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