses a lighter
saber and teaches practical combative movements and techniques.
10. The saber exercises introduce the basic movements with this weapon. Practice of
these exercises is critical to understanding the more advanced Ba Gua Saber techniques.
Practice the cuts and thrusts until they are comfortable. Practice the 8 Star Blocks with
and without a partner. The saber develops strength in chopping, splitting and slicing
movements.
11. Perform the Eight Single Movements and the 64 Forms with both Saber and the Jian
(Straight Sword). This refines your understanding of these key empty hand forms and
allows you to understand the saying “use the hand like a sword and the sword like a
hand.”
12. The Ba Gua Jian is a very advanced weapon. Its movements are quick and subtle
with many hidden changes and counter-attacks. When learning Jian forms, look for the
hidden back cuts (using the back of the blade) These cuts often occur in the transitional
movements.
13. The Heart High Stick develops light quick movements and has fast deceptive,
changes. It combines movements of the four primary weapons (sword, saber, staff and
spear) allowing one to make infinite changes. Practice the changes until they are smooth
and effortless. The Heart High stick form can be adapted to the Cane.
14. The Rooster Claw Knife is one of Ba Gua’s unique weapons. Practicing with the
Rooster Claw Knives develops power as well as skill in hooking, filing, chopping and
piercing. The Rooster Claw Knife Form can also be performed with the Hook Sickle
Swords.
15. The Spear in Ba Gua is often used in close as a short weapon in contrast to many
Chinese styles like Xing Yi in which it is used as a long weapon. This is because Ba
Gua’s circular stepping creates unique changes and angles.
16. Practice the Ba Gua Marrow Washing Nei Gong to refine qi and condense qi into
the bones. It is a vital precursor to refining Jing, Qi and Shen in the Golden Fluid
Meditation . After practicing Marrow Washing for 3-6 months, move on to the Golden
Fluid Meditation.
17. Vital points striking and the use of the Point Striking Stick are introduced to increase
the effectiveness of striking, and seizing techniques. The Point Striking Stick helps to
learn the striking areas more precisely and is an effective tool for self-defense as it
increases one’s ability to hit powerfully and precisely.
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18. Variations of the various forms as taught by different teachers within the Liang
Zhen Pu lineage are examined. Different teachers perform and think about movement
and application differently based on their physical attributes, temperament and prior
martial arts background. These varied expressions are helpful in teaching students who
also have their own unique temperaments, skills and physical wherewithal.
19. The study of variations has another purpose as well. At this level, it is important to
understand that there is not one way to do things. Exposure to different ideas about
form and application give the practitioner the freedom to explore Ba Gua’s principles
and techniques, so that each person can go on to develop their own unique expression
of Ba Gua Zhang. In this way Ba Gua Zhang remains a living art.
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Glossary of Chinese Characters for Ba Gua Zhang
Bai
• to Swing
• pendulum
Ban
• to remove
• to take away
• to transport , transfer or shift
Beng
• smash
• collapse
• fall into ruin
• one of the five fists in Xing Yi
Bo
• to push aside
• remove
• to appropriate (money)
• to move
• to set aside; group
• batch
• to poke; to stir
Bu
• step
• pace
• walk; march
Chan
• wrap
• coil
• wind around the hand
• tangle; tie up; twine around; like silk threads twined around
something
• harass; annoy
• can’t get it off: like a burr on a shirt
• in qin na/na fa methods refers to “little wrap” and “big wrap”
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Cheng
• stretch
• prop up; support
• push with a pole; pole a boat
• open; hold open a sack
• overfill
• a word often associated with the staff/spear
Chuan
• penetrate
• pierce through; bore through
• thread through
• conveys an ease (easily slips through): like “a small bird going
through a cloud”
Ci
• thorn
• sting; prick; pierce
• stab; thrust
• assassinate; murder
• word often associated with the Jian - sword
Da
• strike
• break
• beat
• contains the radical for “hand”
Dai
• literally: “belt”
• picture of skirts with girdle at top
• bring; take; lead: but indicates an aggressiveness, waiting for
opportunity – snatch what appears
Dao
• Knife
• saber (broadsword)
Dian
• downwards- right convex character stroke
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• point
• convex
• one of the words associated with the staff
Diao
• hook
• tricky; artful; sly
• passive trap
• hook like a fish or to fish with hook and line
• in Northern Mantis boxing this is a word for the hooking hand
methods used Qin Na
Duo
• hack
• cut, chop.
• to duo (chop up, mince) five kilos of pork meat.
• the enemy was duo (chopped) mincemeat.
Fan
• overturn
• turn over; turn upside down
• capsize
• also can mean: get over; climb over
• the ancient form of the character looks like a hand overturning
Feng
• to seal
• to grant
• to confer
Gan
• stick
• pole
Gong
• a bow (bow and arrow)
• bend; arch
150
Gua
• to hang
• to put up
• to suspend
Gun
• staff
Guo
• wrap
• wrap something up completely - like wrapping the head with a big
scarf, so you only can see the eyes
• wrapping a package with paper
Hua
• to delimit
• to transfer
• to assign; to differentiate
• to mark off; to draw (a line)
• to delete
• stroke of a Chinese character
• word often associated with the jian – sword
Huo
• push
• literally, it means to shovel something from one place to another
place
• a word often associated with the spear
Jian
• sword (double edged)
• in Chinese martial arts the straight double edged sword
Jian
• scissors
• cut with scissors
• in Xing Yi “jian” can refer to movements that open like scissors from
into out
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Jie
• intercept
• cut off; cut off a section
• sever, cut
• he starts before you, but you get there before him
• one of Xing Yi Quan’s “eight words” referring to the action/function
of the drilling fist (Zuan Quan)
• this character also contains the halberd radical (to cut off)
• this character contains the quick little bird radical – “you go to move
and suddenly I am there.”
Jin
• advance; go forward; put something forward
• enter; go into
• the outer part of the character conveys motion: “moving along a
path”; the Dao etc.
Kan
• to cut off something with a big tool violently, as in chopping off a tree
branch
• “This article is too long and should be cut down at least one third.”
• Pi also means to chop, but it is more close to "split", like to split logs
or chop wood. For instance, “the old tree was split by lightning into
two pieces.”
Kou
• button together
• buckle
• retain
• take into custody
• one of Xing Yi Quan’s “eight words” meaning the two shoulders
“fastened together” (power alignment)
• can also mean to rap or to hit
• can also mean hook
• also used in Qin Na to describe sealing a blood vessel
La
• pull, pull open a door
• drag; haul
• tug
• take something toward yourself or move together with you
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• for instance: “drag by the arm”, “pull open a door”, “tug the boat
into the river,” and “He drew me aside to tell me a story.”
• playing a bowed instrument
• “drag out”
• with another character can mean pull up, pull down
• contains the radical for hand
• can also mean: slash; slit; cut; gash
• one of the words associated with the Ba Gua saber
Lan
• block; obstruct; impede
• hinder
• bar
• hold back
Lian
• link
• ring linking/chain linking: like the interlocking links of a chain or
interlocking rings (Lian Huan)
• continuous; not stopping
• connect or join in an unbroken fashion
• the outer part of the character conveys motion: moving along a path;
the Dao etc.
• forms in Xing Yi Quan (Wu Xing Lian Huan) and Ba Gua Zhang (Ba
Gua Lian Huan Zhang)
Liao
• move something up from the low to high position
• hold up (a skirt) from the bottom - for instance, she takes up the
bottom part of her skirt to keep it from getting wet.
• strike upward – someone smaller slaps a taller person’s head with his
hand suddenly
Ling
• lead; guide
• usher
• receive; get
• draw
• collar; pull by the neck
• contains the radical for “head”
• implies a less aggressive leading than “Dai”
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Lu
• stroke
• smooth out with fingers
• rub one’s palm along
• roll up sleeves
Ma
• horse
• Ma Bu: horse riding step/stance
Mo
• to grind big things into small things like powder.
• for example, mo (grind) coffee beans, or grind wheat into flour.
• grindstone or millstone. As in: Tui Mo Zhang (millstone pushing
palm)
• rub; polish
• wear down
Na
• to hold
• to seize as in Na Fa (Seizing Methods)
• to catch
• to apprehend
• to take
Nian
• stick; stick to
• glue
• like glutinous rice
Ning
• twist
• wring
• tweak; pinch
• in martial arts refers to cutting hands that twist the bones in the arms
• in the Southern style Hung Fist (Hung Ga) one of the 18 key words
referring to locking hands
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Pi
• chop; split
• cleave; divide
• wedge
• injure by splitting
• strip off
• strike of lightning
• in Xing Yi Quan the first form (Pi Quan: “splitting fist”) associated
with the metal element
Pian
• this is often a noun. It means a slice (piece) of something, in flat shape
• it can also be used as a verb, then it means to cut something into
pieces in flat shape.
• a Pian (slice) of cheese, or bread, or slicing something like meat.
• Xiao is similar to Pian. It is usually a verb and means to cut into a thin
and small piece from a big thing. It also implies to cut very fast and
easy, with a sharp tool. Like, “xiao (peel) an apple.”
• one of the words associated with the Ba Gua saber
Pu
• crouching
• fall forward
• pouncing
Qiang
• spear
Qin
• capture; catch
• seize
Quan
• circle; ring
• loop
Rao
• go around; wind around
• coil
• circle
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Sau
• broom
• to sweep
Shan
• dodge; evade
• not getting hit by not being there
• Shan Zhan Teng Nuo: a saying in Mantis Fist and Eagle Claw meaning:
“evade by jumping from one foot to the other.” This is also a strategy
in Ba Gua Zhang.
• flash
• lightning
Shuai
• throw on the ground
• fall
• tumble
Si
• rip
• tear
Sui
• to follow
• comply with; allow
• listen to
Tan
• to explore
• to test: as in testing the water with ones foot
Tao
• fish out (of pocket)
• dig out
• hollow
• scoop
Ti
• kick
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Tiao
• to pick up - usually, it means to pick up something with the tip of the
stick or the head of spear.
• to pick out, like a splinter
• upraise, like raising up a window curtain
Tui
• push
• push forward
• promote; advance
• push a grind stone or mill stone as in the millstone pushing palm
(Tui Mo Zhang)
Tuo
• uphold
• hold up something with two palms, for instance carefully holding a
bowl of soup to carry into the dinning room
• support from underneath
Xiao
•pare or peel with a knife
•whittle, like peel an apple, whittle a piece of wood
•Xiao implies to cut a thin piece of something very quickly with a
sharp knife
• to slice
Xu
• empty
• void
• false
• hollow
Za
• pound
• smack one’s lips
Zha
• prick, or stick something into something, or make a hole violently
157
• prick his thumb on a thorn
• stick a needle into the skin
Zhan
• moisten; wet
• touch
• stick together socially in a beneficial way
• In mantis fist, this word is used in conjunction with establishing a
bridge or position to lock the arm
Zhua
• grab
• seize or arrest
• scratch
Zhuan
• rotate; revolve like a top
• turn
• transfer with rotation
• one of the key principles in Ba Gua Zhang
• Ba Gua is sometimes referred to as Ba Gua Zhuan Zhang (Ba Gua
Revolving Palm)
Zhuang
• to bump
• like a car bumping and moving another car
Zou
• walk
• to go
• move on foot
• also can mean to leak: when stopped leak around. When the
opponent stops you or locks you out, rather than resisting directly,
you “leak around him” by walking to a new position
Zuan
• literally and auger or drill
• to make your way into something; dig into something
• Zuan refers to the drilling fist in Xing Yi Quan which is associated
with the water element
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Glossary for Nei Jia & Ba Gua Zhang
A
An Mo: Massage; In the context of Nei Gong, self-massage of acu-points and other areas
of the body aimed at regulating the qi.
B
Ba Da Mu Zhang: The Eight “Mother” Palms of Ba Gua Zhang. In some styles, this
term refers to the Eight Ding Shi – fixed walking postures.
Ba Gua (Pa Kua): Literally “Eight Diagrams” referring to the eight trigrams of the Yi
Jing (I Ching - Book of Changes): Qian, Kun, Li, Kan, Dui, Gen, Zhen and Xun. Ba Gua is
also a way of referring to the martial art Ba Gua Zhang.
Ba Gua Zhang (Pa Kua Chang) : Literally “Eight Diagram Palm” a martial art
purportedly developed by Dong Hai Chuan. Modern scholars think that Dong
developed Ba Gua Zhang by combining Daoist circle walking meditation with various
martial arts, especially Lohan Boxing.
Ba Gua Ji Zhao Yin Yang Rui: A Ba Gua Zhang weapon. Literally, “Eight Diagram
Rooster Claw Yin Yang Knife” but often simply called the Rooster Claw Knife.
Ba Gua Lian Huan: Ba Gu Zhang’s “chain linking” or “ring linking form”. An

intermediate or advanced level form emphasizing fluid stepping and interconnected
movements.
Ba Gua Shuang Yue: A Ba Gua weapon, also known as the Mandarin Duck Knife.
Ba Mian Zhang: The Eight Direction or Eight Facing Palm. An advanced Ba Gua form
in which attack and defense movements are employed in all eight directions. Its full
name is Ba Gua Swimming Body Eight Directions Palm (Ba Gua You Shen Ba Mian
Zhang).
Bai Bu: Literally “swing step,” One of two main steps used in walking the circle in Ba
Gua Zhang.
Beng Quan: Xing Yi Quan’s “Bursting Fist” related to the wood element.
Bone Breathing: A Nei Gong method associated with Marrow Washing Nei Gong.
Bang: A stick, cudgel or club. Also can refer to the staff in martial arts.
Bow and Arrow Stance (see Gong Bu)
Broadsword (Dao): The Chinese broadsword. Dao literally means “knife.”
159
C
Central Channel: The central energetic pathway that runs longitudinally through the
center of the body. The Central Channel is composed of the four of the Extraordinary
Vessels: the Ren, Du and Chong channels and to some degree the Dai channel. Also
referred to as Tian Gan or “Heavenly Stem”
Cheng Style Ba Gua: The style of Ba Gua Zhang taught by Cheng Ting Hua and his
disciples.
Cheng Ting Hua: One of the original disciples of Dong Hai Chuan. Founder of Cheng
Style Ba Gua Zhang.
Chong Mai; Chong Mo: The “Thrusting” or “Thoroughfare” Vessel – one of the Eight
Extraordinary meridians.
Crane Stepping (see: He Xing Bu)
D
Da Cheng Quan: “Great Achievement Boxing.” Originally called Yi Quan (I Chuan), it
is als known in the West as “Intention Boxing”, “Natural Boxing” or “Natural Style
Xing Yi” and in Japan as “Taiki Ken”. Created by Wang Xiang Zhai.
Da Fa: A term referring to the striking methods used in Chinese martial arts.
Da Zhou Tian: The “Greater Heavenly Circuit” or “Macro-Cosmic Orbit”. A Nei Gong
practice in which qi is circulated throughout the entire body generally following the
circulation of the Eight Extraordinary channels. It is practiced by Daoist adepts and
martial arts practitioners.
Dai Long Bang: Dai Long Bang was from Shanxi province and taught Xin Yi Quan
(Heart-Intention Boxing), the precursor of Xing Yi Quan.
Dai Mai; Dai Mo: The Belt or Girdle Vessel – one of the Eight Extraordinary meridians.
It travels around the waist area like a belt.
Dantian (Dan Tian; Tantien; Dan Tian): A place where qi or vital force gathers in the
body. Usually, the term refers specifically to the area below the navel – which is also
called “Lower Dan Tian.” Dan Tian literally means “Cinnabar Field” or “Elixir Field”
referencing Daoist internal alchemy. In the nei jia, qi and breath are trained to gather
here in order to root and generate power.
Dao; Daoism (Tao; Taoism): A Chinese philosophy and religion that emphasizes living
in harmony with the “Way” or Dao, the natural essence of the universe and the source
of everything that exists. Daosim emphasizes a kind of harmony with natural forces and
Wu Wei (action through inaction) The Dao De Jing (Tao Te Ching) and the Zhuang Zi
(Chuang Tzu) are well known Daoist texts.
Dao (see Broadsword)
160
Dao De Jing: (Tao Te Ching)The “Classic of the Dao and its Virtue.” One of the seminal
works on Daoism attributed to the Daoist sage Lao Zi (Lao Tzu) and sometimes referred
to as the Laozi.
Dao Yin: What we today call Qi Gong, Nei Gong or “internal exercises,” come under
the category of nourishing life (Yang Sheng) techniques. In the past, Yang Sheng
methods were often collectively referred to as Dao Yin exercises. Dao Yin means to
“Guide and Lead” or “Guide and Pull.” The original Dao Yin Exercises originally
included An Mo (self-massage), Tu Na (breathing; inspiration-expiration), and moving
exercises.
Dian Xue: The art of striking or seizing vital points.
Die Da (Dit Da; Tieh Ta): Literally “fall-hit,” this term refers to the treatment of trauma
with traditional Chinese Medicine. Also called Shang Ke Die Da Medicine, “Hit
Medicine.”
Die Da Jiu (Dit Da Jow): “Fall-Hit Wine” or “Trauma Liniment.”
Dim Mak: The Cantonese pronunciation of Dian Xue.
Ding Shi: Means “fixed posture” or “fixed pattern.” An important part of Ba Gua
training in which one walks the circle holding eight different postures. This is the
foundation of martial skill in Ba Gua and a powerful form of Nei Gong.
Dong Hai Chuan: The purported founder of Ba Gua Zhang.
Dong Xiu Sheng: A practitioner of traditional Chinese medicine who studied with
many famous Nei Jia Quan masters and was proficient in Xing Yi, Ba Gua and Soft
Southern Shaolin.
Double Palm Change: Along with the Single Palm Change, this is one of the two key
movements in Ba Gua Zhang from which all other movements arise.
Du Mai; Du Mo: The Governing Vessel – one of the Eight Extraordinary meridians. Du
Mo governs all the Yang meridians in the body travels along the back midline of the
body.
Dui Trigram: Dui-Lake, the Joyous; one of the Eight Trigrams of the Yi Jing.
E
Earth Element: One of the “five Elements” or “five fundamental forces” - the Wu Xing.
Earth is associated with the Spleen and Stomach and the flux between the seasons in
traditional Chinese medicine.
Eight Extraordinary Vessels (see Qi Jing Ba Mai) The Qi Jing Ba Mai or Eight
Extraordinary Vessels are not so much pathways as a kind of matrix of energetic
organization that balances, supplements and harmonizes the activities of the other
161
meridians. They are important channels in Nei Gong, martial arts and Daoist alchemical
practices.
Eight Mother Palms (see Ba Da Mu Zhang)
Eight Trigrams: The Eight Trigrams are also known as the Ba Gua. They are derived
form the Yi Jing (I Ching – Book of Changes)They are eight diagrams used in Daoist
cosmology to represent the fundamental principles of the universe. They are seen as
eight interrelated concepts. Each consists of three lines, each line either "broken" or
"unbroken," representing yin or yang, respectively. The eight trigrams permeate
Chinese culture and are important in understanding Nei Gong and Daoist practices.
F
Fa Jin: Issuing power or “shock power.” Also called Fa Li.
Feng Lun Jian: The Wind Wheel Swords, a unique Ba Gua weapon.
Fire Element: One of the “five Elements” or “five fundamental forces” the Wu Xing.
Fire is associated with the heart and small intestine and the Summer season in
traditional Chinese medicine.
Five Elements or Five Phases (see Wu Xing)
Five Element Qi Gong: see Wu Xing Qi Gong
Fu Shu Yun: Fu Shu Yun attended the prestigious Nanjing Central Kuoshu Academy.
There she studied with some of the great martial artists of the day: Tai Ji Quan from Ma
Yung Shen and Yang Cheng Fu, Wu Style Tai Ji from Wu Jian Chuan and the rare
Bagua-Taiji Form. She later moved to Taiwan.
G
Gao: The term for both medicinal plasters and poultices in Die Da medicine.
Gao Ji Wu: A master of Ba Gua from Beijing who learned from his father Gao Zi Ying.
His style is called Beijing Gao Family Ba Gua Zhang. It has influences from Yin Fu, Liu
De Kuan, Wang Xiang Zhai, Li Cun Yi, and Guo Ge Min.
Gao Zi Ying: The father of Gao Ji Wu. He learned Ba Gua from his grandfather who
studied with Yin Fu and Liu De Quan. Gao Zi Ying also studied Da Cheng Quan with
Wang Xiang Zhai, Xing Yi Quan with Li Cun Yi and Tai Ji Quan under the great Yang
Chen Fu.
Gen Trigram: Gen-Mountain, Keeping Still: One of the Eight Trigrams of the Yi Jing.
Gong Bu: The “Bow and Arrow Stance.” A front weighted stance with 60-70% of the
weight on the front leg and the rear leg pushing forward.
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Gong Fu (Kung Fu; Gung Fu): Means “achievement through great effort.” Originally
referring to any acquired skill, it later came to be associated with martial arts. It is both
a name for Chinese martial arts in general and for the effort put into the mastery of the
basic skills which form the foundation for all that comes after.
Guo Ge Min: Guo Ge Min was one of the most famous and skilled practitioners of Ba
Gua in Beijing in the 20th century. Guo was a disciple of Liang Zhen Pu, as well as a
student of Liu De Kuan.
Gou Lian Jian: The hook sickle swords - a Ba Gua weapon.
Guo Yun Shen: Famous Xing Yi teacher who studied Xing Yi Quan with Li Neng Ran.
Guo was legendary for his proficiency with Beng Quan, which supposedly earned him
the sobriquet “demon hand.”
Gun: A staff or walking stick
H
He Xing Bu (Crane Stepping): A method of stepping in Ba Gua in which the leg is lifted
and lowered like a crane stepping. It is also an important Nei Gong exercise.
Hebei Xing Yi: Xing Yi Quan methods are usually divided into two general camps
Heibei and Shanxi, named for provinces in China. The division is largely artificial as
many of the great practitioners studied with different teachers in both provinces. In
general, Hebei style emphasizes power that is firm on the outside and soft on the inside
and Shanxi style emphasizes softness on the outside with firmness inside.
Heng Quan (Heng Chuan): Xing Yi Quan’s transverse or crossing fist, which is related
to the earth element.
Hexagram: Two Yi Jing trigrams can be combined to produce a hexagram of six lines.
There are 64 hexagrams. The hexagrams are part of Chinese philosophy, divination
practices, Daoist alchemy and meditation.
Hit Medicine (see Die Da)

Hook Sickle Sword (see Gou Lian Jian)
Horse Stance (see Ma Bu)
Hou Tian: “After Heaven” - the “post heaven” or post natal state. Refers to the Qi
Mechanism of the body that transforms qi after one is born as opposed to the inherited
energies. With Xian Tian (Pre-Heaven) this term also refers to two different orientations
of the trigrams, one expressing the unchanging polar forces of the universe (Xian Tian)
and the other - Hou Tian, expressing the temporal earthly cycles. In Ba Gua Zhang,
sometimes the 64 forms are called Hou Tian, and the 8 circular changes, Xian Tian.
Hu Kou: “Tiger’s Mouth” – the area between the thumb and forefinger.
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Huang Di Nei Jing: This is one of the oldest books on Chinese medicine which focus
largely on acupuncture but also provides much of the philosophical underpinning of
Chinese medicine.
Hui Yin: The acu-point DU 20 “Hundred Meetings”, which lies on the top of the head
on the midline between the tips of the two ears.
J
Ji Ji Ke: a legendary master of Xing Yi Quan. Also known as Ji Gong and Ji Long Feng.
Ji Ji Ke was from Shanxi Province. In a version of the origin of Xing Yi Quan, after the
death of Yue Fei (the purported founder), the art was lost for half a millennium. Then,
during the Ming and Qing Dynasties in Shaanxi Province's Zhongnan Mountains, Yue
Fei's boxing manual was discovered by Ji Ji Ke.
Jia Ji: (see San Guan)
Jiang Rong Jiao: Jiang Rong Jiao (Jiang Rong Qiao; Chang Rong Chiao). Jiang was a
student of the famous Li Cun Yi and Zhang Zhao Dong. Jiang was an instructor at the
famous Nanjing Guoshu Institute where he taught a variety of martial arts. He taught
extensively and published a number of books on Ba Gua, XingYi, the sword and spear.
Ji Ben Gong: Foundational training which is an essential part of acquiring the basic
body skills necessary to develop skill in Chinese martial arts.
Ji Zhao Yuan Yang Yue: The “Mandarin Duck Knife”. A Ba Gua weapon that is often
erroneously called the deer horn knife.
Jian: The Chinese double edged straight sword.
Jin (Jing): strength, energy, spirit. The same jin as in Fa Jin. Often used to refer to
“refined” power and that are the result of training as opposed to inhereted brute force.
Jing Luo: Jing, refers to the warp threads in a piece of fabric and has the meaning “to go
through, lead, transmit or to direct.” Luo means net or network. Jing Luo is usually
translated as “channels and collaterals” referring to the energy pathways in the body
which are also called “meridians.” See also: Mai
Jing Mai (see: Mai)
Jing Qi: “Essence Qi.” Refined essence that is the yang energetic aspect of the jing.
A term referring to the substance associated with the kidneys that, in Chinese medicine,
represents the foundational matrix of the body’s vital energies.
K
Kan Trigram: Kan-Water, the Abysmal, is one of the Eight Trigrams of the Yi Jing.
164
Kidney Breathing: This is deep diaphragmatic breathing that expands and contracts the
Dantian and Mingmen. It involves letting Qi and breath sink to the Dantian and circulate
internally. It is also called “Dantian Breathing”.
Kou Bu: Literally “hook step,” but often erroneously called the toe-in step. One of the
two main steps used in walking the circle in Ba Gua Zhang
Kua: Often mistranslated as “hip,” kua refers to the inguinal area in the front of the
pelvis and all the internal and external structures in that area.
Kun-Trigram: Kun-Earth, the Receptive, is one of the Eight Trigrams of the Yi Jing
L
Lao Ba Zhang: The “Old Eight Palms” – In many styles of Ba Gua Zhang this is the
name for the eight basic palm changes.
Laogong: The “Palace of Labor” – acu-point Pericardium 8 (PC 8) in the center of the
palm.
Lao Zi (Laozi; Lao Tzu): The legendary author of the Dao De Jing which is often called
the Laozi. This is a key Daoist philosophical work, but also a manual for Daoist
meditation practices.
Large Heavenly Circulation (see Da Zhou Tian)
Li Trigram : Li-Fire, the Clinging, is one of the Eight Trigrams of the Yi Jing.
Li Cun Yi: A famous practitioner of the Hebei School of Xing Yi Quan. He initially
studied with Liu Qi Lan and later with Guo Yunshen and Cheng Ting Hua.
Li Gui Chang: A Shanxi Xing Yi master. He studied Xing Yi Quan, Ba Gua Zhang, Tai Ji
Quan and Shaolin Five Elements Soft Art with Dong Xiu Sheng.
Li Neng Ran (Li Luo Neng): Li Neng Ran was also known as Li Fei Yu and Li Luo
Neng. He learned Xin Yi Quan (Heart-Intention Boxing) from the Dai family, which he
later modified, calling it Xing Yi Quan.
Liang Style Ba Gua: The Ba Gua style taught by Liang Zhen Pu and his disciples.
Liang Zhen Pu (Liang Zhen Fu): One of the original disciples of Dong Hai Chuan.
Founder of Liang Style Ba Gua Zhang.
Liu De Kuan: Liu De Kuan studied many martial arts and was famous for ability with
spear and halberd – hence his nickname “Big Spear.” Purportedly created Liang Style
Ba Gua’s 64 Hands.
Liu He Ba Fa (Liu Ho Ba Fa): Also called “water Boxing”, because of its fluid
movements; literally means “Six Harmonies and Eight methods.”
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Liu Qi Lan: Liu Qi Lan was one of the top Xing Yi students of Li Neng Ran.
Liu Wen Hua: Liu Qi Lan’s son – famous for his Xing Yi.
Liu Zi Jue: A Qi Gong or Nei Gong method known as the Six Healing Sounds, in which
the practitioner utters words or sounds that vibrate specific internal organs and their
associated structures.
Li Zi Ming: A Disciple of Liang Zhen Pu and friend and student of Guo Ge Min. A
famous master of Ba Gua Zhang in Beijing.
M
Ma Bu: “Horse Stance” or “Horse Riding Stance” It looks like the position one takes
when riding on horse back.
Ma Chuan Xu: One of the top disciples of Ba Gua Zhang under Li Zi Ming.
Macrocosmic Orbit (see Da Zhou Tian)
Mai; Mo: Literally meaning “to pulsate”. The mai (or mo) refer to the pulsating blood
vessels of the body, but also the Jing Luo or meridians. In this context they can be called
the Jing Mai or Jing Mo. This tern is used fairly interchangeably with the term Jing Luo.
Mandarin Duck Knife (see Ji Zhao Yuan Yang Yue)
Marrow Washing Nei Gong: (see Xi Shui Jing)
Meridians: The energy pathways in the body according to Chinese medicine. Meridian
is a somewhat misleading term. Jing Luo is the more correct term.
Metal Element: One of the “Five Elements” or the Wu Xing. Associated with the lungs
and large intestine and the fall season.
Microcosmic Orbit (see Xiao Zhou Tian)
Middle Burner: One of the “three burners” or San Jiao in traditional Chinese medicine.
The middle burner refers to the energetic activities and physical organs of digestion. It
also refers to the structures and organs in the area between the navel and the nipple line
(Gallbladder, Liver, Spleen and Stomach).
Middle Dantian: This is essentially the acu-point Zhong Wan (Ren 12) – “center venter”
It is the area where qi gathers in the middle burner and is associated with the post-
heaven vital energies and the Spleen and Stomach.
Ming: Ming : vital force or life is often paired with Xing : inner nature; character;
disposition; property; quality.
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Ming Gong: One of two methods or “schools” of Daoist cultivation: Xing Gong and
Ming Gong. Xing Gong refers to self-cultivation which employs quiet seated
meditation to cultivate the mind, while Ming Gong trains the body through qi
cultivation exercises. Ming Gong is sometimes referred to as You Wei and Xing
Gong as Wu Wei . These two methods or schools are complimentary.
Mingmen: The “life gate” or “gate of destiny” – an area behind the navel and in front of
the spine called the “moving qi between the kidneys” or the “true fire within water.”
Also called the “life gate fire” as it acts like a fire that moves and transforms water (like
converting water to vapor). An important area in Nei Gong and Daoist inner alchemy
as well as in internal martial arts. The acu-point Mingmen (Du 4) lies between the 2nd
and 3rd lumbar vertebrae.
Mud Stepping (see Tang Ni Bu)

Muscle Tendon Change: (see Yi Jin Jing)
N
Na Fa: The seizing methods of Chinese martial arts. Sometimes used inter-changeably
with the term Qin Na. (see Qin Na)
Nei Dan: A term for internal alchemy or Daoist alchemy. A general term for Daoist
practices which involve transmutation of the three treasures (Jing; Qi; Shen) Nei Dan
practices are part of the internal martial arts and nei gong. They are said to transform
consciousness and prolong life. See also: Wai Dan
Nei Jia: Nei Jia literally means “inner family or inner school.” It is a term used to
refer to styles of martial arts that in English we call “internal,” particularly if we add the
character for “fist” resulting in the term Nei Jia Quan. Today these styles are
considered to include Tai Ji Quan, Xing Yi Quan, Ba Gua Zhang, Tong Bei Quan, Da
Cheng Quan and Liu He Ba Fa.
Nei Gong: Literally “Internal Achievement” or “Internal Exercise.” Nei Gong is a

general term referring to various sets of breathing, meditation and spiritual practices
associated with Daoism and especially the internal martial arts. Nei Gong exercises are
an integral part of the internal martial arts.
O
Original Qi (see Yuan Qi)
Outer Alchemy (see Wai Dan)
P
Pao Quan: Xing Yi Quan’s Cannon Fist; related to the fire element.
Pi Quan: Xing Yi Quan’s Splitting Fist; related to the metal element.
Post Heaven (Post-Natal) (see Hou Tian)

Pre Heaven (Pre-Natal) (see Hou Tian)
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Pu Bu: “Crouching Step” or “Pouncing Step” in which one drops low onto one leg with
the other extended outward.
Push Hands (see Tui Shou)
Q
Qi: Qi is often translated as “energy,” “vital energy” or “vital force.” In common
usage, qi can refer to air, gases and vapors, smells, spirit, vigor; morale, attitude, the
emotions (particularly anger), as well as tone, atmospheric changes, the weather, breath
and respiration. In the body, qi is often discerned by its actions, the balanced and
orderly regulation of bodily functions. Qi also embraces properties that we would refer
to as being emotional and spiritual.
Qi Hai: Literally “Sea of Qi.” Generally refers to the Dantian, or more specifically to the
acu-point Qi Hai (CV 6) which lies 1.5 body inches below the navel. But can also refer to
other places in the body where qi gathers.
Qi Jing Ba Mai: The Qi Jing Ba Mai or Eight Extraordinary Vessels are not so much
pathways as a kind of matrix of energetic organization that balances, supplements and
harmonizes the activities of the other meridians They are important channels in Nei
Gong, martial arts and Daoist alchemical practices.
Qi Mechanism: A Chinese medical terms referring to the orderly actions, movements

and functions of the qi. Usually referring to these actions as they manifest in the human
body.
Qian Trigram: Qian-Heaven, the Creative, is one of the Eight Trigrams of the Yi Jing
Qiang: The Chinese spear.
Qin Na (Qinna): Qin Na (chin na) is variously translated as, “capture methods,”
“seizing and controlling,” seizing and locking.” Qin means to capture, catch, or seize.
Na means to hold, grasp, or squeeze. Because the word na also implies seizing, some
practitioners simply refer to these kinds of techniques as na fa (seizing or grasping
methods).
Qi Gong: Literally “qi work” or qi achievement.” A name for internal exercises like Nei
Gong, Tu Na or Dao Yin. Qi Gong is a more modern term created in the 1950s by the
Chinese government. Today it is often used interchangeably with Nei Gong..
R
Ren Mai; Ren Mo: The Conception Vessel – one of the Eight Extraordinary meridians.
Ren Mai governs all the yin meridians in the body travels along the front midline of the
body.
Rooster Knife (see Ba Gua Ji Zhao Yin Yang Rui)
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Rou Shou: Literally “soft hands” or “supple hands,” but also known as San Shou (“Free
Hands”). A sensitivity practice exercise in which practitioners roll their arms in spirals
while maintaining contact.
S
San Bao: The “Three Treasures”: Jing (essence), Qi (vital force) and Shen (spirit) are
referred to collectively as the Three Treasures.
San Cai: The “Three Powers”: Heaven, Earth and Man.
San Da: Free Fighting as in Sparring. San Da competitions include throws.
San Guan: “Three Passes.” Three stages in Nei Dan (inner alchemy) practices. Also
three barriers along the Du channel through which the qi and breath must pass. 1) Wei
Lu: at the coccyx. 2) Jia Ji: in the middle of the spinal column where it joins the ribs at
the shoulder blades. 2) Yu Zhen: (“jade pillow”) at the occiput.
San Jiao: The three heaters (Triple Heater), Three Burners (Triple Burner) or Triple
Warmer. The San Jiao is both the water passageway in the body and the pathway for
the Yuan Qi (Original Qi). The San Jiao is closely associated with the fire of the
Mingmen. The Three Burners or San Jiao can also refer to three sections of the body
(upper, middle and lower).
San Shou: This term can refer to free-style fighting (San Da) such as sparring, but can
also refer to Rou Shou.
San Ti Shi: The “Three Body Posture” or “Trinity Posture” in Xing Yi Quan. Holding
this posture is the basic Nei Gong practice in Xing Yi.
Sea of Qi (see Qi Hai)
Seventy-Two Leg Attacks: Seventy-Two methods of using the legs to kick, check, lock
and disrupt the opponent in Ba Gua Zhang.
Seventy-Two Techniques: Qi Shi Er Zhao - Seventy-Two applications of Ba Gua’s basic

principles and palm changes.
Shang Ke (see Die Da)
Shanxi Xing Yi (see Hebei Style Xing Yi)
Shaolin: Shaolin refers to the Shaolin temple and the martial arts and Nei Gong
methods practiced by Buddhist monks that developed there.
Shen: Usually translated as “Spirit,” Shen is stored in the heart and radiates out through
the whole body. The radiance of the Shen, manifests through the light, the brightness
(shenming: “spirit brightness”) shining out of a person’s eyes. Shen is one of the three
treasures.
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Shen Fa: Literally, “body methods” The body mechanics and techniques in martial arts.
Shen Qi: The three treasures are interdependent, hence they are often referred to
together as jingshen (), essence-spirit (spirit derived from essence) or shenqi (),
spirit-qi.
Shuai Fa: Throwing methods in Chinese martial arts.
Shuai Jiao (Shuai Chiao): Chinese Wrestling. The word shuai, means "to throw onto the
ground", while jiao means "to wrestle or trip using the legs".
Single Palm Change: Along with the Double Palm Change one of the two key
movements in Ba Gua Zhang from which all other movements arise.
Six Healing Sounds: see Liu Zi Jue
Sixty-Four Hands: In Liang Style Ba Gua Zhang the 64 hands, or 64 Forms (Liu Shi Si
Zhi Tang), consist of 8 linear forms with 8 movements each. These are direct martial
applications of the basic palm changes.
Sixty-Four Hexagrams: In the Yi Jing (I Ching – Book of Changes) the 64 hexagrams are
created by combining the Eight Trigrams, so that each hexagram consists of six stacked
horizontal lines. Lines are yang (unbroken) or yin (broken). Like the eight trigrams, the
sixty-four hexagrams permeate Chinese culture and are important in understanding
Nei Gong and Daoist practices.
Small Heavenly Circulation (see Xiao Zhou Tian)
Song Zhi Yong: A disciple of Li Gui Chang and well-known Master of Xing Yi Quan in
Taiyuan in Shanxi province.
Standing Meditation or “Stake Standing” (see Zhan Zhuang)
Sun Lu Tang: Also called Sun Fuquan. A renowned practitioner of Xing Yi, Ba Gua and
Tai Ji, who was also a Daoist and an Yi Jing scholar. Sun wrote several influential books
on the internal martial arts. He created his own Tai Ji Quan form, today known as Sun
Style Tai Ji Quan.
Swimming Dragon (see You Shen)
T
Tai Ji: Tai Ji, “great pole”, or “extreme polarity.” Tai Ji represents the division of things
(from the Wu Ji) into Yin Qi and Yang Qi - movement and stillness, up and down, right
and left, etc.
Tai Ji Quan (Tai Chi Chuan): This internal martial that is based on the concept of Wu Ji
and Tai Ji and is well-known for its slow movements and health benefits. Yang, Wu and
Chen are the most well-know styles of Tai Ji.
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Tang Ni Bu: Ba Gua Zhang’s unique “Mud-Stepping” or “Mud-Wading Step” used in
the practice of circle walking. The sole of the foot stays parallel to the floor like walking
in mud. It is a key Ba Gua Nei Gong practice.
Three Burners; Three Heaters (see San Jiao)

Three Powers (see San Cai)
Three Treasures: (see San Bao)
Ti Fa: This term refers to the kicking methods used in Chinese martial arts.
Tian Gan: Literally “Heavenly Stem.” Refers to the central energetic pathway that runs
longitudinally through the center of the body. Also called the “Central Channel.” Tian
Gan also refers to a set of Nei Gong exercises that open the central channel and develop
power and spiraling force.
Tiger’s Mouth (see: Hu Kou)
Tong Bei Quan: Commonly called White Ape Style, the full name is Bai Yuan Tong Bei
Quan, ("white ape penetrating through the back boxing”). Considered to also be one of
the nei jia.
Triple Heater (see San Jiao)
Tu Na: An ancient name for breathing exercises. Tu means literally “to spit out” and
Na “to receive” or “accept”.
Tui Na: Literally “Pushing-Grasping” – Chinese medical massage.
Tui Shou: “Pushing Hands” – a sensitivity exercise associated with Tai Ji Quan that
develops sensitivity, listening skills and fighting applications.
W
Wai Dan: Outer Alchemy- Wai means “outer” and Dan refers to cinnabar, but can be
taken to mean “elixir.” Originally it referred to the refining of minerals to make an elixir
which was ingested to prolong life. Today it often refers to physical exercises which
transform the body from the outside as opposed to Nei Dan (“inner elixer”) in which
the body is transformed from the inside.
Wang Shi Tong: A Master of Liang Style Ba Gua Zhang who lived in Beijing and was a
disciple of both Guo Ge Min and Li Zi Ming.
Water Boxing (see Liu He Ba Fa)
Water Element: One of the “Five Elements” or Wu Xing. Water is associated with the
Kidneys, the Bladder and the winter season.
Wei Lu: (see San Guan)
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Wei Qi: Wei Qi, or “Defensive Qi,”. An aspect of the qi that moves in the exterior layers
of the body and the skin. Its main functions are to warm the body and defend the
exterior of the body from penetration by pathogens.
White Ape Boxing (see Tong Bei Quan)
White Crane: The red-crested white crane is a symbol of immortality and wisdom in
Asia and is associated with Heaven. White Crane boxing is also a style of martial arts.
Wind Wheel Sword (see Feng Lun Jian)
Wood Element: One of the “five Elements” or “Wu Xing. Wood is associated with the
Liver, the Gallbladder and the spring season.
Wu Ji: Wu Ji means literally “no limit” or “no polarity. In the internal martial arts, form
and movement begin in the Wu Ji posture which is characterized by this place of
undifferentiated mind and body. In meditation, it is the origin, the place of unity to
which the meditator is trying to return.
Wu Shu: Literally "martial arts". Today the term is usually associated with the
competitive performance of Chinese martial arts. However, traditionally it was a term
for the battlefield arts and martial arts general. Today, outside of mainland China Wu
Shu is often replaced by the more general term “Gong Fu” (Kung Fu).
Wu Wei: Action through inaction, or “non-doing,” a concept in Daoist thought.
Wu Xing: “Five Elements,” or “Five Phases.” Five dynamic interacting forces. They are
also called the five agents or five forces: Water, Wood, Fire, Earth and Metal. Also a
name for Xing Yi Quan’s five fists.
X
Xi Shui Jing: “Marrow Washing Nei Gong”. An advanced Nei Gong method in which
qi is guided to the bones and bone marrow, in order to strengthen the bones, the
essence and the constitution, as well as to promote the production of blood.
Xian Tian (see Houtian)
Xiao Zhou Tian: “Small Heavenly circulation” or the “Micro-cosmic Orbit.” Internal
transformation of the Three Treasures (San Bao) practiced by Daoists and martial arts
practitioners, in which qi is circulated through the Ren and Du Meridians. Part of Nei
Gong practices and Daoist inner alchemy.
Xin: Heart. Also refers to the heart and mind together as part of the psycho-spiritual
aspect of hman beings.
Xing: see Ming

Xing Gong: see Ming Gong
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Xing Yi Lian Huan: The linking or “ring-linking” form of Xing Yi Quan in which the
basic techniques are mixed with varied steps.
Xing Yi Quan: Literally “Form Intention Boxing.” Probably created by Li Neng Ran.
Xing Yi Quan focuses on San Ti, the five element and twelve animal forms. Some say
that Xing Yi Quan derived from spear fighting methods. Other say that General Yue Fei
created the art.
Xu Bu: The “Empty Stance,” in which one foot has no weight. In Japanese martial arts it
is often called the “Cat Stance.”
Xun Trigram: Xun-Wind (or Wood), the Gentle or the Penetrating, is one of the Eight
Trigrams of the Yi Jing.
Y
Yang Sheng: “Nourishing Life” – many of the practices that we today call Qi Gong, Nei
Gong or “internal exercises” come under the category of nourishing life (Yang Sheng)
techniques.
Yao: The waist in general, but more specifically the lumbar area emanating out to what
we in the West call the waist.
Yi: Intention; meaning; idea.
Yi Jin Jing: “Muscle Tendon Change”. A Qi Gong method which aims at strengthening
the sinews (ie: muscles, tendons and ligaments) through concentration, breathing and
movement. Often a key part Shaolin Gong Fu training.
Yi Jing (I Ching): literally the “Classic of Change” or “Book of Changes.” One of the
oldest books in China and part of the Daoist Canon. Internal martial arts practitioners
borrow Daoist imagery from the Yi Jing, to talk about the aspects of their practice that
derive from Nei Dan. The 64 Hexagrams and 8 trigrams come from the Yi Jing.
Arguably one of the most important books in Chinese thought.
Yi Quan (see Da Cheng Quan)
Yin and Yang: Polar opposite universal forces existing only in relation to each other
which inter-transform and interact. The character for yin refers to the north, shady side
of a hill and references the moon; the character for yang refers to the south, sunny side
of a hill and references the sun.
Yin and Yang Meridians : The Twelve main meridians which are divided into six yin
and yang pairs. Yang meridians are on the back and sides of the body; yin meridians
are on the front of the body and inside the arms and legs.
Yin Fu: A disciple of Dong Hai Chuan who created what is today called Yin Style Ba
Gua Zhang.
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Yin Style Ba Gua: The style of Ba Gua Zhang taught by Yin Fu and his disciples.
Ying Qi: Ying Qi (“Nutritive Qi”; “Constructive Qi”) is also referred to as acquired or
Post- Heaven Qi. It is an aspect of the qi that nourishes the organs and tissues.
You Shen: Literally “Swimming Body.” Ba Gua practitioners strive to move seamlessly
and smoothly like a dragon “swimming through the clouds.” This is also known as
”Dragon Body Ba Gua.” Some styles of Bagua have “swimming dragon” forms that
help to develop this aspect.
Yongquan: The acu-point “bubbling well” - Kidney 1 (KID 1) in the hollow in the ball of
the foot. This point is sometimes called the lower Dantian.
Yu Zhen (see San Guan)
Yuan Qi: “Original Qi” or “Source Qi”. Part of the qi acquired from one’s parents and
derived from Jing. Associated with Pre-Heaven qi.
Yue Fei: A famous general of the Song dynasty who (it is believed by some) created
Eagle Claw Boxing, Xing Yi Quan and the Eight Brocade Qi Gong set (Ba Duan Jin).
Z
Zhan Zhuang : “Post standing”, “Pile Standing” or “Stake Standing,” a practice
common to the internal styles of Chinese martial arts in which one holds a static
posture. Also called “Standing Meditation” or “Standing Zen.”
Zhang Hua Sen: Beijing Ba Gua Master; a disciple of Li Zi Ming; studied Mian Quan
(Cotton Fist), Shuai Jiao, Tai Ji. Also a Beijing Opera performer.
Zhao Da Yuan: Beijing Ba Gua Master- one of the original disciples of Li Zi Ming.
Famous for his Ba Gua, Qin Na and throwing skills.
Zheng Gu: Literally “Correct the Bone,” or “Straighten the Bone.” Commonly known as
“bone setting.” Zheng Gu is a part of Tui Na.
Zhen Trigram: Zhen-Thunder, The Arousing, is one of the Eight Trigrams of the Yi Jing.
Zhuang Zi (Zhuangzi; Chuang Tzu): The purported author of the Zhuangzi, an

important text in Daoist philosophical and religious thought.
Zuan Quan: Xing Yi Quan’s drilling fist; related to the water element.
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Recommended Reading For Students
When teachers give students recommended reading they are encouraging them to
study on their own and make their own discoveries. The books listed below will help
you learn, remember and understand the material covered in class. They also elucidate
applications and theoretical underpinnings of the art that may not be covered in class. A
number of books below were produced specifically for students learning Liang style
Ba Gua Zhang as it is taught by Internal Arts International and New York Internal Arts.
Others feature different styles of Ba Gua but provide good information on the principles
and methods that underlie all Ba Gua styles.
Essential & Highly Recommended Books for Students of New York

Internal Arts and Internal Arts International
1. Ba Gua Nei Gong Vol. 1: Yin Yang Patting & Dao Yin Exercises
2. Ba Gua Nei Gong Vol. 2: Qi Cultivation Exercises & Standing Meditation
3. Ba Gua Nei Gong Vol. 3: Twelve Posture Standing
4. Ba Gua Nei Gong Vol. 4: Foundational Body Training
5. Ba Gua Nei Gong Vol 5: Tian Gan Heavenly Stem Nei Gong
6. Ba Gua Nei Gong Vol. 6: Marrow Washing Nei Gong
7. Ba Gua Circle Walking Nei Gong: The Meridian Opening Palms of Ba Gua Zhang
8. Essentials of Ba Gua Zhang by Gao Ji Wu and Tom Bisio
9. Attacking Hands of Ba Gua Zhang by Gao Ji Wu with Tom Bisio
10. Liang Zhen Pu Eight Diagram Palm by Li Zi Ming (compiled and edited by Vince
Black)
Other Books of Interest:

1. Decoding The Dao: Nine Lessons In Daoist Meditation (Outskirts Press 2013)
2. Beyond the Battleground: Classic Strategies from the Yijing and Baguazhang for
Managing Crisis Situations (North Atlantic Books 2016) (Formerly published as
Strategy & Change: An Examination of Military Strategy, The I-Ching and Ba Gua)
3. Nei Gong the Authentic Classic: A Translation of the Nei Gong Zhen Chuan (Outskirts
Press 2011)
4. Practical Qin Na Part 1: Explanation of the Qin Na Nine Heaven Secret Text, by Zhao
Da Yuan , Edited by Tom Bisio and translated by Tom Bisio and Huang Guo Qi
5. Practical Qin Na Part 2: Foundational Training, Techniques and Methods, by Zhao Da
Yuan , Edited by Tom Bisio and translated by Tom Bisio and Huang Guo Qi
Useful Books on Other Styles of Ba Gua:

1. Jiang Rongqiao’s Baguazhang: A Translation from the Chinese by Andrea Falk
2. Liu Bin’s Zhuang Gong Bagua Zhang: South District Beijing’s Strongly Rooted Style
Vol. 1 & Vol. 2 by Zhang Jie with Richard Shapiro
3. The Cheng School Gao Baguazhang Manual: Gao Yisheng’s Ba Gua Twisting-Body
Connected Palm, edited by Liu Feng Cai
175
176

Ba Gua Student Handbook by Tom Bisio

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Ba Gua Student Handbook by Tom Bisio

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Written By Tom Bisio

© 2015 New York Internal Arts LLC & Tom Bisio

Pre-Heaven Trigrams Post Heaven Trigrams

THE NINE PALACES

Level 1: Foundational Level 21

Level 2: Core Patterns & Movements 35

Level 3: Intermediate Level 49

Level 4: Advanced Level & Weapons 73

Glossary of Chinese Characters for Ba Gua Zhang 148

Glossary for Nei Jia & Ba Gua Zhang 159

Recommended Reading For Students 175

Characteristics of Ba Gua Zhang

Transformation & Change

Ba Gua Zhang as a Physical Discipline and Spiritual Path

B a Gua Zhang provides practitioners with an embodied spirituality and philosophy

Styles of Ba Gua Zhang

Tom is the author of several books, including:

• TheAttacking Hands of Ba Gua Zhang, co-written with Gao Ji Wu (Trip Tych

• The Ba Gua Nei Gong Series: Vols 1-6

• Practical Qin Na Part 2: Foundational Training, Techniques and Methods, by Zhao Da

Disagreements between students or between students and instructors need to be

Don’t be afraid to practice the self-defense skills. Practicing self-defense skills,

Level 1: Foundational Level

Level 2: Core Patterns and Movements

Level 4: Advanced & Weapons

Ba Gua Leading-Guiding Life Nourishing Nei Gong

Standing Meditation Zhan Zhuang 

Qi Cultivation Exercises Duan Lian Qi Gong  

Ba Gua Zhang Twelve Standing Postures Ba Gua Zhang Shi Er Zhan

1. Posture 1: San Ti Shi 4 .

6. Posture 6: Resting Step: Xie Bu 

7. Posture 7: Balance Step: Ping Heng Bu 

10. Posture 10: Bow Step: Gong Bu 

Linking the 12 Postures

Now repeat the sequence on the opposite side

Ding Shi Stepping Patterns

Foundational Exercises & Partner Drills

II. Piercing Palm Exercises: Partner

IV. Leg Trapping Drills

VI. Na Fa Seizing Exercises

A very good morning practice session can consist of:

Total: 1 hour and 15 minutes to 1 hour and 40 minutes

Single and Double Palm Changes of Gao Ji Wu

Lao Ba Zhang (Old Eight Palms)

1. Single Palm Change – Piercing Palm

2. Double Palm Change – Hand Covering Palm

3. Body Turning Palm (Hidden Hand Palm)

4. Body Splitting Palm

5. Opportunity Seizing Palm

6. Step Following Palm

7. Palm #7: Yielding Body Palm or Downward

8. Flat Piercing Palm (Testing Palm)

Eight Linear Movements (Ba Shou)

Kicking: Developmental Exercises:

Stationary Kicking Drills

Six Basic Wrist Qin Na

Wrist Qin Na Variations

II. Principle of Hook and Hang Jade Bottle

Elbow And Shoulder Qin Na

Lead; Seize and Pull Drills

Eight Linking Qin Na: Eight Comprehensive Grasping-Seizing Form

Ba Gua Zhang Eight Attacking Elbows

Slap Away Millstone Exercises

Winding/Entangling Hand Throws & Techniques

Standing Meditation Zhan Zhuang

Qi Cultivation Exercises Duan Lian Qi Gong

1. Posture 1: San Ti Shi 4 .

6. Posture 6: Resting Step: Xie Bu

7. Posture 7: Balance Step: Ping Heng Bu

10. Posture 10: Bow Step: Gong Bu

Ku Shu Pan Gen

Kou Bu Ta Zhang