Liang Zhen Pu Ba Gua Zhang 8 Diagram Palms Tom Bisio

LIANG ZHEN PU
BA GUA ZHANG
Eight Diagram Palm
NEW YORK INTERNAL ARTS

STUDENT HANDBOOK
Written By Tom Bisio
2013 Trip Tych Enterprises LLC

New York Internal Arts
Internal Art International
Cannot be reproduced or copied without permission from Tom Bisio
and Trip Tych enterprises LLC
THE EIGHT TRIGRAMS
qian li
ku
xu
n
i
du
xu
n
n
kan
zhen
dui
li
n
gen
qia
kh
gen
en
kun kan
Pre-Heaven Trigrams Post-Heaven Trigrams
THE NINE PALACES
9 9
4 2 4 2
3 5 7 3 5 7
8 6 8 6
1 1
iii
TABLE OF CONTENTS
INTRODUCTION 1
What is Ba Gua Zhang? 1
History of Liang Zhen Pu Ba Gua 2
About the Chief Instructor 3
Lineage And Teachers 4
Student Guidelines 5
Advice For Training in the Chinese Martial Arts 7
The Ba Gua Zhang Curriculum 9
LEVEL 1: FOUNDATIONAL LEVEL 11

Introduction to the Beginner Level 12
Tips for Practice 19
LEVEL 2: CORE PATTERNS & MOVEMENTS 20

Introduction to Level 2 21
LEVEL 3: INTERMEDIATE LEVEL 32

Introduction to the Intermediate Level 33
LEVEL 4: ADVANCED TRAINING 47

Introduction to the Advanced Level 48
WEAPONS TRAINING 61
GLOSSARY OF CHINESE CHARACTERS FOR BA GUA ZHANG 82
GLOSSARY FOR NEI JIA & BA GUA ZHANG 91
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INTRODUCTION
New York Internal Arts was founded by Tom Bisio in 1996 to promote and teach the Chinese internal arts,
including traditional Chinese medicine and Nei Gong exercises. In these classes and seminars, we are offering
instruction in Liang Zhen Pu Ba Gua Zhang, one of the main Ba Gua lineages from Mainland China. This
handbook contains information on the history of the Liang Zhen Pu Ba Gua, lineage and teachers as well as a
detailed outline of the curriculum. Also included are some class guidelines. Please be sure to read and follow the
class guidelines: they will make the process of learning Ba Gua easier and more enjoyable.
WHAT IS BA GUA ZHANG?

Ba Gua Zhang is one of the Nei Jia Quan or internal boxing arts. In Chinese Wu Shu (martial arts) , 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), this transformative process serves to promote health and prolong life.
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 Guas 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.
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 Daoist meditation practices which involved keeping the
mind empty while walking in a circle. Dong was often quoted as saying, training in 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 opponents 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 bodys full power in combat. Anatomically,
the human bodymuscles bones, tendons, ligamentsis organized in spirals. Therefore moving the body in
spiral and circular patterns preserves the health and integrity of the human organism, while taking advantage of
its natural structure to generate efficient self-defense capability.
In both training and combat, Ba Gua places an emphasis on internal stillness while the body is in motion,
1Q
i has no simple definition. Although often translated 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 bodys activity, but the activity itself is also qi. Proper
or correct qi maintains and renews the measured orderly changes that comprise normal bodily processes. Pathogenic qi (disease pathogens) violate this
order.
1
2 P a Kua Chang Journal, The Origins Of Pa Kua Chang. High View Publications: Vol 3, No. 4 May/June 1993. pp. 25-9.
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.
This idea of transformation can be 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,
counter and re-counter, and dynamic states of change and transformation.
Although Ba Gua is referred to as the eight diagram palm, 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 therefore characterized by ambushing hands and hidden kicks. Within the forms and
movements are Sixty-four hands and seventy-two secret kicks, as well as da fa (striking methods), ti fa (kicking
methods), na fa (seizing methods), and shuai fa (throwing methods). In practice these methods are often
combined, so that a particular movement may be a strike, a throw, a joint-lock or even a kick.
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, a dedicated, hard working student, so Liang made quick progress in Ba Gua. He was Dongs 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 Dongs death so most Ba Gua practitioners
surmise that he studied and practiced with Dongs 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 Liangs 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. Guos 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
Guos disciples include Wong 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. Wong Shi Tong joined Li Zi Mings 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 Liangs death in 1932. Liang visited Tianjin in 1926 and Liang
Zhen Pu introduced him to Ching Yuen, one of Yin Fus 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. Li did not teach anyone
outside of his family until 1974 when he was 74 years old.
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 Mings more well
known disciples are Vince Black, Zhao Da Yuan, Zhang Hua Sen, Ma Chuan Xu, Wang Tong and Di Guo Yong.
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After Li Zi Mings 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 Gu Mins contribution to the Ba Gua Zhang of Liang Zhen Pu through one of his few remaining
students, Wong Shi Tong.
In 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 Wus grandfather, Gao Wen Cheng was a disciple of Liu De Kuan who purportedly created the
64 Linear Forms. Liu De Kuan and Liang Zhen Pu both taught Guo Gu Min. Although this style does not bear
Liang Zhen Pus name, it is clear that Liu De Kuan was an important contributor. Gao Ji Wus 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.
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 Yorks 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 arts 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.
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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 Changs Xing Yi with his senior school brother Song Zhi Yong. Song Zhi Yong and Gao Ji
Wu are senior advisors to Internal Arts International.
Today Tom heads a busy clinic that specializes in trauma and sports injuries. There he oversees and trains
other acupuncturists and a constant stream of students from various acupuncture schools in the Tri-State area
who come 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 teach all over the world.
Tom is the author of several books, including:

A
TOOTH FROM THE TIGERS 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)
Z
HENG GU TUI NA, a textbook on Chinese medical massage, co-written with Frank Butler (Zheng Gu Tui Na,
LLC, July, 2007)
T
HE ATTACKING HANDS OF BA GUA ZHANG, co-written with Gao Ji Wu (Trip Tych Enterprises, LLC,
February, 2010)
S
TRATEGY & CHANGE: An Examination of Military Strategy, The I-Ching and Ba Gua Zhang, (Outskirts
Press 2010)
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)
LINEAGE & TEACHERS

Dong H ai Chuan
(founder)
Yin Fu L iang Zhen P u
Cheng Ting Hua
L iu De Kuan
Gao Wen Chang Guo Gu M in
Gao Zi Ying
L i Zi M ing
Wang Shi Tong
Gao Ji Wu Zhao Da Yuan Zhang Hua Sen Vince Black
Tom Bisio
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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, particularly 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.
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 you and your
partner over-resist each other. Over-resisting can lead to injury. The see, it doesnt 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.
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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
couldnt 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.
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.
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 teachers 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 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 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.
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Dont 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 ones health and vitality, if not balanced properly with
common sense and methods that protect and nurture the health of the body.
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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 bodys 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 Exercise
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 ones 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.
LEVEL 3: INTERMEDIATE FORMS AND APPLICATIONS

The third level expand upon the eight palms by showing numerous variations and applications (the 64 forms and
72 techniques). The 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.
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LEVEL 4: ADVANCED
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 ones ability
and help one develop Ba Guas subtle body skills. Each weapon - sword, saber, staff, spear, seven star stick (whip
stick), rooster knife, mandarin duck knife, hook-sickle swords, and wind cloud wheels - develops and emphasis
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 the change 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 the 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 ones life.
4 Daoist
Advanced Meditation Weapons
Forms
Marrow Washing Ba Gua Tui Na
64 Forms & 13 Elbows

Single Movement Practice
3 Ba Gua Lian Huan (Linking Form)
72 Techniques (Applications)
Na Fa Ti Fa
Eight Single Movements
Lao Ba Zhang (Old Eight Palms)
Eight Attacking Elbows
2 Shuai Fa Da Fa
Single Tian Double

Palm Gan Palm
Change Neigong Change
Ding Shi Ba Gua Zhang

1
Basic Zhan Zhuang
Qi Cultivation Exercises
12 Standing Postures
Ji Ben Gong Exercises
Yin Yang Patting & Dao Yin
THE BA GUA BUILDING
10
LEVEL 1
FOUNDATIONAL LEVEL
11
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 bodys 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 exercise regulates the Qi Dynamic. The Qi Cultivation Exercises, work in concert with the basic stake
standing exercises (standing meditation). Together basic standing and Qi cultivation connect one with the
subtle internal body movements. Understanding and feeling these subtle movements is critical to ones 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 prepare the body for more rigorous exercise while removing restrictions to the natural power dynamic
of the body. These exercise 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 bodys energy system on a profound level. Ding Shi is
the key Yang Sheng ( life nourishing) practice of Ba Gua Zhang.
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 12
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; gather saliva and swallow in three parts
4. Warm Hands; massage sides of nose nine 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 nine times
9. Comb the hair nine 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 nine times
19. Dredge the chest with interlaced fingers and pulling them outward
20. Rub the right side and left sides of the chest 9 times
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. W
arm 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. Wu Ji Posture
2. Embrace Posture
3. Ball Floating Posture
13
Ba Gua Zhang Twelve Standing Postures
Ba Gua Zhang Shi Er Zhan Zhuang
1. Posture
1: San Ti Shi3 .
The Old Monk Offers the Alms Bowl | Lao Seng Tuo Bo .
osture 2: Hooking Step: Kou Bu
2. P
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
5. Posture 5: Sitting Step Zuo Bu
Black Dragon Searches the Sea | Hei Long Tan Hai
osture 6: Resting Step Xie Bu
6. P
Yin Yang Coiling Dragon | Yin Yang Pan Long
7. Posture 7: Balance Step: Ping Heng Bu
Wing Spreading Flying Palm | Zhan Chi Fei Zhang
osture 8: Single Standing Step Du Li Bu
8. P
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
osture 11: Horse Step Ma Bu
11. P
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. T
he 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.
he arms pull downward and the left leg extends. Pause. This transitional position can also be held as
5. T
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 right hand along the left leg and left hand rises behind you in a hook shape.
6. R
ise 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.
7. 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.
his is the Ba Gua Zhang equivalent of Xing Yi Quans Three Body Posture (San Ti Shi) .
3T 14
8. Straighten the body and lift the left knee to form the Single Standing Step with White Ape Offers the Peach.
9. S tep 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.
urn left and drill the right hand outward with the left foot empty to form the Empty Step: Qi Lin Spits Out
12. T
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 on the opposite side.
The 28 Ji Ben Gong Foundational (Warm Up) Exercises

Ji Ben Gong
1. Yin Yang Meridian Patting Method
2. R
otation 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 Hang Leg
5. Spring Leg (Toe Kick)
6. F iling 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
15
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
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)
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. 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
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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
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
17
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. W
edge 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. T
en-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)
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. B
reak 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
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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 exercise are an important first step in Qi Cultivation. They can be done before patting or later in
the day.
2. A
fter 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. T
he 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. D
ing 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. P ractice 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 out 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
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
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LEVEL 2
CORE PATTERNS
& MOVEMENTS
20
INTRODUCTION TO LEVEL 2: CORE PATTERNS
AND MOVEMENTS
The key elements in Level 2 are the three pillars mentioned earlier:
1. T
he Tian Gan (heavenly stem) Exercises which build on the basic warm-ups but more specifically develop
torsional winding or silk reeling power. These exercise 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 meridian
runs through the spine the Tian Gan exercises help to remove blockages which impede the upward and
downward movement of the Qi.
2. T
he 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 levels also introduces some other key elements which continue the development 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
Changes are the heart of the Liang system of Ba Gua Zhang.
6. E
lements 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) 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.
Single Palm Chang Zhan Zhuang

Old Monk Hold Out the Alms Bowl
Hide Flower Under Leaf
Millstone Pushing Posture
21
SINGLE AND DOUBLE PALM CHANGES OF GAO JI WU
Old Eight Palms

Lao Ba Zhang
OPENING
Old Monk Holds Out The Alms Bowl
Hide The Flower Under The Leaf
Lone Goose Leaves (Separates From) The Flock
1. S
ingle Palm Change
Shepard Boy Points The Way
Hawk Penetrates (Darts Through) The Forest
Hiding Flower Under Leaf
Lone Goose Leaves The Flock
2. D
ouble Palm Change
Removing The Helmet From The Head
Horse Shakes The Bell
Hawk Penetrates the Forest
3. Body Turning Palm

Sweep of One Thousand Armies
4. Chopping Palm
Tai Shan Presses Down The Head
Hawk Penetrates The Forest
Tai Shan Presses Down the Head
Hawk Penetrates Through The Forest
5. Opportunity Seizing Palm

White Snake Coils Its Body
Hang The Golden Bell Upside Down
Step Low & Pierce The Palm
Double Spreading Arms
White Tiger Shakes Its Tail
Iron Plate Kicks To The chest
22
6. S
tep Following Palm
Ten Ton Weight Falls To The Ground
Rhinoceros Gazing At The Moon
7. Downward Dropping Palm

White Snake Coils Its Body
Pierce The Palm Downwards
Slice (chop) Left & Right
8. F
lat Penetrating Palm
Four Dragons Drawing Water
Flat Penetrating Palm
Horizontal Chop To The Rear
Eight Linear Movements

1. Uplifting Palm
2. Yin Striking Palm
3. Opening Palm
4. Wind Wheel Chopping Palm
5. Heaven & Earth Palm
6. Ten Ton Weight Falls to the Ground & Rhino Gazes at the Moon
7. Insert the Flowers Under the Armpit & Phoenix Enters the Nest
8. Face Slapping Palm: Vertical & Horizontal
23
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. D
rill and Pull
cross body drill and pull
forward drill and pull
6. Piercing Palm
7. Hawk Penetrates the Forest
8. Tiger Plays with Ball (Rolling Upward)
9. R
olling 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
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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
25
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
14. Drill Grab and Cover and Sweep Kick Outward Cutting Kick w/ same leg.
15. Figure Eight Stepping with Kicks and Knee
Basic Qin Na
1. Golden Threads Wraps the Wrist
2. White Horse Rolls Its Leg
3. Tying the Phoenixs 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
26
Lead, Seize and Pull Drills
1. Basic Pressing Shoulder
2. Pulling an 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

1. Parry the Arm to Grab the Wrist and Seize the Throat
2. Xiang Xi Presses the Basket (Elbow Locks Wrist)
3. Step Back and Press the Hand
4. White horse Rolls its Leg
5. Golden Threads Wraps the Wrist
6. Wild Swan Overturns its Body (Cutting Elbow)
7. Galloping Horse Looks Back (Outer Wrist Lock)
8. Golden Cicada Sheds Skin (Yin Yang Throw)
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 Wangs Thread Winding Elbow
27
Falling Skills
1. Rolling Front
2. Rolling Back
3. Side Break-Falls
4. Back Break-Fall
5. Rolling Sideways
6. Front Breakfall
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
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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. Y
in Yang Throws
Classic Yin Yang Palm Throw
Outside Yin Yang Palm Throw
5. D
ownward Pressing Palm Throw
Basic
Phoenix Throwing Wing
6. Monkey Cleaning Teeth
7. Single Palm Change Throws
8. Double Palm Change Throw (scoop legs)
9. T
en 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. T
hree 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
29
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. T
he 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 dont bounce up and down. If necessary balance
something on your head (a plastic cup) to make sure your stepping is level and smooth.
4. P ractice 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. T
he 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. P ractice 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. P ractice 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 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 a 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. T
his 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.
30
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. L ao 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. A
nother important practice method is to mix the eight linear movements with the Lao Ba Zhang palm
changes. Explore how linear number one is really hidden with in 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.
31
LEVEL 3
INTERMEDIATE LEVEL
32
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 Elbow 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 form 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 develop higher level interactive skills that help in all facets of self defense and enhance the
ability to sense the opponents 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 in particular directly connects the hands and the waist together so
that they move as an integrated unit.
Ba Gua Chain Linking Palm Song of the Single Changing Palm

Ba Gua Lian Huan Zhang The posture on one side is not a miracle,
Training on both left and right sides is beneficial.
1ST PALM: SINGLE CHANGING PALM
Left form should be changed to right and vice versa
1. H
ook Step and Hide Elbow Pull the body backward by retracting the steps for good opportunity.
Kou Bu Yan Zhou
2. G
reen 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. W
ithered Tree Entwines Roots
Ku Shu Pan Gen
7. Advancing Step Penetrate and Kick
Shang Bu Chuan Ti
8. S
parrow Hawk Drills Upward to Heaven
Yao Zi Zuan Tian
33
2ND PALM: HAND COVERING PALM Song of the Hand Covering Palm
1. H
ook Step Covering Palm Two forms of covering palm go to pounce on the face.
Kou Bu Gai Zhang Move away the clouds to see the sun and walk freely.
Left form should be changed to right and vice versa,
2. B
lue-Green Dragon Tests Its Claws
Phoenix faces the sun and comes out upward
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. B
lack Dragon Waves Tail
Wu Long Bai Wei
7. Sparrow Hawk Drills Upward to Heaven
Yao Zi Zuan Tian
8. T
urn Over the Body Rotate and Walk
Fan Shen Zhuan Zou
3RD PALM: OVERTURNING PALM Song of the Overturning Palm

1. T
urning Body Leading Hand Overturning forms should bump together,
Zhuan Shen Ling Shou Changes in the two hands can lead to firm and powerful strength.
2. H
ook Step and Backward Overturning Palm
Pull the body by the long hand without hurrying.
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. A
dvancing Step Pouncing Palm
Shang Bu Pu Zhang
7. Black Dragon Waves Tail
Wu Long Bai Wei
8. A
dvancing Step Penetrate and Kick
Shang Bu Chuan Ti
Yao Zi Zuan Tian
34
4TH PALM: SPLITTING HAND PALM Song of the Splitting Hand Palm
1. G
o Forward to Uplift Yin (Uplift the Groin) Chop with the hand and walk freely.
Shun Bu Liao Yin Tricky methods should be sought with both hands.
2. T
urning Body Splitting Palm
Dont turn the head backward without kou bu.
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. G
olden Silk Brushes Eyebrows
Jin Si Ma Mei
7. Black Dragon Waves Tail
Wu Long Bai Wei
8. S
parrow Hawk Drills Upward to Heaven
Yao Zi Zuan Tian
5TH PALM: POSTURE FOLLOWING PALM Song of the Posture Following Palm
1. E
scape and Change the Shadow The 5th form is to follow the posture and change the shadow.
Tuo Shen Hua Ying The hand follows the foot to stretch (open).
2. W
hite Snake Hides in the Grass Dodge and Move in different positions and win by changing steps.
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. S
tep Down with Splitting Palm
Luo Bu Pi Zhang
7. Raise Knee Turning Back Hammer
Ti Xi Fan Bei Chui
8. B
Wu Long Bai Wei
Shang Bu Chuan Ti
Yao Zi Zuan Tian
35
6TH PALM: STEP FOLLOWING PALM Song of the Step Following Palm
1. T
housand Ton Weight Falls to Ground The 6th form is to follow the step with double pulling.
Qian Jin Zhui Di Many changes in thousand ton weight falls to the ground.
Left form should be changed to right and vise versa,
2. S
un and Moon Move Together
Sun & Moon go parallel for opening and closing.
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. B
ody Shaking Alligator Form
Yao Shen Tuo Xing
7. Hook Step Ground Crouching Dragon
Kou Bu Pu Di Long
8. B
lack Dragon Waves Tail and (Sparrow Hawk Drills Upward to Heaven)
Wu Long Bai Wei and (Yao Zi Zuan Tian )
7TH PALM: DOWNWARD DROPPING PALM Song of the Downward Dropping Palm
1. H
ook Step Dropping Palm The 7th form is to drop downward for delicate changes
Kou Bu Ta Zhang Thrust flower and strike the waist transversely
2. A
dvancing Step Uplifting Palm Turn the body and step backward like a dragon.
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. G
olden Rooster Pecks Rice
Jin Ji Shi Mi
7. Golden Rooster Shakes Tail
Jin Ji Dou Ling
8. B
Wu Long Bai Wei
Shang Bu Chuan Ti
Yao Zi Zuan Tian
36
8TH PALM: HORIZONTAL PIERCING PALM Song of the Horizontal Piercing Palm
1. I mmortal Watches Chess Game The 8th form is to pierce horizontally toward the face,
Xian Ren Guan Qi By changes in the two hands and walking steps.
2. S
weeping Ear with Single Hammer
Walk like the wind, stand like a nail.
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. G
iant Python Turns Over Its Body
Da Mang Fan Shen
7. Turn Body and Ground Crouching Dragon
Zhuan Shen Pu Di Long
8. A
dvancing Step Piercing Palm
Shang Bu Chuan Zhang
Yao Zi Zuan Tian
Straight Line Eight Diagram Sixty-Four Palms (64 Hands)

Zhi Tang Ba Gua Liu Shi Si Zhang
FIRST LINE
1. S
tep Forward with the Uplifting Palm
Jin Bu Tiao Zhang
2. L ion 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. T
urn Over the Arm Splitting Strike
Fan Bi Pi Chui
7. Double Whip to Press the Elbow
Shuang Bian Ya Zhou
8. S
tep Forward with the Cutting Elbow
Jin Bu Jie Zhou
37
SECOND LINE
1. G
reen-Blue Dragon Extends its Claw
Qing Long Tan Zhua
2. B
rush the Sleeve and Strike Continuously
Mo Xiu Lian Chui
3. Cloud Dragon Offers its Claw
Yun Long Xian Zhua
4. Move Away the Clouds to See the Sun
Bo Yun Jian Ri
5. Pat the Chest and Pounce with the Elbow
Pai Xiong Pu Zhou
6. T
urn the Body and Butt with the Elbow
Zhuan Shen Ding Zhou
7. Punch the Ear with Penetrating Strike
Guan Er Chuan Chui
8. H
ungry Tiger Tears Open the Heart
E Hu Ba Xin
THIRD LINE
1. S
tep Forward Unite and Strike
Jin Bu Tuan Zhuang
2. W
hite Ape Offering Peach
Bai Yuan Xian Tao
3. Wind Wheel Overturning Elbow
Feng Lun Fan Zhou
4. Immortal Watches the Chess Board
Xian Ren Guan Qi
5. Golden Silk Brushing the Eyebrow
Jin Si Mo Mei
6. J ade Maiden Throws the Shuttle
Yu Nu Chuan Suo
7. Stepping Back and Lead the Sheep
Tui Bu Qian Yang
8. T
he Overlord Sends Off the Guest
Ba Wang Song Ke
38
FOURTH LINE
1. D
eparting Horse Turns Back
Zou Ma Hui Tou
2. T
wo Immortals Preach the Dao
Er Xian Chuan Dao
3. Body Overturning Splitting Strike
Fan Shen Pi Chui
4. Wild Horse Crashes Through the Trough
Ye Ma Zhuang Cao
5. Great Roc Spreads its Wings
Da Peng Zhan Chi
6. W
hite Robe Scythes the Grass
Bai Bao Zha Cao
7. Zhou Cang Shoulders the Broadsword
Zhou Cang Kang Dao
8. L iu Quan Advances the Melon
Liu Quan Jin Gua
FIFTH LINE
1. E
scaping Body Changing Shadow
Tuo Shen Hua Ying
2. S
troking 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. Head On Spring Kick to the Knee
Sao Er Dan Chui
6. A
rm 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
39
SIXTH LINE
1. T
housand Kilo Weight Falls to Earth
Qian Jin Zhui Di
2. S
un 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. L azy Dragon Lies on Pillow
Lan Long Wo Zhen
7. Twist and Lift the Hand to Slap Upward
Niu Shou Ti Liao
8. S
tep Forward with the Downward Pressing Palm
Jin Bu Ta Zhang
SEVENTH LINE
hrust Flower Under the Elbow (Gao: Thrust Flower into ribs)
1. T
Cha Hua Ye Zhou
2. L one Phoenix Enters the Nest
Dan Feng Tou Chao
3. File Inside and Stamp Outside
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. T
urn Around Beat the Waist (like a Drum)
Zhuan Shen Lei Yao
7. Ape Climbs the Pole
Yuan Hou Pa Gan
8. B
end the Bow to Shoot the Tiger
Wan Gong She Hu
40
EIGHTH LINE
1. F
our dragons Drawing Water
Si Long Qu Shui
2. E
mbrace 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)
Zhang Fei Pian Ma
6. S
lice Two Revolving Doors
Pian Xuan Liang Men
7. Wind Wheel Splitting Palm
Feng Lun Pi Zhang
8. L one Goose Leaves the Flock
Gu Yan Chu Qun
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 Chuan (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 Chuan (Splitting Fist)
12. Entwine, Step & Strike Up with he Elbow
13. Turn Around & Push Up with the Elbow
14. Slap the Chest & Strike with the Elbow
15. Immortal Studies the Chest 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, 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 41
Eight Diagram Palm Seventy Two Techniques
Ba Gua Zhang Qi Shi Er Zhao
1. G
olden Rooster Shaking Wing Feathers 22. Two Dragons Drawing Water
Ji Ji Dou Ling Er Long Xi Shui
2. Hawk
Grasps the Shoulder 23. Zhang Fei Beats the Drum
Yao Zi Zha Jian Zhang Fei Lei Gu
3. Bend the Bow to Shoot the Tiger 24. G
olden Silk Pats Elbow
Wan Gong She Hu Jin Si Pai Zhou
4. Leopard Cat Climbs the Tree 25. F
ire the Cannon to Heaven
Li Mao Shang Shu Huo Pao Chong Tian
5. Uproot the Willow Tree 26. Lone Goose Leaves the Flock
Dao Ba Chui Liu Gu Yan Chu Qun
6. B
uddhist Guardian Explores the Sea 27. Red Phoenix Looks toward the Sun
Ye Cha Tan Hai Dan Feng Chao Yang
7. Hungry Tiger Pounces on its Prey 28. H
eavenly Emperor Opens the Umbrella
E Hu Pu Shi Tian Wang Da San
8. Push
the Mountain Into the Sea 29. Insert the Flowers Into the Ribs
Tui Shan Ru Hai Cha Hua Yei Lei
9. Move Away the Clouds to See the Sun 30. Topple Mount Tai Shan
Bo Yun Jian Ri Ban Dao Tai Shan
10. Uphold the Spear to Strike the Tiger 31. Queen Mother Winds the Thread
Tuo Qiang Da Hu Wang Mu Guai Xian
11. L u Bu Plays with Halberd 32. Yellow Hawk Climbs the Frame
Lu Bu Wan Ji Huang Ying Shang Jia
12. Make the Character Ten 33. Taoist Acolyte Claps His Hands
Shi Zi Ban Lou Dao Tong Ji Zhang
13. Wipe the Eyebrows with Gold Silk 34. Wild Horse Crashes Through the Trough
Jin Si Ma Mei Ye Ma Chuang Cao
14. H
awk Turns Over Its Body 35. White Horse Rolls Its Hoof
Yao Zi Fan Shen Bai Ma Gun Ti
15. Overlord Draws the Bow 36. L ean in Close and Strike
Ba Wang Kai Gong Wei Shen Kao Da
16. S
teal the Peach from Underneath the Leaf 37. M
ove the Elbow to Block Horizontally
Ye Di Tou Tao Heng Lan Jin Zhou
17. White Robe Scythes the Grass 38. G
olden Cicada Sloughs Its Skin
Bai Pao Zha Cao Jin Chan Tuo Qiao
18. Golden Thread Entwines the Wrist 39. R
oll Up the Sleeve to Kick and Stamp
Jin Si Chan Wan Lou Shou Pian Cai
19. Cloud Dragon Shows Its Claws 40. P
ound and Pierce Through the Ear
Yun Long Xian Zhao Guan Er Chuan Chui
20. T
he Overlord Ties Up the Pig 41. D
runk Breaks Through the Mountain Gate
Ba Wang Kun Zhu Zui Da Shan Men
21. Turn Over the Body and Stamp the Egg 42. Zi Xu Goes Through the Pass
Fan Shen Duo Zi Zi Xu Guo Guan
42
43. W
hite Snake Spits Out its Tongue 65. Tiger Enters the Flock of Sheep
Bai She Tu Xin Hu Ru Qun Yang
44. Bind Up the Hands Like the Character Ten 66. Immortal Watches the Chess Game
Shi Zi Kun Shou Xian Ren Guan Qi
45. P
ull Away the Roof Beam and Change the Pillar 67. O
riole Grabs The Throat
Chou Liang Huan Zhu Huang Ying Qia Su
46. O
ld Monk Rings the Bell 68. Carry the Bag Playfully
Lao Seng Zhuang Zhong Kang Kou Dai Wan
47. Black Dragon Entangles the Waist 69. B
lunt Sickle Harvests Rice
Wu Long Chan Yao Dun Lian Ge Gu
48. Y
ellow Dragon Grasps the Arm 70. R
espect Virtue and Uphold the Whip
Huang Long Zhuo Bang Jing De Tuo Bian
49. T
he Immortal Crosses the Bridge 71. O
ld Tree Entangles Roots
Xian Ren Guo Qiao Ku Shu Pan Gen
50. King of Heaven Upholds the Pagoda 72. Fire the Cannon Toward the Gate
Tian Wang Tuo Ta Yin Men Kai Pao
51. Draw the Bow to Shoot the Arrows
Kai Gong Sa Jian
52. B
lack 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
Lu Shou Chong Chui
55. H
ook and Hang Up the Jade Bottle
Gou Kua Yu Ping
56. Galloping Horse Moves Diagonally
Zuo Ma Huo Xie
57. P
oint to the East to Strike the West
Zhi Dong Da Xi
58. P
oint to the Mountain to Sell the Millstone
Zhi Shan Mai Mo
59. W
hite Ape Offers Peach
Bai Yuan Xian Tao
60. R
oll 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. P
hoenix Spreads Wings
Feng Huang Zhan Chi
64. T
he Immortal Props Up the Waist
Xian Ren Cheng Yao
43
Whipping Hand Exercises
1. Slapping Points and Flicking Hands
2. T
hrow Arms 4 Ways
Back
Up
Front
Out
3. Alternate Ridge Hand Horse Stance
4. Alternate Fingers Push Out (ridge hand) - one foot forward
5. Alternate Drill Hands Out (chop) one foot forward
6. Throw One hand Upward on Diagonal
7. Whip Hands Outward Circle elbow as axle
8. Whip Hands Inward Circle elbow as axle
9. Teacup Hands To backs of Hand Touching/Reverse to Double Chop
10. Teacup Hands To Pushing the Mountain
11. Shake wrists one goes in/other goes out
12. Throw Hands (wrist) Up Diagonal
13. Chopping Wrapping (leg-hand-leg-shoulder)
14. Drill-Poke-Pluck
Ba Gua Pushing Hands Exercises

1. Hip Sucking Palm
single hand and double hand
single hand and lift leg
hip
leg
2. Vertical Hip Sucking Palm
3. Covering Palm
4. D
ouble Pulling Palm (arm bar)
With Circling Step
5. Entangling Palm (wrapping arms)
6. Hand Tearing Palm (spinning; turning)
7. Uplifting Palm Pushing Exercise
8. Yin Striking Palm Pushing Exercise
9. Pushing the Mountain
10. Walking Double Pushing (embrace moon & push mountain)
44
INTERMEDIATE LEVEL: TIPS FOR PRACTICE
1. Continue practicing Ding Shi and Lao Ba Zhang as well as the Tian Gan exercises.
2. B
a Gua Lian Huan employs the dragon body and requires a fine tuning of 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 right 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; guo-wrap as in Black Dragon Waves its Tail, and zuan-drill; 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. W
ork on the seamless blending of tight circles and larger. This is one of the points emphasized in Ba Gua Lian
Huan. Keep a forward driving force even when circling tightly.
5. T
he 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. I f you have been practicing the 8 Linear Movements all along then the 64 forms 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 forms 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 Forms.
9. T
he 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. B
a 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.
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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. U
pon 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 ones knowledge of the art so that
it is more complete.
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LEVEL 4
ADVANCED TRAINING
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INTRODUCTION TO ADVANCED TRAINING
The advanced forms and weapons training round out ones training in Ba Gua. The advanced forms help to make
the stepping and changes more fluid and natural, while also introducing different aspects movement intention and
self-defense. For example the Dragon Palm focuses on the development of the Ba Gua Swimming Dragon body, the
Changing Palms develop fluidity and smoothness, the Xian Tian Eight Animal Palms, introduce some concepts from
Xing Yi Quan and the idea of changing the intention to change the bodys 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 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 bodys 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 and the Rooster Claw Knives are two of Ba Guas 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 improve skill in pulling, hooking, filing and piercing. 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 ones 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 push hands with stepping introduces freely changing in accordance with your partners 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 (S hen)and are an
extension 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.
Eight Changing Palms

Ba Zhuan Hua Zhang (Li Zi Ming)
Open the Form
Raise the arms in the heaven uplifting posture
Step the left foot counter-clockwise onto the circle with the downward pressing palm
As you walk assume the millstone posture.
Right Kou Bu, and left bai bu as you turn left and pierce palm-up with the right hand. The right hand is overhead
palm-down so that the body takes the Ball Holding Posture and walk clockwise.
First Palm: Lion Plays With Ball

Left kou bu and right bai bu, then left kou bu and right bai bu again turning the body 360 degrees as you roll the
ball over head, returning to the ball holding posture facing clockwise. The hands face each other throughout the
movements.
Repeat these movements again. rolling the ball to end facing counter-clockwise and piercing palm-up with the left.
Walk counter-clockwise holding the ball.
Second Palm: Downward Piercing & Uprooting Palm

Walking clockwise in the millstone posture, as the right (inside) foot steps begin to pierce downward with the right
hand, walk 3 more steps (left, right, left) as the right hand pierces straight downward to the level of the knee as in
needle to sea bottom. The left hand remains by the right elbow and the right leg is empty next to the left ankle
(chicken step).
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Pierce out from under the chin palm-up (snake spits out tongue style) as you step to the center of the circle with the
right leg. The left arm stretches out behind you.
The left arm arcs, thrusting down to cross over the right as you step forward with the left leg.
Step the right foot out and throw the arms upward as in uprooting the willow tree.
Pierce the left arm out under the right and turn to walk counter-clockwise in the millstone posture.
Third Palm: Body Rotating Double Chopping Palm

Walking clockwise in the millstone posture, kou bu with the left foot as the right arm curves inward, then bai bu with
the right foot and right back-fist.
Step the left forward in kou bu and wrap with left, then spin and right bai bu to back-fist with the right.
Step forward with the left and pierce the left fist downward in an arc over the right hand.
Step out with the right turning the body to face the center of the circle and chopping with both hands
Circle the right hand to chop again.
Step forward with the left and pierce the left fist downward in an arc over the right hand.
Step out with the right turning the body to face the center of the circle and chopping with both hands.
Pierce with the left under the right and walk counter-clockwise in the millstone posture.
Fourth Palm: Attack High to Kick Low & Make Noise in the East to Attack the West
Walking clockwise in the millstone posture, kou bu with the left foot and bai bu with the right as you pierce palm-up
with the right hand.
Pierce with the left passing underneath the right as you step forward with the left foot.
Slap upward obliquely with the right hand as you lift the right leg then quickly turn the body stomp the knee as you
turn the right palm into a backward hook at waist level. The left hand stretches out to the left.
Walk clockwise two steps, (right and left) with the arms a stretched out in the style of twisting shoulders changing
palms, then half step turning back to the right as you twist shoulders and change palms, piercing to the right
(counter-clockwise) with the right hand.
Pierce the left hand under the right as you step forward with the left foot and walk counter-clockwise in the
millstone posture.
Fifth Palm: Butterfly Flits Among the Flowers

Walking clockwise in the millstone posture, toe in with the left foot and bai bu with the right as you pierce with the
right palm.
Step the left foot forward and kou bu as you pierce upward palm-up with the left hand under the right.
Keep the left hand up, guarding the left side, as you step lift right foot the so that the body turns to face the center
of the circle. The right hand lifts to head height and slices downward arcing along the body from the head to the
hip as the weight shifts to right leg, and the left leg is empty in a chicken leg.
The left hand then slices downward arcing along the body from the head to the hip as the weight shifts to left leg,
and the right leg is empty in a chicken leg.
The right hand lifts to head height and slices downward arcing along the body from the head to the hip as the
weight shifts to right leg, and the left leg is empty in a chicken leg.
Piece with the left hand under the right as you step counter-clockwise with the left leg. Turn and walk counter-
clockwise in the millstone posture.
Sixth Palm: Three Piercing Palms

Walking clockwise in the millstone posture, kou bu with the left foot, and pierce the left palm under the right as you
raise the left knee.
Step down and pierce the right palm under the left as you lift the right knee.
Step down and pierce the left palm under the right as you lift the left knee. Step down and walk counter-clockwise
in the millstone posture.
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Seventh Palm: Yin Striking & Body Rotating Palm
Walking clockwise in the millstone posture, kou bu with the left foot as the right hand covers inward across the face.
Step out with the right foot and strike the groin snake style with the right hand; walk left; and then right kou bu as
the left hand covers across the face.
Step out with the left foot and strike the groin snake style with the left hand
Kou bu with the right foot and bai bu with the left as the hands perform a double palm change.
Kou bu with the right foot and bai bu with the left as the left hand spirals to drill upward
Kou bu with the right foot and bai bu with the left as the hands perform a double palm change ending by stepping
right back and lifting the left leg (hanging inward) with the left palm facing outward at the height of the groin and
the right hand in a hook behind you
Step down with the left to pierce the right hand under the left to walk clockwise in the millstone posture
Change direction by turning with a right kou bu and left bai bu as the right hand sweeps across the body and the
left hand pierces underneath to go to the left millstone posture walking counter-clockwise
Eight Palm: Changing Palms & Stand on One Leg to Touch Heaven and Earth
Walking clockwise in the millstone posture, stop on the right step as the arms wind and then left bai bu and swing
the arms right arm crossing the body and left arm piercing underneath to form the left millstone posture facing
counter-clockwise
Walk several steps, stopping on the left step, letting the body wind as the left hand drops slightly palm-up and
sweeps across the body with the right hand piercing underneath. Simultaneously bai bu with the right foot and walk
clockwise
A s you walk clockwise, kou bu with the left foot and bai bu with the right as the hands perform the double palm
change.
Kou bu with the left foot and pierce with the left hand upward as the body turns so that you end standing on the
left leg with the right foot hanging inward. The right hand is palm out in front of the lower right leg and the left
hand is palm out stretching upward.
Pre-Heaven Shape-Form Imitating Palm: Eight Animals

Pre-Heaven Shape-Form Imitating Palm: Eight Animals (Gao Ji Wu)
I. Q
ian Trigram: Snake Shape Smooth Body Palm
Qian Gua She Xing Shun Shi Palm
1. H
ide Elbow and Posture Following Snake Form
Yan Zhou Sun Shi Si She Xing
2. G
reen 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. K
oubu Turn the Body and Dragon Extends its Claw
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
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8. B
aibu, Turn the Body and Stamp the Enemys Chest
Bai Bu Zhuan Shen Ta Di Shen Long Xian Zhao
9. Left Pulls, Right Seizes, Dragon Offers its Claw
Zhou Lou You Zhua Long Xian Zhao
10. Extend Left Hukou to Seize the Throat.
Zuo Shen Hu Kou Qia Hou Long
II. K
an Trigram: Dragon Shape Piercing Hand Palm
Kan Gua Long Chuan Shou Zhang
1. G
reen Dragon Extends its Claws and Turn the Body to Walk
Qing Long Tan Zhao Zhuan Shen Zou
2. S
tep 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
Jin Long Pan Zhu You Jiao Deng
4. Cloud Dragon Offers its Claw to Grasp the Face
Yun Long Xian Zhao Zhua Qi Mian
5. Shake the Head and Walk Forward
Yao Tou Huang Nao Wang Qian Zou
6. S
tep Back and Cover the Elbow to Protect the Chest
Tui Bu Yan Zhou Hu Qian Xiong
7. Chop Inward Slie Outward with Yin Yang Palm
Li Kan Wai Xiao Yin Yang Zhang
8. L eft and Right Forms Cut the Enemys Neck
Zuo You Liang Shi Zhan Di Jing
9. Cloud Dragon Offers its Claw Like Fetching an Object
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
III. G
en Trigram: Body Turning Tiger Striking Palm
Gen Gua Hui Shen Da Hu Zhang
1. T
urn the Body Strike the Tiger Rotate and Walk
Hui Shen Da Hu Zhuan Shen Xing
2. K
ou Bu and Squat Down and Brace Up with Two Palms
Kou Bu Dun Dang Shuang Zhang Cheng
3. Withdraw Step and Pile Hands to Cut the Grass
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. H
ungry Tiger Pounces on its Prey and Pulls Open the Enemys Chest
E Hu Pu Shi Ba Di Xiong
7. Pull the Two Hands Apart and Ring the Bell with the Head
Shuang Shou Lou Kai Tou Zhuang Zhong
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8. W
hite 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
Ti Xi Shang Da Zhi Ming Chu
10. Stamp th Feet Downward Without Mercy
Xia Duo Er Zu Bu Liu Qing
IV. Zhen Trigram: Swallow Overturning Hand Covering Palm

Zhen Gua Yan Fan Gai Shou Zhang
1. S
wallow Overturns Hand Covers and Turn the Body Nimbly
Yan Fan Gai Shou Zhuan Shen Ling
2. P
ull 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
Shan Zuo Yan Zi Liu Lin Chuan
6. S
wallow Rolls Up its Tail and Turn the Body to Strike
Yan Zi Juan Wei Hui Shen Da
7. Ring Linking Piercing Palm and Grab the Face
Lian Huan Chuan Zhang Zhua Qi Mian
8. G
olden Rooster Stand on One Leg and Pile the Hand to Split
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
Yun Long Xian Zhao Zhua Qi Mian
V. X
un Diagram: Monkey Shape Jumping Body Palm
Xun Gua Hou Xing Zong Shen Zhang
1. L earn to Jump Nimbly like a Monkey
Yao Xue Huo Xing Song Shen Ling
2. T
urn the Body Advance and Retreat Like a Whirlwind
Zhuan Shen Jin Tui Si Xuan Feng
3. Shrink the Body Extend the Palm to Pounce on the Enemys Face
Suo Shen Tan Zhang Pu Di Mian
4. Stepping Back Moving Body Forward Most Nimbly
Tui Bu Jin Shen Yi Zui Ling
5. Hand Strikes the Canopy and Eyes Look
Shou Da Liang Peng Yong Mu Kan
6. T
urn the Body Lift the Knee to Stand on One Leg
Xuan Shen Ti Xi Du Li Shi
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7. White Ape Upholds and Offers Peach with a Single Hand
Bai Yuan Tuo Tao Dan Shou Xian
8. R
ight Kick Left Stamp and Turning Over the Body Stomp
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
Tui Bu Zhua Luo Hu Dao Sheng
VI. L i Diagram Body Twisting and Horse Exploring Palm

Li Gua Ning Shen Tan Ma Zhang
1. M
oving backward, and Twisting the Body is Called Horse Exploring
Dao Bu Ning Shen Tan Ma
2. P
ile the Hands Step Up and Wipe the Eyebrow Cleverly
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
Zhang Fei Pian Ma Ti Xi Jiao
5. Turn and Slice Two Gates with Revolving Body
Pian Xuan Liang Men Sui Shen Zhuan
6. T
urn 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. L eft Pulls and Right Extends for Horse Exploring Palm
Zuo Luo You Shen Tan Ma Zhang
9. Fists Embrace and Pile and Advance to Bump
Shuang Quan Bao Luo Jin Bu Zhuang
10. Hands and Feet Move Unceasingly in the Horse Shape
Shou Jiao Bu Ting Si Ma Xing
VII. Kun Trigram: Hawk Overturning Palm

Kun Gua Yao Zi Fan Shen Zhang
1. H
awk Body Overturning Rotating Chop
Yao Zi Fan Shen Zhuan Shen Pi
2. H
awk 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. H
awk Rolls the Body and Entangles the Wrist to Chop
Yao Zi Gun Shen Chan Wan Pi
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7. Step Smoothly to Punch Suddenly and Stamp with the Right Foot
Shun Bu Chong Quan You Jiao Ta
8. H
awk 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
Dui Trigram - Lion Rolling Ball Palm

Dui Gua Shi Zi Gun Qiu Zhang
1. W
alk Out Coordinate the Hands and Twist the Yao
Chui Bu He Shou Ba Yao Ning
2. L ion 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
Dun Dang Zuo Kua Shang Shou Zheng
5. Lion Shakes Head and Opens the Mouth
Shi Zi Yao Tou Da Zhan Zui
6. W
alk 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. W
alk Forward, Uphold the Ball Toward the Sky
Jin Bu Tuo Qiu Mian Chao Kang
9. Green Dragon Extends its Claws and Pounces on the Enemys Face
Qing Long Tan Zhao Pu Di Mian
10. Green Dragon Turns Body and Walks
Qing Long Zhuan Shen Sui Bu Xing
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Ba Gua Swimming Body Dragon Palm
Ba Gua Yao Shen Zhang (Li Zi Ming)
First Palm
1. Walk Forward With The Uplifting Palm
2. Kou Bu (90 degrees) & 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
5. Big Pong 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. M
onkey 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
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 Ones Chop (Seal)
7. Heaven & Earth Palm
8. Shake The Body & Pierce The Ear 55
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
4. M onkey Frolics In The Forest
5. Pull the Arm & Cut The Waist
6. Move The Ground And Shake The Mountain
6. Entwining Hand & Piercing Palm
7. Monkey Frolics In The Forest
8. Wild Horse Crashes Through The Manger
9. Great Pong Bird Spreads Its Wings
10. Zhou Chang Shoulders The Broadsword (3x)
11. Swallow Skims The Water (2x)
12. White Snake Moves Through The Grass
13. Swing The Lotus Kick
Eighth Palm
1. Turn Backward To Separate Yin & Yang
2. The Butterfly Darts Among The Flowers
3. The Magpie Lights 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
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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
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. Step forward: Snake Hiding In The Grass Palm
White Tiger Shaking Tail and Walk Counter-clockwise with Pointing To Heaven & Earth Penetrating Posture
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
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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
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
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
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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
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.
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
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60
WEAPONS TRAINING
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Ba Gua Yin Yang Staff
Ba Gua Yin Yang Gun (Gao Ji Wu)
Open the Form
Poke forward with the Staff
Wrap with the Staff and Walk counter-clockwise with Yin-Yang Staff
1. S
ingle 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. S
triking 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
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. U
pward 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
62
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. D
ragon Turning Body Sealing Staff
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
Ba Gua Dao (Saber) Basics

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. B
all Holding Posture
Walking Clockwise Inside Change: Hang the Saber Tip Up
Walking Counter-Clock Inside Change: Hang the Saber Tip Down
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. H
eaven & 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
63
Eight Star Blocking Set with Dao
Ba Gua Dao Ding Shi: Four Postures and Eight Changes
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 Cut horizontally
Stab Stab w to shear and block
rt hang guard and Forehand Diagonal Parry back of blade
Parry back of blade go around head & Back hand Diagonal Parry back of blade
Press across body with flat of blade Backhand Diagonal
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. T hrust Back and Forth
Circle Walk
Sudden Switch to counter-clock millstone posture (sword Back)
5. C ircular Walking, One gives forehand and Opponent does backhand and thensudden switch to counter-clock
millstone posture (sword Back)
6. D ownward Cut and opponent blocks upthey downward cut 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 Practice
64
Eight Diagram Palm Slicing Rotating Saber
Ba Gua Zhang Pian Xuan Dao (Gao Ji Wu)
1. O
pen Step to Show the Pattern 22. [Kou Bu] to Pierce the Saber Rearward
Kai Bu Liang Shi Bei Hou Zha Dao
2. W
hirlwind Hiding Saber 23. Exploring Sea Form (Lifting Leg)
Xuan Feng Cang Dao Tan Hai Shi
3. Walk Forward and Pierce with the Saber 24. E
scape and Change the Shadow
Jin Bu Zha Dao Tuo Shen Huan Ying
4. Turn the Body (Back) and Chop with the Saber 25. L azy Dragon Turns Over Its Body
Fan Shen Pi Dao Lan Long Fan Shen
5. Uplift the Saber Rotate and Walk 26. Rearward Piercing Saber
Tuo Dao Zhuan Zuo Bei Hou Zha Dao
6. T
urn Over and Lift Up the Saber (to Rear) 27. Uplifting Yin (Groin) Saber
Fan Liao Dao Liao Yin Dao
7. Turn Over and Chop the Saber 28. B
elt Ring Saber
Fan Pi Dao Dai Huan Dao
8. T
urn Over the Body and Chop with the Saber 29. Turn the Body and Chop with the Saber
Fan Shen Pi Dao Fan Shen Pi Dao
9. Turn, Rotate and Carry the Saber 30. Retreating Step and Greet the Saber
Zhuan Shen Dai Dao Dao Bu Ying Dao
10. Slice the Shoulder Rotate and Walk 31. Turn the Body and Chop with the Saber
Pian Bang Zhuan Zuo Fan Shen Pi Dao
11. T
urn and Rotate the body for a Whirlwind Saber 32. Uplifting Yin (Groin) Saber
Zhuan Shen Xuan Fang Dao Liao Yin Dao
12. Recognize the Stirrup and Remove the Saddle 33. Slice the Shoulder Rotate and Walk
Ren Deng Ban An Pian Bang Zhuan Zuo
13. Turn the Body and Chop with the Saber 34. Whirlwind Saber
Fan Shen Pi Dao Xuan Feng Da
14. R
etreating Step and Greet the Saber 35. Sweep Away a Thousand Armies
Dao Bu Ying Dao Heng Sao Qian Jun
15. Turn Over the Body and Push the Saber 36. T
wine the Head and Wrap the Brain
Fan Shen Tui Dao Chan Tou Chan Nao
16. L ift Knee Intercept and Block with the Saber 37. D
ouble Hand Hacking Saber
Ti Xi Jie Lan Dao Shuang Shou Duo Dao
17. Turn Over and Chop the Saber 38. S
lice Leftward and Rotate the Saber
Fan Pi Dao Zuo Pian Xuan Dao
18. Left Whirlwind Saber 39. P
ouncing Step Embracing Saber
Zuo Xuan Feng Dao Pu Bu Bao Dao
19. Giant Python Turns Over Its Body 40. P
ulling Out Heart Saber
Da Mang Fan Shen Tao Xin Dao
20. R
earward Piercing Saber 41. E
mbracing Saber Charging Stab
Bei Hou Zha Dao Bao Dao Chong Ci
21. Advance and Pull the Hand to Hack with the Saber 42. Recognize the Stirrup and Remove the Saddle
Shang Bu Lu Shou Duo Ren Deng Ban An
65
43. T
urn the Body and Chop with the Saber 74. Scoop Up the Moon from the Sea Bottom
Fan Shen Pi Dao Hai Di Lao Yue
44. Retreating Step and Greet the Saber 75. Double Hand Carrying Saber
Dao Bu Ying Dao Shuang Shou Peng Dao
45. T
urn the Body and Chop with the Saber 76. T
wisting Body Whirlwind Saber
Fan Shen Pi Dao Ning Shen Xuan Feng Dao
55. U
plifting Yin (Groin) Saber 77. G
ather Up the Form
Liao Yin Dao Shou Shi
56. Slice the Shoulder Rotate and Walk
Pian Bang Zhuan Zuo
57. R
etreating Step Piercing Saber
Dao Bu Zha Dao
58. L ift Knee Intercept and Block with the Saber
Ti Xi Jie Lan Dao
59. T
urn Over and Chop the Saber
Fan Pi Dao
60. T
urn Over the Body and Chop with the Saber
Fan Shen Pi Dao
61. Uplifting Yin (Groin) Saber
Liao Yin Dao
62. S
lice the Shoulder Rotate and Walk
Pian Bang Zhuan Zuo
63. R
ecognize the Stirrup and Remove the Saddle
Ren Deng Ban An
64. T
urn the Body and Chop with the saber
Fan Shen Pi Dao
65. Retreating Step and Greet the Saber
Dao Bu Ying Dao
66. Turn the Body and Chop with the Saber
Fan Shen Pi Dao
67. U
plifting Yin (Groin) Saber
Liao Yin Dao
68. S
lice the Shoulder Rotate and Walk
Pian Bang Zhuan Zuo
69. L azy Dragon Turns Over Its Body
Lan Long Fan Shen
70. T
urn the Body and Wave the Flag
Zhuan Shen Yao Qi
71. S
coop Up the Moon from the Sea Bottom
Hai Di Lao Yue
72. Turn the Body and Explore the Sea
Zhuan Shen Tan Hai
73. T
wine the Head and Wrap the Brain
Chan Tou Chan Nao
66
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 knife 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
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
67
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
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. P i (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. H ua (Flower)
Upward
Wrist Cutting
68
Ding Shi Postures
1. Wave the Banner
2. Search the Sea
3. Pushing the Millstone
4. Hiding Flower under Leaf
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.
2. Pierce and Push the Millstone: end in Pushing the Millstone circle walking posture.
3. Lift and Cover With the Sword: end in Hiding the Flower circle walking posture.
4. I mmortal Changes His Shadow: end in Pushing the Millstone circle walking posture. Lift the Sword to Wave the
Banner circle walking posture.
5. Cross and Wipe: end in Search the Sea circle walking posture.
6. Scoop and Lift: end in Wave the Banner circle walking posture.
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.
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 Diagram Palm Rotating Ring Sword

Ba Gua Zhang Zhuan Huan Jian (Gao Ji Wu)
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. I mmortal Points The Way 8. B
ird Enters The Forest
Xian Ren Zhi Lu Su Niao Tou Lin
2. S
top The Horse & Listen To The Wind 9. Push Open The Window To See The Moon
Le Ma Ting Feng Tui Chuang Wang Yue
3. Walk Forward & Enter The Nest 10. Strike With The Golden Whip Backward
Jin Bu Tou Chao Dao Da Jin Bian
4. Chop the Huang Shan Mountains Forcefully 11. W
hip The Galloping Horse
Li Pi Hua Shan Kuai Ma Jia Bian
5. Turn the Body & Slice the Arm 12. Turn Over The Body & Chop With The Sword
Niu Shen Pian Bang Fan Shen Pi Jian
6. B
lock Horizontally, Slice & Walk 13. Supporting Hand Wiping Form
Heng Lan Pian Zou Ma Shi Fu Shou
7. Galloping Horse Turns Its Head 14. F
ierce Tiger Turns The Body
Zou Ma Hui Tuo Meng Hu Zhuan Shen 69
15. Immortal Enters the Cave 36. F
lock Of Geese Play With The Sea
Xian Ren Ru Dong Qun Hong Xi Hai
16. S
itting Step Chain Linking 37. I ron Fan Greets (Welcomes) The Wind
Zuo Bu Lian Huan Tie Shan Ying Feng
17. Follow The Wind, Guide The Clothes 38. G
olden Rooster Spreads Wings
Shun Feng Ling Yi Jin Ji Sa Bang
18. Three Rings Hook The Moon 39. S
weep Away One Thousand Troops
San Huan Tao Yue Heng Sao Qian Jun
19. Turn The Body Backward To Pierce Straightly 40. T
urn & Walk With A Swarm of Swords
Hui Shen Zhi Ci Zhuan Zuo Qun Jian
20. T
urn & Walk To Wave the Flag 41. T
urn Over The Hand (Backward) To Block The Wrist
Zhuan Zuo Yao Qi Fan Shou Jie Wan
21. White Snake Hiding In The Grass 42. Pull the Whip Behind The Back
Bai She Fu Cao Bei Shen La Bian
22. Dodge The Body To Change The Shadow 43. Chop Backward with Marvelous Hand
Tuo Shen Huan Ying Miao Shou Bei Zhan
23. Giant Python Turns Over Body 44. Ghost (North) Star Plays With The Dipper
Da Mang Fan Shen Kui Xing Xi Dou
24. C
hop The Mountain Behind The Back 45. S
wallow Penetrates The Forest
Bei Hou Pi Shan Yan Zi Chuan Lin
25. F
ollow The Wind to Sweep The Leaves 46. J ump, Net & Hang on the Wall
Shun Feng Sao Ye Teng Luo Gua Bi
26. Turn The Body To Block The Waist (Yao) 47. Hate The Happiness That Comes Too Late
Zhuan Shen Lan Yao Hen Fu Lai Chi
27. Step Backward & Wipe The Wrist 48. L ie Down To Look At Marvelous Clouds
Tui Bu Ma Wan Wo Kan Qiao Yun
28. M
ove Away The Grass To Search For The Snake 49. Whirlwind Wringing Sword
Bo Cao Xun She Xuan Feng Jiao Jian
29. Phoenix Enters The Nest 50. White Snake Spits Letter (Tongue)
Dan Feng Tou Chao Bai She Tu Xin
30. T
urn Backward To Chop The Face 51. Ghost (North) Star Plays With The Dipper
Hui Shen Pi Mian Ku Xing Xi Dou
31. Ghost (North) Star Plays With The Dipper 52. H
ang Chops & Offer The Sword
Kui Xing Xi Dou Gua Pi Xian Jian
32. Hook and Hang, Lead and Circle 53. Wave (Open) The Fan against The Wind
Gou Gua Dai Huan Ying Feng Hui Shan
33. Touch (Dot) Ni Wan (Mud Ball) With the Sword 54. Liu Hai Plays With Toad
Jian Dian Ni Wan Liu Hai Xi Chan
34. Embrace The Moon In The Arms 55. D
rop The Step & Chop With The Sword
Huai Zhong Bao Yue Luo Bu Pi Jian
35. W
hite Snake Spits Letter (Tongue) 56. Twist The Body To Explore The Sea
Bai She Tu Xin Niu Shen Tan Hai
70
57. P
ick Up the Moon from The Bottom Of The Sea
Hai Di Lao Yue
58. B
lue Dragon Turns Over Body
Qing Long Fan Shen
59. T
urn The Body To Explore the Sea
Zhuan Shen Tan Hai
60. W
hite 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. C
oiling Step Chain Linking
Rao Bu Lian Huan
64. C
rouching Tiger Listens To The Wind
Fu Hu Ting Feng
65. Retreat The Step & Return To The Origin
Tui Bu Huan Yuan
71
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. Y
in 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. H
eaven 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
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 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
72
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 Horses 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.
73
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 Point4
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
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
4R
EN-20 (Hua Gai) Florid Canopy attacking this point can damage the lung.
74
Xing Yi - Ba Gua Cane
Xing Yi Ba Gua Teng (Vince Black)
1. Starting Position
2. Lift The Cane
3. Turn (90 degrees), Poke Low & Dragon Chop
4. Step Forward & Thrust the Handle
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 Thrust the Shaft of the Cane
15. Step Back into Dragon & Hook and Pull the Neck
16. Step Back and Pull the Can 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
Ba Gua Rooster Claw Yin Yang Knife

Ba Gua Ji Zhao Yin Yang Rui (Wang Shi Tong)
1. S
tep out and raise the elbow to walk (turn) the circle,
Chu Bu Jia Zhou Zou Zhuan Huan,
,
2. T
oe 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

75
6. W
alk 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. W
alk forward and embrace the heart to walk a circle.
Jin Bu Bao Xin Zhuan Yi Quan

9. Chop the mountains leftward and rightward like awhirlwind,

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. T
urn 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. A
nd 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. T
urn 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

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

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20. W
alk 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

Ba Gua Spear Ba Gua Qian

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. S pear 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 Poke
Walking Counter-Clock Outside Change: Turn over Change and 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
Walking Counter-Clock Outside Change: Lever, Poke Back and Switch Hands
4. H
eaven and Earth 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
Double Headed Spear (Li Zi Ming)

1. Single Palm Change
2. Double Palm Change
3. Basic Exercises
Single Palm Change back and forth with Downward Smashing Strike
Walking forward with Single Palm Change
Zig-Zag Walking with Single Palm Change: Turn with Double Palm Change
Changing Hands & Lateral Strikes and Zig-Zag Walking
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N
Wind Wheel Swords
Feng Lun Jian (Wang Shi Tong)
1. Face East - Feet Together, Hands at Sides
2. Step Forward & Divide Heaven and Earth
W E
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)
S
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)
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 the 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 variation)
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)
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36. Rotate the Swords, Cover Your Left Wrist and Raise the Right Sword as You Lift the Left Leg to Hang Inward (N)
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 the
Pushing the 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
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ADVANCED LEVEL FORMS AND WEAPONS: TIPS FOR PRACTICE
1. The Pre-Heaven palms explore the transformative quality of the Ba Gua movements. By changing ones 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 Pre-Heaven 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 Pre-Heaven Form.
2. T
he Changing Palm 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 forms. When performing the Dragon palm let the
body whip the arms and initiate the changes so that the action of one posture rebound you into the next posture.
4. B
a 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. See if you can understand how the internal dynamic of 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 baiscs.
5. T
he use of the 4 primary weapons (sword, saber, staff and spear) are explored in form and application.
Understanding these four weapons allows one to understand the four different energies they employ. Developing
these energies aids empty hand practice and develops the agility and flexibility of the body movements. The
weapons also teach one how to extend power outward through the weapon.
6. S ome 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 elbow strike 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. The 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. 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.
9. T
he 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.
10. 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.
11. 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.
12. T
he Rooster Claw Knife, is one of Ba Guas 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.
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13. 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 Guas circular stepping creates unique changes and angles.
14. P ractice 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.
15. Vital points 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 ones ability to hit powerfully and precisely.
16. 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.
17. The study of variations has another purpose as well. At this level it is important to understand that there is no one
way to do things. Exposure to different ideas about form and application give the practitioner the freedom to
explore Ba Gua principles and techniques so that each person can go on to develop their own unique expression
of the art. In this way Ba Gua remains a living art.
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GLOSSARY
OF CHINESE CHARACTERS
FOR BA GUA ZHANG
82
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 round something harass; annoy
cant get it off: like a burr on a shirt
in chin na/na fa methods refers to little wrap and big wrap
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
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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
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 in chin na
Duo
Hack
It also means cut, chop.
I have 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
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Gan
stick
pole
Gong
Bow
Bend; Arch
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
Jie
intercept
cut off; cut off a section
sever, cut
he starts before you, but you get there before him
one of Xing Yi Quans eight words referring to the action/function of the drilling fist (zuan chuan)
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.
85
Jin
advance; go forward; put something forward
enter; go into
the outer part of the character conveys motion: moving along a path; the Tao 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 Quans 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 chin 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
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
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 Tao 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 persons head with his hand suddenly
86
Ling
lead; guide
usher
receive; get
draw
collar; pull by the neck
contains the radical for head
implies a less aggressive leading than Dai
Lu
stroke
smooth out with fingers
rub ones 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;
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
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
87
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.
Give me one pian (a slice) of cheese, or bread.
He is a very skillful chef and he can pian (slice) a 2cm thick pork into six pieces.
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
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
88
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
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 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 ones lips
89
Zha
prick, or stick something into something, or make a hole violently.
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
scratch
arrest
Zhuan
rotate
turn
transfer with rotation
rotate; revolve like a top
one of the key principles in Ba Gua Zhang
Ba Gua is sometimes referred to as ba gua zhuan zhang which means 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
90
GLOSSARY
FOR NEI JIA & BA GUA ZHANG
91
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; 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 Chicken Claw Yin Yang Knife but
often simply called the Rooster Knife.
Ba Gua Lian Huan: Ba Gu Zhangs 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 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 Quans 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.
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.
92
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.
Datian (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)
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 Die Da medicine or 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 foundation of the 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.
93
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 meridians They are important channels in Nei gong 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.
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.
94
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.
Heibei 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, Heibei 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 Quans 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: Tigers Mouth the area between the thumb and forefinger.
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 opn 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 an 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 Provinces Zhongnan Mountains, Yue
Feis 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.

95
Jin (jing): strength, energy, spirit. The same jin as in Fa Jin.
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 bodys
vital energies.
K
Kan Trigram: Kan-Water, the Abysmal, is one of the Eight Trigrams of the Yi Jing.
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 Doaist
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 Heibei 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 Guas 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.
96
Liu Qi Lan: Liu Qi Lan was one of the top Xing Yi students of Li Neng Ran.
Liu Wen Hua: Liu Qi Lans 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.
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)
97
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 Quans Cannon Fist; related to the fire element.
Pi Quan: Xing Yi Quans Splitting Fist; related to the metal element.
Post Heaven (Post-Natal) (see Hou Tian)
Pre Heaven (Pre-Natal) (see Hou Tian)
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 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.
98
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)
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 Guas basic principles and palm changes.
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
persons eyes. Shen is one of the three treasures.
Shen Fa: Literally, body methods The body movements 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.
99
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 Daoist and
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.
Tang Ni Bu: Ba Gua Zhangs 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.
Tigers 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. 100
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 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)
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 ing general. Today, outside
of mainland China Wu Shu is often replaced by the more general term Gung 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 Quans five fists.
X
Xi Shui Jing: Marrow Washing Nei Gong. An advanced Nei Gong method is 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

101
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 s
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.
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 know as Dragon Body Ba Gua. Some styles of Bagua have a 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 ones 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).
102
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 Quans drilling fist; related to the water element.
103

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LIANG ZHEN PU

NEW YORK INTERNAL ARTS

2013 Trip Tych Enterprises LLC

Pre-Heaven Trigrams Post-Heaven Trigrams

THE NINE PALACES

LEVEL 1: FOUNDATIONAL LEVEL 11

LEVEL 2: CORE PATTERNS & MOVEMENTS 20

LEVEL 3: INTERMEDIATE LEVEL 32

LEVEL 4: ADVANCED TRAINING 47

GLOSSARY OF CHINESE CHARACTERS FOR BA GUA ZHANG 82

GLOSSARY FOR NEI JIA & BA GUA ZHANG 91

WHAT IS BA GUA ZHANG?

Tai Ji Quan (Great Ultimate Boxing)

HISTORY OF LIANG ZHEN PU BA GUA

ABOUT THE CHIEF INSTRUCTOR: TOM BISIO

Tom is the author of several books, including:

LINEAGE & TEACHERS

Gao Wen Chang Guo Gu M in

Gao Ji Wu Zhao Da Yuan Zhang Hua Sen Vince Black

Find people to practice with outside of class.

Ba Gua can be painful.

LEVEL 1: FOUNDATIONAL LEVEL

1. Zhan Zhuang: Standing Meditation (Stake Standing)

LEVEL 2: CORE PATTERNS AND MOVEMENTS

LEVEL 3: INTERMEDIATE FORMS AND APPLICATIONS

64 Forms & 13 Elbows

Single Tian Double

Ding Shi Ba Gua Zhang

THE BA GUA BUILDING

Ba Gua Yin-Yang Patting Nei Gong

Linking the 12 Postures

The 28 Ji Ben Gong Foundational (Warm Up) Exercises

Basic Footwork Exercises

Ba Gua Circle Walking Nei Gong

Ding Shi Stepping Patterns

II. Piercing Palm Exercises: Partner

III. Seven Star Drills

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 Palm Chang Zhan Zhuang

Old Eight Palms

3. Body Turning Palm

5. Opportunity Seizing Palm

7. Downward Dropping Palm

Eight Linear Movements

Kicking: Developmental Exercises

Stationary Kicking Drills

Eight Linking Qin Na

Basic Elbows: Stationary

Ba Gua Zhang Eight Attacking Elbows

Slap Away Millstone Exercises

2. With Foot Trap

3. Step in with Clothes Line

4. Step in with yin strike/ shoulder strike

5. Step back w/ Rotary Throw

2. Push from outside and spin

Winding/Entangling Hand Throws & Techniques

2. Outside Position on Neck: Neck and Elbow Rotary Throw

3. Inside Position on Neck - Bump and Backward Hip Throw

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

3. Body Turning Palm

5. Opportunity Seizing Palm

7. Downward Dropping Palm

IV. Zhen Trigram: Swallow Overturning Hand Covering Palm

VI. L i Diagram Body Twisting and Horse Exploring Palm

VII. Kun Trigram: Hawk Overturning Palm

3. Downward Striking Staff

4. Concealing Piercing Staff

5. Upward Piercing Body Overturning Staff

3. Toe out and turn the body to cover downward,

7. Step back to hook, embrace and pull first,

9. Chop the mountains leftward and rightward like awhirlwind,

13. Necessary to remember to press the elbow in turning the body,

18. Toe in and spread the wings to whip the horse.