Xiantian Bagua Zhang Gao Style Bagua Zhang - Circle Form

XIANTIAN
BAGU A ZHANG
by the same author
The Complete Book of Yiquan
Master C S Tang
ISBN 978 1 84819 225 6
eISBN 978 0 85701 172 5
The Mysterious Power of Xingyi Quan

A Complete Guide to History, Weapons and Fighting Skills
C S Tang
ISBN 978 1 84819 140 2
eISBN 978 0 85701 115 2
of related interest
Taiji As Moving Meditation
Fundamental Principles and Practices
Paul G. Fendos Jr.
ISBN 978 1 78775 043 2
eISBN 978 1 78775 044 9
A Comprehensive Guide to Daoist Nei Gong

Damo Mitchell
Foreword by Paul Mitchell
ISBN 978 1 84819 410 6
eISBN 978 0 85701 372 9
Chinese Shamanic Tiger Qigong

Embrace the Power of Emptiness
Master Zhongxian Wu
ISBN 978 1 84819 384 0
eISBN 978 0 85701 341 5
XI AN TI AN
B AGUA
ZH AN G
Gao Style Bagua Zhang—Circle Form
Master C S Tang
Foreword by
Sifu Sebastian González of Barcelona
First published in 2021
by Singing Dragon
an imprint of Jessica Kingsley Publishers
73 Collier Street
London N1 9BE, UK
www.singingdragon.com
Copyright © C S Tang 2021

Foreword copyright © Sebastian González 2021
All rights reserved. No part of this publication may be reproduced in any material form (including
photocopying, storing in any medium by electronic means or transmitting) without the written permission
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Library of Congress Cataloging in Publication Data

A CIP catalog record for this book is available from the Library of Congress
British Library Cataloguing in Publication Data

A CIP catalogue record for this book is available from the British Library
ISBN 978 1 84819 359 8

eISBN 978 0 85701 319 4
Printed and bound in the Great Britain

CONTENTS
Caveat and Disclaimer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Foreword by Sifu Sebastian González of Barcelona . . . . . . . . . . . . . . . . . 9
Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Introduction to the Author:
Tang Cheong Shing (鄧昌成) 14
The Way of My Bagua Zhang (我之八卦掌成長之路) 15
Other Bagua Zhang Styles 29
My Training Adventures 45
My Teaching 46
2. The Origin and Development of Bagua Zhang . . . . . . . . . . . . . . . . . . 49
Creation of the Name: The Eight Trigrams 50
The Foundation Thinking of Bagua Zhang is Rooted in Philosophy 50
The Changes of Bagua Zhang 52
The History of Dong Hai Chuan 52
The Branches of Bagua Zhang 58
The True Features of Bagua Zhang 64
Gao’s Branches 68
The Legend of Master Gao Yi Sheng 71
The Legend of Master Wu Meng Xia—Bagua Zhang Research Expert 74
The Legend of Master Han Mu Xia—The Strange Hero of the Martial Arts World 82
The Legend of Master Ho Ho Choy and Dragon Style Bagua Zhang 87
The Legend of Master Zhang Zhun Feng—Gao Bagua Zhang in Taiwan 126
3. Basic Exercises and System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Three Basins and Palm Definitions 135
Explanation and Application 137
Bagua Zhang Five Elements Steps Exercise (五行步) 144
Bagua Zhang Kicking Pole Exercise (踢樁) 148
Bagua Zhang Walking Steps Exercises 151
Bagua Zhang Leg-Stretch Exercises 163
Bagua Zhang Spin Circle Exercises 169
Bagua Zhang Five Elements Power Exercises 176
Ten Heavenly Stems Exercises (八卦掌十天干) 186
The Names of the Ten Heavenly Stems: Tian Gan or Ten Individual Exercises 189
Bagua Zhang Conditioning 224
Bagua Zhang Static Stance 231
4. Eight Mother Palms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Theory of Gao Style Bagua Zhang 247
Requirements: Eight Guiding Principles 248
Bagua Zhang Xian Tien Eight Mother Palms 249
Wuji Palm: Beginning 252
Xian Tien Eight Mother Palms (先天八母掌) 256
Variations of the Eight Mother Palms 266
Bagua Zhang Eight Mother Palm Linking Form 273
Eight Mother Palm Application 278
Applied Bagua Zhang (八卦掌用法): Eight Mother Palm Two-Men
Exercises (先天八母掌對練法) 286
Fundamental Concepts of Training in Bagua Zhang Chin Na 287
Chin Na in Bagua Zhang Sequence 292
Speed and Flexibility in Chin Na 296
Bagua Zhang Drilling Chin Na form (八卦掌擒拿對練兩路) 302
Disclaimer 309
Bagua Zhang Chin Na Routines
(八卦掌八母掌擒拿套路) 310
Practicing Bagua Zhang Walking (八卦掌走步練法提要) 324
The Health Benefits of Bagua Stepping (八卦掌走步與健康) 330
The Health Aspect of the Eight Mother Palms 337
Health is Accumulated 339
5. Eight Big Palms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Single Palm Change 341
Bagua Zhang Xian Tien Eight Big Palms 349
Bagua Zhang Five Dragons Palm Linking Form 375
Penetrating Change Palm (穿化掌) Eight Big Palm Linking Form 1 385
Dragon Style Palm (龍形掌) Eight Big Palm Linking Form 2 397
Application of the Eight Big Palm Linking Form 410
Application of Xian Tien Zhang:
Eight Big Palm (先天八大掌) Circle Method 416
Xian Tien Zhang Eight Big Palm Practicing Method (先天八大掌練法) 431
Applied Bagua Zhang 433
Application of Double Palm Change 445
Eight Big Palm Linking Drill Form (鄧昌成。霍東成演式) 448
6. Bagua Nei Gong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
Bagua Nei Gong Turn Waist Palm (八卦轉掌內功) 461
Secret Manuscript—The Heart Transmission of How to Reach Dao:
The Secret Way to Nei Gong 469
Teaching Mother Palms and Big Palms in Taiwan in 2018 470
CAVEAT AND DISCLAIMER
Please note that the author and the publisher of this book are not to be held liable
in any manner whatsoever for any injuries that may result to any person from his
or her reading or following the instructions contained herein.
Since the physical activities described may at times be strenuous and
challenging for some individuals, it is essential that before following any of the
activities, physically or otherwise herein described, the reader should consult his
or her physician for advice on whether to embark on such activity.
8
FOREWORD
Sifu Sebastian González of Barcelona
I have been involved in both learning and teaching Chinese martial arts since the
1970s. Nowadays I direct my school in Barcelona, Centre Jing, and I preside over
the Catalan Association of Cai Li Fo, Taiji Quan, Qigong.
The first time I met Master CS Tang, I knew he was a person with great
knowledge of internal martial arts, but his humble and unpretentious attitude
confused me in the world of martial arts, in which it is common to find “egoistical,
pretentious, and vain” attitudes. Over the years that I have been learning the
internal arts with CS Tang, I have been able to discover a humble person with a
very deep knowledge of these arts of traditional Chinese culture, such as martial
arts, calligraphy, and seal engraving; these last aspects are exquisite and deeply
rooted in traditional Chinese culture.
Later on, when we had a close relationship, I invited CS Tang to visit Barcelona,
Spain, several times, so that my students could met him and he could share his
knowledge with them. His sincere attitude and deep knowledge of the internal arts
gave them an enriching experience: from a health perspective through the teaching
exercises, from a martial arts aspect through the strength fighting techniques, and
from a spiritual point of view through the cultural knowledge.
His personable and sincere attitude has always made people come to him
and get to know him as a person, as well as his style of martial arts; this is a
characteristic that I have always valued.
The book is about an internal martial art called Bagua Zhang or “the Palm of
the Eight Trigrams,” a system that CS Tang knows very deeply because he learned
it from a master directly connected to the lineage of the Gao system, Master Ho
Ho Choy, and also through other traditional masters of Bagua Zhang who he has
met on his journey towards the origins of Bagua Zhang.
This internal martial art, which I have had the good fortune to learn directly
from him, was in the past transmitted secretly and in a hermetic way that was
9
10 X I AN T I AN BAG UA ZH ANG
only accessible to a few who were introduced to the master and accepted by him.
Today, these values have changed for the benefit of all of us, allowing us to access
it through classes, videos, conferences, and also this book, which will show you a
part of the system that will be a useful tool in your learning.
Bagua Zhang as an internal martial art is inspired by the principles of Taoist
philosophy and the famous classic book of I-Ching (The Book of Changes), from
which it takes its fundamental principles to structure the system. It contains
exercises to strengthen health called Nei Gong, martial arts techniques of locks
and control called Chin Na, kicks, fist and palm hits, weapons, exercises with
partners that develop combat, animal techniques, and philosophical concepts,
which make it a complete and deep system.
My experience as a student in this style has been very rewarding and enriching.
Aspects of it are great for health and can improve mental attitude and body
strength, and the martial arts aspect of learning exercises that work the body in a
very different way to classic Kung Fu systems improves coordination and flexibility,
and uses the whole body to fight. I recommend that all martial artists study Bagua
Zhang through this book, which will open a door of wisdom to the east.
ACKNOWLEDGEMENTS
The author wishes to thank the following friends and fellow instructors who
offered their invaluable advice in the writing and publishing of this book.
I must give thanks to Sebastian González of Barcelona, who has been studying
with me for over ten years and recommended that I teach in Barcelona. He is now
teaching my Yang Xin studio system of internal martial arts including Gao style
Bagua Zhang. He also helped me to publish several martial arts books in Spanish.
Special thanks to Bernard Kwan for his patience in translating, proofreading,
and invaluable technical support without which this book could not have been
produced.
Special thanks are also due to Andre Sigwalt of Brazil for his excellent job on
the typing and presenting of the later Heaven forms of this book, and Osmond
Lam for his work on translation and advice about history, and many other local
and international friends and supporters for their valuable encouragement and
suggestions.
Performers in the illustrations include: CS Tang, Samuel Cheng, Allan Lui, Fok
Tung Shing, Anthony Liu, YP Li, Rita Chow, Erica Liu, Joyce Wong, Nelson Ho,
Sebastian González, Eric Poling, Grace Poling, William Steinbery, William Fox,
Andre Sigwalt, Alex Costa, Alex Medana, Benjamin Leung, Christopher Liechti,
David Liffman, Florence Leo, and Philip Clarke.
11
Chapter 1
INTRODUCTION
13
INTRODUCTION TO THE AUTHOR:

TANG CHEONG SHING (鄧昌成)
Friends and colleagues simply call him CS, though his full
name is Tang Cheong Shing, which is usually abbreviated
as CS Tang following the conventional western style.
CS was born in 1949 in Hong Kong, China. He looks
young compared with many other martial arts masters in
China. That’s probably because he is not very big in stature. At
first glance you would not take him for a martial arts master.
He is more than just that; he is a well-rounded person.
An accountant by profession, CS obtained a Bachelor’s
degree in Accountancy and a Master’s degree in Business Administration. He is
also known for his Chinese calligraphy and Chinese seal engraving. Above all,
he is well known among his circle as a martial arts master specializing in Bagua
Zhang, having practiced it under Mr. He Ke Cai (何可才), a master of the fourth
generation in the direct lineage of the founder of Bagua Zhang.
CS does not just know Bagua Zhang; he knows it profoundly. As one reads
about his career, one becomes aware of the recognition he has received in this
field throughout the years. Indeed, his fame goes beyond Hong Kong. CS has
contacts with other well-known masters in Mainland China and abroad, and he
is recognized by them as a peer. His profound understanding of his own school of
martial art goes beyond the mere practice of it; he is also a scholar on the subject
of its historical development and is knowledgeable on the history of many other
schools of martial arts.
CS’s talent does not end with having mastered Bagua Zhang, the art of Chinese
calligraphy, or even the art of Chinese seal engraving. He is equally interested in
embracing and going deeper into other schools of martial arts. To achieve this, he
has mastered a few of them. The name he gave to his newly established specialty
shop in Hong Kong, “The Art and Arts Shop,” reveals his inner self.
Martial arts seem to have been innate in CS and have been an integral part of his
life. He would readily and humbly submit himself to a famous master and learn from
him the innermost tactics and expressions of the various postures and maneuvering
of that particular school in order to deepen his own knowledge of that martial art.
As a master, CS has his own ways of teaching. His students range from young
children of four years old to grownups aged over 70, including Chinese, European,
American, and Japanese people. He has his own gifted way of interpreting each
movement and posture and making it understood by students of each age group.
He enables students to practice and remember each movement easily, according
to their respective levels of understanding and comprehension.
Introduction 15
CS Tang winning the first class prize at Traditional Form Wushu Competition, 1992
THE WAY OF MY BAGUA ZHANG (我之八卦掌成長之路)
CS Tang in a spear performance when he was young
Fine art and Bagua Zhang and Xing Yi Quan1

My strong interest in the martial arts originated from my father, who was a student
of the Jing Wu Association and had also studied Dong Ying Jie’s Taiji Quan. The
martial arts manuals he left me, and his scholarly character, have very much
influenced and benefited me, and as a child I learned the Shaolin Yijijin (Tendon
Change Formula) from him.
At a young age I loved comic books, and I collected and imitated the drawings
of Dong Pei Shen. My grandfather saw this, and being deeply moved, gave me
some words of advice: Learning to draw requires knowledge of Yin and Yang;
having 70 percent of the face will bring out a solid figure effect. Yin and Yang
are the heart of theory in China; when a person stands and sunlight shines from
behind his body, his back is Yang and his body is Yin.
My father used to draw a painting of a small boat floating on the river. He
added his calligraphy, which said, “The boat turns around when there is nobody
crossing the river.” It was full of imagination.
1 Tang, CS (2013) The Mysterious Power of Xingyi Quan. London: Singing Dragon, pp.13–14.
My grandfather My father
There was a famous opera writer, “Thirteen gent of southern sea” (南海十三郎),
also called The Mad Phoenix, who once went crazy and became a beggar. He came
to our shop and requested brushes and paper. He would draw a painting in
exchange for a bowl of rice. He used a big and a small brush to paint, holding both
in the same palm. He changed the brushes in the same hand to draw. These
techniques were so interesting that I started to copy him.
I loved to put martial arts stories into drawing form at
an early age. I once put the story of Kwan Gung dragging his
big broadsword to kill a general (關公拖刀斬蔡陽) into a
drawing and submitted it as homework. This got a high mark
and was stuck on the wall. But the artwork was not returned
to me, and one day I went to the office and found it on the
teacher’s desk; the teacher loved it so much that he’d kept it.
That incident started a habit for me, and later, when I
learned martial arts, I would not only write notes but also The Mad Phoenix
make drawings. I also began dabbling in painting, calligraphy, and seal carving,
and reading the classics and essays, to further my inner cultivation.
The start of my Bagua Zhang journey

My first martial arts teacher was Dr. Chan Yuet Sun (or Chan Yik Sam), who
taught me Yi Quan, Yang style Taiji Quan, and Liu He Ba Fa. Dr. Chan learned his
Kung Fu from Master Liang Zi Pang and Lee Ying Ang.
Master Liang Zi Pang is a very good and kind teacher. He never asked for
fees from students because he had a high rank in a famous factory, and was
therefore very well paid. He taught students, and the students of students, and
their students. When I first learned from him, he said, “Today you are young and
Introduction 17
may not understand all I have taught and spoken, but remember it and write it
down and one day you will understand.”
Master Liang learned Eagle Claw from Chen Tze Ching (陳子正), Bagua Zhang
from Master Jiang Xin Shan (蔣馨山), and Yi Quan from Yau Pang Xi (尤彭熙).
Master Liang Zi Pang Master Liang Zi Pang teaching

in Guangzhou before 1950
Master Liang Zi Pang teaching in Hong Kong
Master Liang learned Bagua Zhang in Shanghai, under Master Jiang Xin Shan. His
footwork is very flexible and he brought his Bagua Zhang experience into his Liu
He Ba Fa and Taiji Quan.
Master Jiang Xin Shan, who taught Liang Zi Pang Bagua Zhang
Yau Pang Xi, who taught Liang Zi Pang Yi Quan
Yau Pang Xi before going Yau Pang Xi and his wife

to the United States in the United States
Master Liang said he put aside all other martial arts practice when he learned from
Yau. He had a very high regard for Yau and always said that if Yau just took a roll
of newspaper and struck you, you would be thrown through the air. If you tried to
grasp his dress, you would be thrown at the wall. Yau’s wife, Au Yang Min, helped
to teach the group Push Hands.
Master Lee Ying Ang himself was from Hebei and had studied Xing Yi with
Bu Xue Kuan (布學寬) and learned Bagua Zhang from Chang Xi Kun (蔣錫堃).
Dr. Chan was a Chinese Medicine practitioner. He was very hard working and
this led to him being very tired; he would often fall asleep during work and when
traveling. When I accompanied him to Master Liang’s place to study martial arts
theory, we would take the cross-harbor bus. Dr. Chan could sleep when seated or
when standing, and would wake up immediately when we arrived.
Dr. Chan treated me like a son. His two sons were very young then, so often
when he would go out he would take me along. He felt close to the mainland, and
loved to watch mainland movies. One time he took me to Lai Dao cinema to watch
Wu Song. He said the actor, Koi Jiao Tin, had the spirit and flavor of Yi Quan in his
movements. However, once we got into the cinema and the movie had officially
started, he fell asleep!
When China tested its first nuclear bomb explosion, Dr. Chan was excited
Introduction 19
and took me to Kwok Tai cinema to watch a film of the tests. When it reached the
“explosion,” I turned around and saw that Dr. Chan was, again, asleep.
Whenever a new martial arts practitioner arrived, Dr. Chan would soon go to
watch, investigate, and learn. When the WWF wrestlers Mario Milano and Mark
Lewin came to do a demonstration, tickets were $100 each, very expensive at the
time. But Dr. Chan still bought tickets and took me to watch the demonstration.
He was very frugal, but generous to others. He bought me expensive tickets to
see a Japanese sumo performance in Hong Kong. When Muhammad Ali’s fights
were shown live on TV, he would take me to his mother’s house to watch them.
Dr. Chan was very hard working when it came to training
in martial arts. Day and night, he would do Zhan Zhuang and
practice the routines. Every Sunday he would meet me and
Lao Ng Jai at the Wan Chai Gap road. We would practice Pi
Quan, Beng Quan, and Lia Shut Au Bu on Second Road up
the mountain, take a rest and drink tea at the tea stall, and
then go up the Third Road. As we walked, he would shout the
Dragon Sound of Yi Quan.
He was very good friends with Sin Man Ho, Lo Wai Keung,
and Miss Ha Kim Ping. Dr. Chan loved to collect martial arts
manuals; he himself also wrote down a lot of Yi Quan notes. Doctor Chan Yuet
Whenever he took photographs and collated them, he would Sun and Master
also make a copy for me, hoping that I would preserve his Liang Zi Peng
materials well. He gave me some very useful advice: “When you hear Master Liang’s
boxing theory, at the moment you may not understand, but you must write notes
and later frequently reread and practice—this will lead to understanding!”
In Dr. Chan’s school, training would start with Ba
Duan Jin, then Zhan Zhuang with three Zhaungs (Fu
An, Tsan Po, and San Ti), and next Liu He Ba Fa, Yang
Taiji Quan, prostration, Push Hands, and Emit of Power.
The rest of the night would be spent on continuous
repetitions of the Xing Yi Five Elements fists. After the
session, we would go to the “Dai Pai Don” at Fleming
Road for night congee.
Dr. Chan wanted his children to have an overseas
education, so he closed his business and moved to
Portland in the United States. He continued to practice Doctor Chan Yuet
medicine and teach martial arts, though his talents Sun’s handwriting
were not recognized and appreciated there. Not long
afterwards, he had a stroke and eventually died.
Doctor Chan Yuet Sun’s clinics in Wan Chai and Central, Hong Kong
My four teachers: (from left) Doctor Chan Yuet Sun, Wong Loi of
Southern Mantis, Ngai Wah, and Chu Kai Ming, Southern Mantis
Bagua Zhang and Xing Yi Mixed Form by Sun Dit

Mr. Ngai Wah taught me Yang style Taiji Quan and Yi Quan stands. He learned
from Li Bai, Sun Dit, Lee Ying Ang, and Master Liang Zi Peng.
Master Liang’s method had a special characteristic: he would not accept any
fees and there was no ranking in his school. He said that everyone had a proper job
and it was not necessary to use martial arts to earn a living. If you were introduced
to him, it didn’t matter whether you were a senior student or a younger student,
you were welcome to study and learn. You did not address anyone as “teacher” or
“sifu,” but said Dr. Chan, Master Liang, and so forth.
Sun Dit learned Bagua Zhang and Xing Yi Mixed Form from Lee Ying Ang and
taught Mr. Ngai Wah. Ngai said there was no need for secrecy, and immediately
taught me Sun’s Bagua and Xing Yi Mixed Form. I practiced it diligently.
I met Sun Dit many years afterward at a Yi Quan dinner with Dr. Yu Yong
Nian and Wang Yu Fong. He recognized me and insisted that I came to practice
Yi Quan with him. He taught me his Yi Quan, Bagua Zhang, and Xing Yi. His style
is very free and flexible.
Introduction 21
Sun Dit and Sun Dit Sun Dit and Master Leung Mr. Ngai
CS Tang Wah
Sun Dit, Taiji Master Cai Song Fang (蔡松 Master Liang Zi Peng’s dinner
芳), Ian Fok, CS Tang, and members of the party with his students, 1972
Yi Quan Association at Mr. Fok’s office
The Bagua Zhang of Lee Ying Ang

My Chu Gar Praying Mantis teacher Chu Kai Ming took
me to Lee Ying Ang’s clinic and asked me to demonstrate
some Chu Gar Tong Long for Mr. Lee. Mr. Lee felt this
southern style had a good frame and explosive power,
and he asked me to come back the next day so he could
give me some lessons in Xing Yi and sword skills. I was,
of course, very happy and willing, and these sessions
continued for some time. Mr. Lee asked me to copy the
Wu Dang sword and Xing Yi manual. Mr. Ngai Wah Lee Ying Ang’s teacher,
and I once visited Mr. Lee when he was working on the Master Bu Xue Kuan
book of Liu He Ba Fa and his whole desk was covered by
pictures of Wu Yi Hui (吳翼翬). He gave me a photo as a gift. I asked him about
some ink writing by Master Wang Xiang Zhai and he made me a copy immediately.
Mr. Lee published an English Bagua Zhang book and always practiced Bagua
Zhang.
Unfortunately, Mr. Lee passed away in Guatemala at a relatively young age.
Lee Ying Ang’s Xing Yi Quan
Lee Ying Ang visiting martial Lee Ying Ang openly demonstrating the
artists in Japan, 1970 secret Wu Dang sword in Hong Kong, 1971
1 3
2 4
Lee Ying Ang demonstrating the applied hand techniques of Bagua Zhang
Introduction 23
Hong Kong Gao style Bagua Zhang of Ho Ho Choy

Many teachers were like us when they were young: curious and hungry for new
and varied materials and learning many different styles before settling on one to
teach and pass on formally. Noted examples include: Kan Tak Hoi, who knew
Xing Yi, Bagua, and Taiji, and Wong Hong Fun, who, as well as knowing Seven
Star Praying Mantis, also learned Ying Jow from Lo Kwang Yu and Choy Lee Fut
from his elder brother.
After Dr. Chan left Hong Kong, I learned three forms of Hung Gar, Wing
Chun, old Hung Kuen, Choy Lee Fut, Dai Shing Pek Kwa, Lung Ying, and Bak Mei,
etc., from teachers and friends. Later I learned formally from various teachers:
from Chu Kai Ming I learned Chu Gar Tong Long; from Tse Man I learned Fong
Gar Tong Long; from Yang Shou Chung I learned Yang style Taiji Quan; from
Wong Yit I learned Yang and Fu family fists, Ching Wu forms, and Crane Flying
stance. In 1966 I entered the school of Master Ho Ho Choy to study Gao style
Bagua Zhang.
Master Ho was a very low-profile and private person, and didn’t attend dinners
and celebrations (except those of his good friend Wong Dong Choi). He did not
enjoy self-promotion, so his skill was famous solely because of its effectiveness,
and he had a lot of students. He had a quick temper that was directed towards
those who did not grasp the key points and those who created trouble outside the
class, and he was quick to kick them out. The first night I attended class he publicly
asked one student to leave.
When asked about the characteristics of his style of Bagua Zhang, he would
answer that he taught Guang Hua Shan Bagua Zhang; it has 64 Palms with attack,
evasion, and continuous movements. He taught one palm every evening, and
taught the applications as he taught the palm. After finishing the whole 64-palms
form, he would do “sparring” (Chu Shou:「出手」): he would explain the detailed
applications, one attack, one defense, and one linked counterattack set, and would
act as a punching bag for his students to practice upon. This also involved the
techniques for grappling and releases, of which he was most proud. He was
exceptionally skilled in the use of Bagua weapons.
Master Ho taught on the rooftop of his student Lam Bo’s furniture shop at Wan
Chai, where the lighting came from surrounding buildings. The pole was the only
weapon taught at night, because of fear of injury. I and three Kung Fu brothers,
Lui, Chui, and Ng, invited Master Ho to teach weapons on Saturday afternoons,
so he started to organize and teach Tao, Jian, pole, and spear.
There were only the few of us at the Saturday afternoon class, so we had
opportunities to discuss any topic. This is where I wrote most of my notes recording
Master Ho’s background, learning, teaching, etc.
I asked Master Ho what styles he learned, what he remembered, and what he

could still teach. He said that he’d forgotten the Hung Kuen Dao. Gung Ji Fook Fu
Kuen is the first form he learned, so he remembered that, but he decided against
teaching Hung Kuen after an argument with Mok Gwai Lan. His Taiji Quan was
from the Yang family, with a definite Taiji flavor. He also knew Xing Yi Quan and
Wu Dang sword, which he learned from his training brothers in Tianjin.
One Saturday he demonstrated the Xing Yi Five Elements fist for us. The
following week I arrived early and invited him to teach me the essential points of
Xing Yi. He was very willing to pass Xing Yi Quan on to me, so I came early every
week and learned Xing Yi and then Bagua weapons. In my opinion, my teacher
was most powerful in his middle age. When performing the Pre-Heaven Palms,
he was as soft as if he had no bones; when moving in the Post-Heaven linked sets,
he was like a dragon roaming the earth, rapid, strong, and vigorous.
I always waited in anticipation of him performing. He also enjoyed the
demonstrations, saying that the body method should involve movement like a
dragon, hence “Dragon style Bagua Zhang.”
Master Ho studied his art in Tianjin under Gao Yi Sheng. He originally learned
for his own health, and, as he had a full-time job, did not consider teaching. When
he left his teacher to return to the south, he practiced alone. Master Ho shared the
following information with me:
• Master Gao had a secret manual that he kept under his pillow, which he
showed to his students from time to time.
• Master Ho himself relied on his memory of the moves, as they had not
been written down.
• Master Ho had learned most of the techniques (more than the other
students), but he did not study the Gong Fa.
• Master Ho had studied the Monkey and the Tiger animal forms; he
watched but he did not like the forms.
• Master Ho was only missing the Bagua cane for the weapon forms.
In Hong Kong, Master Ho met his fellow disciple Wu Meng Xia, who was very
generous in sharing his teachings. Master Ho had the greatest respect for Master
Wu.
Introduction 25
Master Ho Ho Choy performing the Studio at Hennessy

Beng Quan drill of Bagua Zhang Road, Wan Chai
Senior students with The rooftop on which

Master Ho Ho Choy, 1970 Master Ho Ho Choy taught
Taiwan Gao Bagua Zhang with Master Zhang Zhun Feng

When I went to Taiwan I visited Master Zhang Zhun Feng. He asked me whether
I practiced Xing Yi Quan. I said yes, that I had learned it from teachers and also
that Master Ho had taught me. He was very happy and said his Xing Yi Quan came
from Li Cun Yi. He gave me a book on Xin Yi, and commented that Xing Yi was
very powerful and depended very much on Gong Li to achieve victory, but must
have the true transmission.
He taught me five Xing Yi Tiger Forms that are not very well known. Later
his wife, Mistress Chu, showed me their Xing Yi Quan and Hau Tin Bagua
Zhang. They gave me a manuscript of Bagua Zhang (周天術) on the poems of
key principles of Hunyuan, the Wuzi Zhenjing, and Zhou Tian Shu, as well as a
manual on Xing Yi Quan. He also taught me the Five Elements Steps and the Ten
Heavenly Stems, Tian Gan.
I recently contacted Wu Guo Zheng in Taipei, whose grandfather was a student
in Shangtung. He shows the original style of Gao Yi Sheng and is very good and
smooth.
I also managed to get a hand-copied manuscript by Gao Feng Ming in Beijing,

which I showed to Master Ho.
Master Zhang Zhun Feng and CS Tang in Taiwan
I met Zhang’s students and followers later in Hong Kong and Taiwan, and I
contacted students of the same lineage and different styles of Bagua Zhang masters.
Bagua Zhang practitioners of Hong Kong meeting Zhang Yong Liang in Taipei
Meeting Wu Guo Zheng in Taipei, 2013 Meeting Luo De Xiu in Hong Kong, 2002
Introduction 27
Meeting Dan Miller, Tim Carmel, and Edward Hines in Hong Kong
Meeting He Jing Han in Taipei with Yang Taiji Master Ma Wei Huan
American Gao Bagua Zhang

In 1990 I phoned Dr. Fred Wu in the United States. He told me many stories of
his teacher, who is the student of Wu Meng Xia. He taught Iron Palms to Bagua
Zhang students.
Dr. Wu’s Single Palm Dr. Wu (right), Master Wang Yin

Change posture Lin of Taiwan, and Eric Poling
Master Chu Gui Ting
Master Yu Yi Yin and KC Wong

Master KC Wong is a famous Hung Gar master who practiced under Lim Zu. He
and his brother practiced Gao style Bagua Zhang from Ho Ho Choy when they
were young. We went to Master Ho’s house together to express our respect and
thanks for his teaching.
A student of Gao Yi Sheng’s, Yu Yi Yin, lived in Taiwan and visited the United
States. He taught KC Wong the circle palm and series of straight-line palms.
Master Chan Yit Yan and Master Liang Zi Peng Zhang Siu Dong
Yin Tien Xiong Jiang Rong Qiao

Introduction 29
OTHER BAGUA ZHANG STYLES

Gao style Bagua Zhang in Tianjin
I like Gao style Bagua Zhang because it includes circle palms, straight-line palms,
basic exercises, and two-men drills. It also has the basic requirements of four
weapons. I was quite satisfied with Ho Ho Choy’s teaching in Hong Kong, but
when I met Tom Camway, who practiced Taiwan style, I discovered the differences
between Gao styles. So I visited Tianjin and met Wu Meng Xia’s and Liu Feng
Cai’s students. Then I went back to Taiwan to visit Zhang Jun Feng’s and Wu Jing
Shan’s students. Wu was the earliest student of Gao Yi Sheng’s in Shangtung, and
his grandson, Master Wu Kwok Ching, teaches this style. I also discovered that
most Gao students have their own secret manuscripts.
Students vary in how much they concentrate on power or technique. A good
practitioner requires both.
Wang Jin Xing (second from right) in Tianjin Master Ho Ho Choy, CS

Tang, Master Liu from Tianjin,
and Master Ho’s wife
Zhang Siu Dong style Bagua Zhang

Grandmaster Wu Shi Ying (吳世英) taught internal martial arts in Hong Kong
and came from mainland China. He taught different forms from famous masters,
like Chen style Taiji Quan, named Taiji Red Fist. He created a new form called
Taiji Nei Gong Quan, which combined Chen, Wang, Yang, and Wu styles. He
taught Lung Men Qigong and Heibei Xing Yi Quan. He learned Yang style Taiji
Quan from Yang Shao Hau and Yang Cheng Fu. He also taught Bagua Zhang, and
claimed he learned from Master Zhang Siu Dong. However, his movement and
syllabus name list were the same as those in Jiang Rong Qiao’s book. He had a big
group of private students.
Grandmaster Wu Shi Ying Mr. Hans-Kurt Schafer (徐濠功), a German who

learned from Sar Guo Zhang’s son, taught Bagua
Zhang in Kowloon Park, and has now moved to Taiwan
Fu style Bagua Zhang in Guangzhou
Master Fu Zhen Song and his famous Bagua saber
When I was young, there were only two styles of Bagua Zhang being taught in
Hong Kong. One was Ho Ho Choy’s Gao style Bagua Zhang; the other was Sun
Bao Gang’s (孫寶剛) Fu style Bagua Zhang. Master Sun taught in the Ching Wu
Association; I was interested in this style but had not had a chance to try it.
Sun Bao Gang’s Single Palm Change

Introduction 31
When I heard that Fu Zhen Song’s eldest grandson was in Hong Kong, I contacted
him and learned from him.
Master Fu Tie Long (傅鐵龍)
Fu Tie Long Fu Tie Long (left) and his brother

Fu Man Long (right)
Fu Tie Long was taught by his grandfather and practiced with his father, Fu Yong
Hui. The main form is the famous Dragon Form Bagua Zhang. There are so many
hand forms and weapon forms in Fu style that it seems you can never finish
them. There is Yang Bagua, Yin Bagua, Bagua orthodox, Dragon Form, Tiger Fist,
Leopard Fist, linking kicks, and then other styles, like Yang Taiji, Sun Taiji, three
levels of Fu Taiji, Liang Yi Palm, Si Xiang Palm, etc. I practiced form by form and
did not feel any power from this style. I was quite disappointed because there were
no drill exercises or power building exercises. This was until I met my master of
Fu, Master Zhai Yung Ji (翟榮基), in Guangzhou.
Master Zhai Yung Ji
Zhai Yung Ji in Guangzhou, 2001

Zhai Yung Ji is an old man, slim and quiet. He was the last student of Fu Zhen
Song. When I humbly asked him to show me the Dragon style Bagua Zhang,
he said no. I thought he was trying to keep it a secret, but I asked again and he
said that he was too old: his body did not have the power he needed. He saw I
was puzzled and showed me half of the form. It was autumn, leaves were on the
ground, and he started to walk the circle. The leaves followed his footwork and
spin! Every penetrating palm and striking palm used the power of his whole body.
This was the real Fu style.
He was willing to teach people who were really interested and would practice
hard. He said people no longer practiced hard because they did not like martial
arts. He also taught me some exercises that Fu Zhen Song had taught that were
seldom practiced.
I realized that, to practice Chinese arts, you must learn from the top man—
from a close inherited lineage. A student of a student may have lost and added
things, or have learned from video. You will end up walking in the wrong
direction—far from your intended destination.
There were many students who learned from Fu Zhen Song. Yang Taiji Quan
Master Liang Jing Yu (梁勁予) learned Fu style Bagua Zhang in Guangzhou. He
used to demonstrate Dragon Form Bagua Zhang at his annual dinner. A Shaolin
Master, Cheng Xiang (鄭祥), also practiced under Fu. An existing student of Fu,
Tao Yu (陶羽), lives in Hong Kong.
Tao Yu at his 98th birthday party, 2018
Fu Zhen Song’s son, Fu Yong Hui, also taught many students, including Mai Bao
Chan (麥寶嬋), the mother of Donny Yan. The first person to come to Hong
Kong to teach was Guo Yun Ping (郭運平), who also teaches Chinese wrestling
and Guangzhou Wing Chun.
Introduction 33
Master Fu Zhen Song Master Fu Yong Hui
Fu Yong Hui demonstrating Bagua Zhang Fu Yong Hui and Mai Bao Chan in
Guangzhou practicing Wu Dang sword
Nowadays, Fu’s family members still teach in Guangzhou. They include Fu Mei
Lan, Fu Mei Qin, and Fu Man Long. Fu style Bagua Zhang is still widely practiced
in Hong Kong.
Yang Xin studio group meeting Fu’s Fu Yong Hui’s top Guo Yun Ping
family in Guangzhou, 2013 student Guo Yun and Fu’s sisters in
Ping (center) and Hong Kong, 2018
Master Li Yue
Kwong of Yang
Taiji Quan (right)
Master Liu Kwok Chuen Master Lee Hou Chuen taught Fu style in Italy
taught Fu style
Lim Zhao Zhen

Lim Zhao Zhen, a student of Fu Zhen Zong, came to Hong Kong
and then moved to the United States. He published many videos
and books of Fu style martial arts. He gave me manuscripts, notes,
books, and videos of Fu style, which gave me a deep understanding
of that family’s martial arts.
Peng Zhao Kuang of Si style Bagua Zhang Lim Zhao Zhen
Peng Zhao Kuang, 1950 Peng Zhao Kuang, 1980
Peng Zhao Kuang’s hobbies

Introduction
IN T RO D UC T IO N 35
Peng Zhao Kuang (彭昭曠) arrived in Hong Kong in the 1950s. He practiced Si
style Bagua Zhang from a monk called Fuk Yuen Monk (福緣和尚) and traveled
to China’s mountains. He wrote articles about Bagua Zhang in an old Hong Kong
martial arts magazine called Wu Xia Novels Emperor, which attracted many people
who practiced internal martial arts. At the funeral of Wu Dang sword master Guo
Qi Fung (郭岐鳳), Peng met Ho Ho Choy. He invited Ho to write about his style
of Bagua Zhang for the magazine; the magazine’s owner, Xu Kai Ru (許凱如),
took photos, Peng wrote the text, and Ho demonstrated. This was the first time
that Ho published information about his Gao style Bagua Zhang, and it attracted
many students.
Peng concentrated on his Chinese painting and stopped teaching martial arts.
He became a very famous painter in Hong Kong, and used the name Pang Xi
Ming (彭襲明) for his painting. In old age, his leg was not good and he seldom
walked. He wrote the famous The Essence of Eight Palms (八掌綱要), a long series
of publications.
grandmaSTer
G randmaster Shi Ji peng’Ss TeaCher
P teacher, y
Yang Peng’Ss ClaSSmaTe
p classmate, d
Di
Dong (史繼棟)
d Rong b
r Ben (楊榮本) zhao l
Z Long (狄兆龍)
Sun style (孫式) Bagua Zhang

Another master, Wu Bo Xiang (吳寶祥), the direct student of Sun Lu Tang,
came to Hong Kong during the 1960s and taught Sun style Bagua Zhang and Taiji
in Hong Kong. However, he moved away from Hong Kong, and we lost a good
teacher.
Sun Lu Tang, 1929 Sun Lu Tang, 1929 Wu Bo Xiang in

Hong Kong, 1965
Sun Jiang Yuen in Hong Kong, 2009 Mr. Hui (許凱如), the editor of a martial
arts magazine, Wu Bo Xiang (吳寶祥), and
Mantis Master Huang Han Fang (黃漢勛)
I have practiced Sun style Bagua Zhang and Seven Style Pole taught by Mr. Guan
Shi Xun (關世勳), who learned from his teacher, Liang Jing Yu (梁勁予), who
is a student of Chen Mui Ming (陳微明). Mr. Guan was the Taiji Quan teacher
of previous Hong Kong Chief Executive Dong Jian Wah. He taught Taiji Quan
in Victoria Park and at the Dharmasthiti College of Cultural Studies until he
passed away.
Introduction 37
Mr. Guan’s Taiji ceremony (fourth from left of those Mr. Guan Shi Xun
seated: CS Tang; fifth from left: Cao Shu Wei (曹樹偉); and CS Tang, 2009
sixth from left: Mr. Guan Shi Xun (關世勳))
Master Liang Jing Yu practicing Bagua Zhang with his teacher Chen Mui Ming
Geng style (耿式) Bagua Zhang

I have also practiced Geng De Hai (耿德海) style Bagua Zhang. Its style came
from Nanking Guang Zhu Guan, China. Geng De Hai is a famous Grandmaster
of Dai Sing Pei Gua style, which combines Northern Pei Gua with Monkey style
Kung Fu. Master Geng is also famous for the Five Tigers. He came to Hong Kong
and taught his style, and also taught internal martial arts like Taiji Quan, Xing Yi
Quan, and Bagua Zhang.
Master Geng De Hai
Master Geng De Hai (back left) Shao Han Sheng (Bruce Lee’s teacher) opening
with Taiji and Shaolin masters a martial arts school (front: Deng Zhi
from Shangdao, 1954, Hong Kong Gang, Ye Yu Ting, and Geng De Hai; back:
Master Sin Man Ho and Shao Han Sheng)
Front: Yip Yu Ting (葉雨 Geng De Hai’s student, Lee Fei Pui teaching Geng De
亭) and Geng De Hai; back: Mr. Poon Si Wun, Hai’s system in Hong Kong
Wu Dai Chai (吳大揆) teaching Bagua Zhang
Gong style Bagua Zhang

I met Master Wang Han Zhi at Xian calligraphy conference in 1986. He also came
to Hong Kong, and we met again in Singapore in 1991. We had a great discussion
Introduction 39
about his Bagua Zhang. His smooth movement and quick attacking gave me many
hints and widened my view on Yin and Gong style Bagua Zhang.
Master Wang Han Zhi (third from right)
Wang Han Zhi (third from right) in Xian, 1986;

Wang Han Zhi opening a calligraphy shop in Singapore, 1991
Hung Gwun’s (孔軍) Anti-Eight Palms (反八卦)

It was widely rumored that there was a form called Anti-Eight Palms that
counterattacked the original Eight Big Palms. Hung Gwun showed me the old Xing
Yi, a manual which explained the practice of Anti-Eight Palms and 12 animals Dui
Da. It did exist, but was difficult to pass on.
We practiced these in Hong Kong and Shang Tung, and they enhanced my art.
Hung Gwun (fourth from left) at a conference in Hong Kong

Iv Zi Jiang’s Bagua Zhang (呂紫劍)

I met Master Iv Zi Jiang in Hong Kong in 2001. We had a long talk about his
adventures and his style of Bagua Zhang, which mainly comes from the Ching
style. He also practiced different weapon forms.
Master Iv Zi Jiang
The richness of Liu Jing Ru’s treasures—Cheng

and Yin style Bagua Zhang in Beijing
Bagua Zhang in northern China developed into Beijing Bagua and Tianjin Bagua.
I had heard of the famous Cheng style Bagua Zhang of Liu Jing Ru in Beijing.
The Hong Kong Wushu Union held an exhibition and invited many masters from
China to perform. I performed in the same event as Liu Jing Ru and had the
opportunity to go to Beijing to study his competition Bagua Zhang and Cheng
style Bagua Zhang. I later realized that his Xing Yi Quan knowledge was very deep,
especially his knowledge of Shanxi Xing Yi Quan’s 12 animals, so I pursued it with
him further. I learned that he was skilled in Six Harmonies Praying Mantis, so I
sought to learn it from him.
Master Liu is a brilliant teacher with very broad knowledge of the martial
arts. He expresses theory clearly and highlights the important points. His hands-
on teaching allowed me to understand and absorb the information. His analysis
of the Xing Yi knowledge is thorough, for example how to see the Five Elements
fists in the Xing Yi 12 animals, how to adapt based on circumstances, and how to
understand the essential points, intent, and applications of the 12 animals. He has
strong Gung Li knowledge: when he demonstrated Snake Form and advanced, he
was able to knock the opponent airborne and flip.
Master Liu’s Bagua Zhang came from several good teachers: he practiced
Cheng style from Luo Xing Wu, a lineage of Li Wen Biao (李文彪) from the
founder of Cheng style Bagua Zhang, Cheng Ting Hua, and his son, Cheng Yau
Introduction 41
Sin. He practiced Yin Fu style from Master He Zhong Qi (何忠祺). He also

learned 36 series of Fan Sun Zhang from Master Zhang Yue Lin and Wu Biao Ji of
Gao style Bagua Zhang.
In Beijing, I visited Chu Bo Zhen (朱寶珍) who practiced eight styles of
Bagua Zhang and also had deep knowledge of Kung Fu.
Master Liu Jing Ru and Master Liu Jing Ru’s Bagua Master Liu Jing
CS Tang, Beijing Zhang posture at Nanning Ru’s Single Palm
(南寧) when participating in Change posture
a competition at a young age
Master Liu teaching a seminar to Yang Xin

group at Sheung Wan sports center (from
Master Liu Jing Ru teaching
left: Jeff, Samuel, CS Tang, Ho Pui Lam,
in Hong Kong
Master Liu Jing Ru, CS Luk, Ho Hin Kui)
Dragon Stretches Its Claws, the book co-written by CS Tang and Master Liu Jing Ru
The castle of Niu Sheng Xian (牛勝先)

I had the chance to meet Li De Run (李德印) and Niu Sheng Xian (牛勝先) at
some Long Fei Association activities in Macau. Niu Sheng Xian’s deep knowledge
and skill in martial arts has inspired me on my own path. He said his master, Li
Tianji, had one day said he would teach him top-level Kung Fu, the Bagua Zhang.
Li selected 11 students and taught them Bagua walking and Single Palm Change.
Li asked them to practice daily and come back to him after a year. When the year
was up, Li tested their practice, and said that only Niu Sheng Xian had passed. He
could see that Niu had really worked hard and practiced Bagua Zhang continually.
Niu’s Bagua Zhang is very serious, and involves walking very slowly, using
full power and twisting as much as possible for the changing movements. When
turning over, a quick and explosive force is needed and before stopping entirely.
He requires the body to be very straight with careful movements.
Regarding Xing Yi Quan, he said:
• the Santi Shi is a strong-framed castle
• the Beng Quan rear hand should feel like ten thousand men cannot hold
you back
• one should stamp the front foot and should not stamp the rear foot
• balance and steadiness come first
• there is no need to learn many fists
• single techniques need to be repeated and practiced.
Two words—hard work—encompass it all. Listening to his words is more
beneficial than ten years of study! Li said: “Ten years as if one day, when the work
has been done the achievement will be fulfilled.”
Master Niu Sheng Xian and CS Tang at Macau

Introduction 43
Tianjin Gao Bagua Zhang

At Tianjin I met Liu Shu Hang and his group, whose practice is similar to Ho’s
system. I had the good fortune to learn the Gao style moon knife (Yuanyang Yue)
(鴛鴦鉞) and the Chest Height Crutch (齊心枴). At that time, I believed that I
had learned the complete system of Gao Bagua Zhang.
On one cold winter’s day, I came to Tianjin to meet my Kung Fu brother, Wang
Jun Xing, with whom I had been in touch for a long time. He, along with a group
of disciples, performed a true transmission of Bagua Zhang and I was shocked.
The power and ferocity was like the thunder and lightning arriving before you
could cover your ears. I came to truly appreciate the Twisting Rope Jin, the Scissors
posture, and the Rocking and Embracing throw, and I saw the secret ten exercises,
Tian Gan, that were not taught outside of our school, all leaving me in a daze. The
true Bagua Zhang that I had been searching for, which had been as far away as the
horizon, was now in front of my eyes. The next year, along with Tsui Kwok Leung,
Lei Yu Lam invited Wang to come to Hong Kong to teach.
Sitting from left: Wang Jun Xing, CS Tang;

standing at back: Wang’s students
Sitting from left: Allen Lui, Wang Sitting from left: Wang Jun Xing and
Jun Xing, CS Tang; standing at his wife; standing at back from left:
back: Wang’s students in Tianjin CS Tang, Yang Xin Wah, Tsui Kwok
Liang, Allen Lui in Hong Kong
The name Bao Zhen Bagua Zhang was coined by Wu Meng Xia, and was only
passed on to “closed-door disciples,” who were only allowed to practice indoors
and were forbidden to demonstrate in the park. The demonstrator was only
allowed to show the first four palms, the Piercing Linking Palm, but he had never
even heard of the 12 animals from outsiders before. Dong Hai Chuan’s manual was
never allowed to be shown to outsiders. When Master Wu escaped during the war,
the manual was tied to his waist so he would not lose it. The manual contained
the key principles of offense, and was a trusted legacy of our order, so it was of the
greatest importance.
Wang Jun Xing practicing Single Palm Change in the park in Tianjin
The manual was called The Golden Box of Oral Principles, because it was wrapped
in a yellow silk cloth (used by the previous emperor). It was the true transmission
of the founder Dong Hai Chuan. It contained 108 principles, and was also called
Zhou Tian Shu (Method of Universe) (周天術), which was the original name
of Bagua Zhang. The words were considered to be as precious as pearls, and the
content was different to that in other boxing manuals.
Brother Wang Jun Xing believed that as we lived in more civilized times, we
should no longer be so conservative, so he put together a section on the forms
and techniques of the Pre- and Post-Heaven sets and published it so these secret
principles could benefit all.
Many Gao practitioners were unhappy about this disclosure. However, those
not trained in the closed-door system would not understand the content and the
meaning of the poems. We hope that one day we can share the whole book so
Bagua Zhang practitioners can benefit from it.
Bao Zhen Bagua Zhang is a complete system. According to Zhou Tian Shu,
one began with the Five Elements Step, training in a straight line with the rushing,
embracing, and treading steps, followed by training the twisting body Wuji circle
Introduction 45
walking and training the Pre-Heaven four forms and four bodies—kneading the
body to be vigorous and nimble, with waist and arms twisted to their maximum.
Once one has trained the body, one learns to attack using the Post-Heaven
64 Palms. One bravely enters without covering or blocking, and achieves a
preternatural demeanor and explosiveness of movement. This is supplemented
by the ten individual exercises of the Tian Gan or Heavenly Stems, which increase
power, the four roads of standing postures to nurture the Qi and compose the
heart, and the 12 animal forms to increase the number of variations.
There is a saying: “Once one has mastered the eight large palms, one can
concentrate only on the Five Dragons Palm. After one has mastered the 64 Palms,
it is enough that one only trains Tian Gan.”
MY TRAINING ADVENTURES
At Wu Dang Mountain
At Chen’s village and Shaolin temple
MY TEACHING
Students become teachers
I have practiced many Chinese martial arts styles from good heritage. I started
teaching Bagua Zhang in the late 1970s, when I taught students from Hong Kong
and foreign students in Victoria Park.
Students came to me to learn proper Yang style and Chen style Taiji, and many
came to me for my deeper knowledge of Bagua Zhang.
Kasao in Tokyo, Japan

Kyoji Kasao (竺尾恭二), also called Yoryu Kasao, is a famous Japanese martial
artist who has practiced Xing Yi, Bagua, and Ching Woo Shaolin in Taiwan and
Introduction 47
Hong Kong. He came to Hong Kong in 1970 and learned Gao style Bagua Zhang
from me. He has published many martial arts books in Japan.
Meeting Kyoji Kasao in Tokyo, 2018
Practicing Bagua Zhang in Victoria Park with Kyoji Kasao, 1980
Sebastian González of Barcelona

I moved to Wan Chai in 2006 and Sebastian González of Barcelona came to Hong
Kong to learn my system of Kung Fu. He is a very clever and hardworking student,
with a deep passion for Chinese martial arts. He learned many styles from me and
passed these to his students, who are all respectful of the culture. Sebastian has a
large studio called Centre Jing and invites me to Barcelona every year to teach his
students. He has also helped me to publish many martial arts books.
I have accepted several disciples: Samuel Cheng, Bernard Kwan, and Osmond
Lam have been practicing with me for over ten years and now teach as well.
Chapter 2
THE ORIGIN AND

DEVELOPMENT OF
BAGUA ZHANG
Founder of Bagua Zhang, Dong Hai Chuan
When people study internal martial arts, they generally start with Yang Taiji Quan,
and then move on to Chen Taiji Quan. If they are eager to fight, they will practice
Xing Yi Quan. Eventually, when they want to train in an advanced system, they
start Bagua Zhang. To most people, Bagua Zhang is full of mysteries and difficult
theories linking with I-Ching. Turning and twisting will confuse most people.
Bagua Zhang is seen as a high-level internal martial arts. Teachers will teach very
slowly during the foundation and practice the Single Palm Change for one year
49
before starting other palms. Teachers are very careful about accepting students,
keep the requirements secret, and teach students alone. This private teaching
makes Bagua Zhang more mysterious; it is not easy to find a good teacher.
Bagua Zhang is famous for its powerful application. Gao style Bagua Zhang
is known for its distinctive performing style, power built up over exercises,
unpredictable palm changes, fully stretched limbs, and graceful movement of the
body parts. It is also well known for its straight-line 64 Palms that have very clear
application techniques.
CREATION OF THE NAME: THE EIGHT TRIGRAMS

The “Eight Trigrams,” which first appeared in the I-Ching, are each composed of
three horizontal lines that are either whole or broken in the middle and imposed
one upon another, as symbols of the eight natural phenomena: heaven, earth,
thunder, wind, rivers, fire, mountains, and lakes.
They are often placed around a circle halved by an S-shaped line with a dot
inside the two curves, as a symbol of “Taiji” or the universe. The whole picture
embodies the main ideas of Taoist philosophy, which regards heaven and earth as
the chief sources of all natural and social phenomena.
The eight trigrams
THE FOUNDATION THINKING OF BAGUA

ZHANG IS ROOTED IN PHILOSOPHY
Bagua Zhang is purportedly derived from the metaphysical diagrams generated
from the I-Ching. The oldest parts date from 800 BC, and the more recent parts
200 AD. The I-Ching was originally a collection of linear signs, perhaps best seen
as code. Below are typical examples arranged in a hexagram set.
T he Origin and Develo pment of Bagua Zhang 51
Hexagram 12
The broken Yin lines represented “no,” and the unbroken Yang lines “yes.” This
served as a code complex enough to be used as oracle “cards,” which portrayed
a vision of the Taoist Way, where one is aware and becomes in harmony with
the process of change. The key codes of Yang lines balanced with Yin lines were
arranged in trigrams. These trigrams were arranged into the Bagua or eight
correspondences that sought to describe the basis of change developing from
one, to two, to three, to all things. The Taoist vision schematically demonstrated
a multiplicity of Yin–Yang possibilities and interrelations through the Bagua
and other diagrams. Such diagrams served to classically illustrate an interwoven
selection of key ideas relevant to Taoist visions of change and internal martial arts.
Pre-Heaven and Post-Heaven diagrams
Two of the most well-known diagrams describe the Taiji. The principles of Taiji
Quan and the Eight Correspondences are frequently used as a root expression of
the three sister arts. The other Taiji concentrated on the circle of Yang and Yin,
with a white hole in the black portion of Yin and a black hole in the other portion
of white Yang.
Martial artists use the eight diagrams as eight directions and four hand and
four body techniques. Bagua Zhang employs all the philosophies from I-Ching
and emphasizes how the element changes according to the different circumstances
and environment.
THE CHANGES OF BAGUA ZHANG

Three Old Palms
1. Single Palm Change
2. Double Palm Change
3. Follow Body Palm
The most basic change form is the Single Palm Change from which the Double
Palm Change and all evolving changes can be considered to be formed. In keeping
with Taoist principles, Yin and Yang movements constantly change and naturally
direct every action. The third palm, the Follow Body Palm, together with the
first two palms, are called Three Old Palms. These various formal sets of circling
movements provide the basis for the combative antics classically related to the
movements of the snake, lion, dragon, monkey, hawk, and bear. These developed
into the 64 forms practiced in a straight line.
THE HISTORY OF DONG HAI CHUAN1

Developed by Dong Hai Chuan (董海川) in the late Qing Dynasty (1851–
1862), the Bagua Zhang tradition has been maintained by his many disciples.
Chief among these disciples were Yin Fu (尹福) and Cheng Ting Hua (程廷
華). Although rooted in the same principles and methods, Bagua Zhang, under
these two disciples, gradually developed into two different styles and schools, now
known as the Yin style and Cheng style respectively.
Bagua Zhang began to be widely known when Dong Hai Chuan started to teach
it in Beijing. Before coming to Beijing, Dong had learned a lot of martial arts in his
home village in the city of Wenang. In order to widen his experience, he decided to
travel around. One day, while walking in the mountains, he came upon two Taoist
monks, Ying Man Tian (應文天) and Song Yi Ren (宋益仁), practicing martial
arts. He asked if he could learn, and the Taoist monks took him to their master, Bi
Cheng Xia (畢澄霞). Dong stayed on and practiced under Bi for many years.
1 Published in New Martial Arts Hero Magazine, June 1973.

Drawing of Dong meeting two Taoists in the mountains
While Dong was learning the martial art, his master would frequently encourage
him to become a Taoist monk. Dong always declined the invitation. When he had
at last finished with his learning and was about to leave the mountain, his master
said to him, “You may not become a monk now, but one day when a difficult
situation arises, you will then be a monk.” At that time Dong did not understand
the significance of these words. At a much later time, when he got into some
serious trouble, and to “purify himself ”—to avoid paying the penalty for his
guilt—he had to renounce his family and had himself castrated to be a eunuch.
As his master foresaw, he had now “become a monk.”
Bi had a daughter, who visited Dong in the palace one night. Dong tried to go
back to the mountain but could not find it.
Dong was then employed to work in the palace of a Manchu
prince, Su Wang. At first he was assigned to do ordinary
housework. One day, Su Wang sought to employ a martial arts
master. A famous master, Sha Hui Hui, offered himself and
his wife for the position. The prince tested Sha’s skills and was
pleased enough to appoint him.
A day was chosen for Sha to demonstrate his skills to Su’s
friends. On that day Sha Hui Hui performed his skills in the
courtyard with a crowd gathered there to watch. The crowd so Dong Hai Chuan
blocked the walkways to the courtyard that when the prince jumping towards
ordered to have tea brought in to serve the guests none of the the prince to
servants could get through the crowd into the courtyard. With present the tea
little ado, Dong Hai Chuan leapt over the roof into the courtyard with the tea in
his hands and began to serve the prince and the guests.
Drawing of Dong showing his skill by presenting the tea during the gathering of princes
The prince was amazed by Dong’s nimbleness and ordered him to show his
martial art. Dong then proceeded to demonstrate, spinning left and whirling right,
overturning up and down as if he were flying. His performance was unfathomable.
The prince was astonished and asked what his school of martial art was called.
Although Dong had studied with his teacher for many years, he had never cared
to know its name, and he replied by coining a name spontaneously and answering,
“Eight Trigrams Palm.” The prince then assigned him the chief post in the palace,
but later Dong had to leave the palace when some people, envious of his success,
brought false accusations against him. From there, he was welcomed into the
homes of the Imperial Family.
Dong’s further ventures

Dong taught everyone but did not teach everything to anybody. One day a certain
couple was sitting in a room on the upper floor of the house. Suddenly they heard
a child laughing on the other side of the roof. They opened the window and saw
Dong carrying a child on his back. He had just leapt up onto the roof with the
child. Dong asked the child, “Shall I help you ride with the clouds to make you
happy?” This made the child laugh even more. The next day this couple pleaded
with Dong to teach them to “ride with the clouds,” but Dong refused.
On another occasion, Dong was with a large number of young students

discussing martial arts. Dong became annoyed with a group of birds singing on
the rooftop. He leapt up onto the roof and grabbed three of them. Astounded, the
students begged for instruction in the art of leaping. Laughing, Dong said, “Why
do you want to learn this art? Are you planning to become thieves?” In the end
none was instructed in this leaping routine.
Another Dong story goes like this. Once, while collecting taxes for the
overlord, he was surrounded by ten bandits heavily armed with sharp weapons.
Agile as a whirlwind, he broke through them and fought and subdued them. The
bandits knelt before him in awe and begged for pardon and instruction.
Dong’s fame began to spread beyond the Great Walls. At one time, Dong’s talk
enraged a Wushu teacher and he challenged Dong to a duel. Dong brought out a
spear and asked that the teacher stab him with it. The man thrust the spear at Dong
but Dong blocked it with his palm and evaded more thrusts by stepping around.
The Wushu teacher could not touch him. For the last trial, the teacher suddenly
thrust his spear with great strength towards Dong. The spear penetrated three
inches into the wall, but then he found that Dong had again evaded his thrust and
was sitting on top of the wall. Dong laughed at him and said, “How strong you are!
I should say that your martial art is just flamboyant and useless. Don’t you agree?”
The Wushu teacher felt defeated and left without a word.
In his old age, Dong Hai Chuan became the epitome of his art, an extraordinary
man of incomparable ability. He could perform his palm movement changes with
amazing speed. He was able to know and sense what was happening nearby, even
if he was being blindfolded and had his ears plugged. While he was lying on his
deathbed, some of his students attempted to adjust his clothes to comfort him. He
leapt up suddenly and took a knife from the wall and put himself in a posture to
fight. Then, seeing that it was no enemy but just his students, he said, “Did I send
for anyone? You must wait.” Discarding the knife, he lay down in bed again.
As he was lying on his bed, and knowing that he was close to death, he practiced
his changing palm forms. His power was so strong that his sleeves were torn into
pieces. His last instructions to his students were to uphold the honor of Bagua Zhang,
to publicize it always, to support the school, and to show “worn shirtsleeves,” i.e. to
be diligent. Dong’s commitment to Bagua Zhang was sincere to his death.
Notable students include Yin Fu, Cheng Ting Hua, Ma Wei Qi, Liu Feng Chun,
and Shi Liu.
The discovery of Dong’s tomb and drawing of him

We did not know what Dong looked like until December 8, 1980 when a newspaper
published an image of him, and described the discovery and moving of his tomb.
The newspaper claimed the image was a drawing of Dong by his students in
the Imperial Court. We can see that Dong was a strong man, with long arms and
big hands.
The Ming Pao newspaper on December 8, 1980 published the first image of Dong Hai Chuan
During the Cultural Revolution, people buried Dong’s gravestone and the tomb
underground. Once China had an open-door policy, practitioners of Bagua
Zhang in Beijing dug out his gravestone. In the tomb they found Dong’s hair and
teeth. They moved these to a new graveyard called Wan On Public Cemetery. The
gravestone is made of four pieces and each one provides important evidence about
Dong’s history and students.
The old tomb of Dong Hai Chuan
Moving the tomb, 1980

The four pieces of Dong Note by Professor Kang GeWu, describing

Hai Chuan’s gravestone the moving of the grave
A color picture of The new tomb of Dong Hai Chuan

Dong from Master Chu
Bo Zhen of Beijing
THE BRANCHES OF BAGUA ZHANG

The Bagua Zhang that was taught by Dong Hai Chuan’s disciples lasted over one
hundred years, with many Bagua Zhang successors promoting it around the world.
Bagua Zhang is popular, and Bagua Zhang students can be found everywhere.
Dong Hai Chuan taught the art according to the capabilities of the individual,
did not emphasize given techniques, and only required an adherence to the
principle of Bagua Zhang, so it is not fixed and there are many different schools.
Five large and seven small schools

Bagua Zhang has five large schools: Yin Fu school, Cheng Ting Hua school, Liang
Zhen Fu school, Zhang Zhan Kui school, and Sun Lu Tang school.
Bagua Zhang also has seven small schools: Ma Wei Qi school, Song Chang
Rong school, Shi Ji Dong school, Liu Feng Chun school, Fan Zhi Yong school, Gao
Yi Sheng school, and Fu Chen Sung school.
1 Yin Fu teaches the Yin style Bagua Zhang
Master Yin Fu and his student, Gong Bao Tian
Yin Fu (尹福), also known as Di On (字德安) with the courtesy name Shou Peng
(號壽鵬), was born in 1840 and died in 1909, aged 69. Yin Fu was born in Hebei
Province. He left for Beijing to make a living when he was young. During his
childhood he loved martial arts, learning the original Luo Han Quan (Arhat Fist)
and Tan Tui. Later he came to study as a disciple under the personal instruction
of Dong Hai Chuan and developed his own style.
Yin was proud of his skill of Shaolin form and came to challenge Dong Hai
Chuan. Dong sat on a chair; Yin rushed to Dong and kicked him. Dong moved to
the side and punched with an Open Palm; Yin was hit and flew away, his face on the
ground, his front teeth knocked out, and bleeding. He immediately knelt down and
asked to be a disciple of Dong, willing to follow his instruction for his whole life.
When Dong retired, he inherited a chief bodyguard in the Forbidden Palace,
and the palace maids and eunuchs called him teacher. Many of the Imperial family
learned Bagua Zhang from him, and he also taught the Guangxu Emperor. When
the Eight-Nation Alliance attacked the palace in 1900, he was instructed to protect
the king and help Empress Dowager Cixi to escape.
Yin had extraordinary skill. He was fine-featured, tall, thin, and gentle, and
was known as “Lean Yin.” Yin Fu had a lot of disciples in Beijing, mainly Yang
Junfeng, Ma Gui, Ju Qingyuan, Li Yongqing, Ma Shiqing, Men Bao Zhen, Zhong

Sheng, Jin Zeng Qi, Gong Bao Tian, his sons in law He Jinkui and Yin Cheng
Zhang, and Yin Yuzhang.
The style he taught was called “Yin style Bagua,” famous for its Ox Tongue
Palm (牛舌掌), four fingers close together, thumb gently hooked inwards, and
eight palms techniques for each section, for a total of 64 Palms. This style is low
posture, short attack, and purely for attack, with sharp and fast movements. Yin
style Bagua Zhang spread mainly in Beijing.
2 Cheng Ting Hua teaches Cheng style Bagua Zhang
Cheng Ting Hua (third from left) and his son (far right)
Cheng Ting Hua (程廷華), courtesy name Ying Fang, was born in 1848, and
died in 1900, aged 52. Cheng Ting Hua was from the Cheng Village in Shen
County in Hebei, and left to apprentice himself as a child in Beijing. He lived
by the Chongwen Gate outside the flower market next to the Fire God Temple.
Outside the Chongwen Gate, he worked in an optical shop and he was called
“Glasses Cheng.” Cheng learned Chinese wrestling in his childhood, and he had
an excellent technique. He studied Dong Hai Chuan’s Bagua Zhang for many years,
received the true transmission, and achieved a lot.
In 1900, allied forces invaded Beijing, burning, looting, and committing many
crimes. Cheng was furious and fought the foreign forces, killing many soldiers. No
one dared approach him. On August 14 in Beijing, Cheng fought with and killed
several German invaders in East Pearl Market before being shot dead by German
soldiers.
Of all Dong Hai Chuan’s disciples, Cheng had movements that were closest
to Dong’s Bagua Zhang style. After Sun Lu Tang graduated from Xing Yi Master
Guo Yunshen, it was recommended he study Bagua Zhang under Cheng. Those
who studied Bagua Zhang under Cheng included: his sons Cheng You Long and
Cheng You Xin, Liu Bin, Liu Zhenzong, Ji Feng Xiang, Wang Danlin, Zhang Yu
Kui, Zhang Yongde, Guo Fengde, Cui Zhen Xi, Feng Jun Yi, Liwen Biao, Zhang
Cheng Fa, Yang Ming Shan, Zhou Xiang, Li Hao Ting, Li Tie Zong, Chen Mao,
Lee Han Zhang, Guan Ling Feng, Gao Yi Sheng, He Jinkui, Limeng Rui, Xin Jiang
Shan, Guo Shou Shan, Cheng Yousheng, and Hu Fengyang.
Cheng taught the Dong Hai Chuan frame (full name Bagua Swimming Body
Linking Palm), also known as Cheng style Bagua Zhang and Southern Wall Bagua.
It features the full range of stances; not only static stances, but also Zhan Zhuang,
the moving stances. The system has eight shapes, for each of the upper, middle,
and lower basins, and heaven, earth, man form. Eight shapes imitate the lion,
snake, bear, dragon, phoenix, chicken, kirin, and monkey.
The typical palm shape is called the Talon of the Dragon Palm (龍爪掌): the
tiger mouth stays rounded, the thumb points out, and the four fingers grasp a ball
with the index finger on top. The step emphasizes bent knees and a Mud Walking
step; when turning, it uses the Bai Kau step: the limbs are extended and the body
is firm. A palm-style operation emphasizes curved, rounded movements and cork-
screw twisting, with the eight shapes throughout. The movements are hard but
supported by softness. When the sequence ends it returns to the beginning; the
palms are thrusting and piercing. When the opponent comes close and attacks, he
passes the opponent, turns around his back, and attacks.
There are many weapon sets in Cheng Bagua. Cheng’s more influential
successors included Sun Lu Tang, Liu Bin, Yang Ming Shan, Liwen Biao, Chengyou
Long, Zhang Yongde, Ji Feng Xiang, Liu Zhenzong, Wang Dan Lin, Feng Jun Yi,
Yukui, and Guo Fengde.
3 Shi Kai Dong style Bagua Zhang

Shi Kai Dong (史繼東), also called Shi Liu (史六),
was born in 1836 and died in 1909 aged 73. He was
born in Hebei Jixian Dong, a hamlet, and was a timber
merchant who was very good at fighting, especially
kicks. He was the sixth child in his family, so they
called him “Slippery Leg Shi Six” (神腿史六).
Shi’s leg was broken by Dong Hai Chuan’s Tiger’s
Mouth Palm, so he admitted defeat and studied under
Dong. He worked hard for many years, and later
became a famous martial artist. His wife was Dong’s Shi Kai Dong
adopted daughter, and Dong lived with them when he was old. Shi opened a
timber mill in the east side of Beijing, and the style was called the Beijing Dong
Cheng style Bagua (東城區八卦), which, along with Cheng Ting Hua’s southern
school Bagua, was famous across the capital.
The main successors of the Shi style are Han Fushun, Yang Rong (the monk
Fu Yuan) and Han Dong Fu. Han Dong Fu came from the same county as Shi
and hailed from Peng Village to the south of the capital. He was also known as
“Han Six”; a blacksmith, he was skilled at the Bagua saber, and was also known
as “Single Saber Han.” He was illiterate, so it was difficult for him to read about
the principles of boxing. He did not separate his boxing into sets nor give the
techniques individual names, but only focused on what was of practical use. His
style of Bagua Zhang comprised practical individual techniques, that could be
linked or used individually and were very useful in a real fight; this was the essence
of the Dong Cheng style.
4 Liang Zhen Po Bagua Zhang

Liang Zhen Po (梁振圃) was born in the north of
Hebei in Ji Xian Hao mound village in 1863 and died
in 1932, aged 69. He moved to Beijing when he was
16 to sell secondhand clothing, and people called him
“Old Clothes Liang.” He learned Tan Tui during his
childhood and started learning Bagua Zhang under
Dong Hai Chuan in Beijing. Liang was forthright,
intelligent, and eager to learn, and, as the youngest
disciple, he was especially favored by his teacher.
Many of the highest-level techniques and innovations
of Dong’s twilight years were taught to Liang, and
he gained the deepest understanding of the Seven Liang Zhen Po
Star Staff.
In 1899 he caused a fight at Majiabao, killed six of the Golden Escort Agency’s
men, and was thrown into jail. In 1900 during the Boxer Rebellion when the allied
forces attacked Beijing, and the Qing government escaped into the countryside,
Liang escaped with other convicts and hid in the countryside.
He later opened the Desheng Armed Escort Agency, servicing the Beijing,
Baoding, and Dezhou areas. When the agency closed, he taught martial arts
for a living, working in Tianjin and Hebei at the various Guoshu Academies,
and teaching colleges and high schools. He had many students, including: Guo
Guming, Li Ziming, Tian Jin Feng, Li Tongtai, and Fu Zhenlun. Li Ziming was
involved in many Bagua Zhang activities in Beijing and published books.
5 Zhang Zhan Kui Bagua Zhang as Xing Yi Bagua Zhang

Zhang Zhan Kui (張占魁), with the courtesy name
Jiao Dong and also known as “Lightning Hands,” was
born in Hebei Hejian County in 1858 and died in 1938,
aged 80. Zhang Zhan Kui served as the leader of the
Tianjin military camp martial arts class, the president
of the first Tianjin Guoshu Academy, a Tianjin Huang
Nian Association martial arts coach, martial honorary
president of the Hejian Wushu Association, and a chief
examiner.
Zhang loved fighting from a young age. He studied
Huaquan under a teacher from his village, and later
became a disciple and studied Xing Yi Quan under the
famous master Liu Qi Lan, where he studied hard for Zhang Zhan Kui
many years and had superb techniques. Once he became a master of Xing Yi,
he was able to study Bagua Zhang under Dong Hai Chuan through his Kung Fu
brother Li Cun Yi’s recommendation. He was taught most of his Bagua Zhang
skills by Cheng Ting Hua. After mastering Xing Yi and Bagua Zhang, he was able
to create a new branch of Xing Yi Bagua Zhang. This style is quite well known in
the Beijing-Tianjin area, as he lived in Tianjin during his later years and taught a
large number of disciples, the most famous of whom were Han Mu Xia, Han Jin
Yong, Jiang Rong Qiao, Zhao Cao Xin, and Sha Guozheng, who is well known in
China and abroad for his Xing Yi and Bagua Zhang.
Han Mu Xia, the head disciple of Zhang Zhan Kui, was from Tianjin, and
received the true transmission from him. In 1919 the pair went to Beijing, and
Han Mu Xia became famous for his Bagua across the country.
Jiang Rong Qiao, from Cangzian in Hebei, had learned the Mizong arts, studied
under Zhang, and was very good at Xing Yi Bagua Zhang. In the 1920s he created
the “Promote Martial Arts Advance Ethics Association” in Shanghai, and he later
served in the Nanjing Central Guoshu Academy. Jiang Rong Qiao’s book on Bagua
Zhang, with a print run of nearly a million copies, helped promote Bagua Zhang
boxing skills, and his became the most well-known and widely practiced style.
THE TRUE FEATURES OF BAGUA ZHANG
Drawing of Master Bi Cheng Xia
Bagua Zhang is a popular martial art in parts of northern China. Together, Bagua
Zhang, Taiji Quan, and Xing Yi Quan are known as the “Three Styles of Nei Jia
Quan.” Anyone who has some basic knowledge of martial arts will know that
Bagua Zhang is well known for its fast body movement and unusual footwork.
However, most people misunderstand these aspects of Bagua Zhang, thinking
that Bagua Zhang is just “circle walking” from which they can develop the grid
of footwork.
In fact, Bagua Zhang is a complete system of martial arts training. The whole
body should synchronize with every step and every move. If one part is out of
place, the whole body is affected. The most obvious example of this is Bagua
Zhang’s three bent-knee postures, technically known as Three Basins self-training
and application (三盤體用法), which reveal that the human body has three
important parts. Outsiders think these important parts are the upper, middle,
and lower positions. However, these positions only signify the differences in the
sudden rising and falling of the body, and application of the three positions divides
the body, hand, and foot movements by horizontal, vertical, and diagonal. Within
the three positions, the Five Elements are used as forms and Eight Trigrams as
applications. There are also 24 important points that are correlated to train the
whole body in sensitivity and to mobilize the Qi in reaching the four extremities.
This demonstrates Bagua Zhang is not simply about learning footwork alone.
The Swinging step and Hooking step make up the basic training method of
Bagua Zhang. Circle walking is the training method of Pre-Heaven Palm (先天),
and its main purpose is to train escape 「走卸」
( ). But within the Post-Heaven
(天) 64 Palms, every palm technique (掌訣) has its own distinctive footwork,
created by the positioning and the gait of the legs and hand and foot movements.
The agile footwork of Bagua Palm is mainly developed through training in the 64
Post-Heaven Palm applications.
Bagua Zhang has 12 forms of training, which are the 12 forms of the
duodecimal cycle or the Earthly Branches (地支). The student’s own build will
indicate the most suitable training style for them.
Bagua Zhang’s founding master Dong Hai Chuan began the tradition of
teaching students according to their characteristics. He would observe their
specific features and instruct them to train in an appropriate style. Thus, there
were some students who specialized in a particular style and some who trained in
a number of styles but did not specialize in any. As a result, the students developed
their own styles and, despite being trained by the same master, had different
training methods.
It is common to see the Dragon and Tiger styles, particularly Tiger style,
since northerners tend to have a strong build and immense strength. It is easy to
win by using 80 percent technique and 20 percent power of Tiger style. Earlier
practitioners of Tiger style included Han Mu Xia (韓慕俠) and Zhou Yu Xiang
(周玉祥); modern practitioners include Wu Meng Xia (吳孟俠), Zhang Zhun
Feng (張俊峰), and Robert Smith, the author of the English publication Bagua
Zhang.
Dragon style is harder to train in than Tiger style. Most students of this style
were thin and small, and could not directly withstand and confront people of
immense strength. They would have to train exceptionally hard in Kung Fu
skills. In combat, they use side attack and avoid movements (偏鋒及卸勢) to
demonstrate the meaning of “small power can move thousand catty” (四兩撥
千斤). Those who specialized in Dragon style include the author of Dragon Style
Bagua Zhang (龍形八卦掌), Wang Bo Lien (黃柏年), and Gao Yi Sheng (高義
盛), who taught in the Tianjin area. Of Gao Yi Sheng’s students, only Ho Ho Choy
could represent the Dragon style, but some specialized in other styles, for instance
Sun Lu Tang specialized in Monkey style.
The origins of Bagua Zhang

Bagua Zhang is world-renowned for its agile footwork, and is especially popular
around the areas of Beijing and Tianjin, where many students learned it. However,
very few of these students understood its true theory and became masters, and
many did not even know of Bagua Zhang’s real origins.
The most important promoter of Bagua Zhang was certainly Grandmaster
Dong Hai Chuan. Grandmaster Dong started learning martial arts when he was
young. Later, he met a man in South Anhwei (皖南), who taught him Bagua
Zhang. He then taught Bagua Zhang in Beijing where he had many students,
becoming a Grandmaster of all time.
Grandmaster Dong did not mention the origins of Bagua Zhang when he
taught, so there was a dearth of information about this. It was only known that
Grandmaster Dong told his student Si Ji Dong (史繼東): “In a snow flower
mountain, there were two young Taoists who were students of the head Taoist.”
There has been much speculation about what he was referring to, such as the
Yue Hua Mountain or Snow Flower Mountain (瑜花, 雪花) in between Gangxi
and Anhui, or a Taoist temple at Jiu Hua Shan (九華山). There was a rumor that
Grandmaster Dong’s teacher had a name similar to Fang Tian Jue (方天覺), Dong
Meng Lin (董夢麟), or an escapee, but none of these stories were true.
So who were these two masters? And when Grandmaster Dong came down
from the mountain, where did they go? Han Mu Xia, a student of Zhang Zhan Kui,
once met and learned from Grandmaster Dong’s fellow Kung Fu brothers in south
Anhwei. He even reached the very place where Grandmaster Dong had learned his
skills and took photographs, which he published in newspapers so others could
learn of Bagua Zhang’s true origins.
A talented and industrious Tianjin student, Wu Meng Xia, learned all the
external and internal martial arts and received in-depth instructions in Bagua
Zhang from Han. He later became Gao Yi Sheng’s student in Tianjin. He realized
that Han’s master, Ying Man Tian, and Gao’s master, Song Yi Ren, both had the
same skills and must have learned their skills from the same person. This proved
that they were the two masters mentioned by Grandmaster Dong.
Thus, we can point to the two Taoist masters being followers of Bi Cheng Xia.
Bi came from Nanhai of Guangdong Province. In his later years, he became a
Taoist practitioner and lived at Guang Hua Mountain, Gangxi. He left a collection
of poems and a manuscript with Gao.
When Dong Hai Chuan became a student, the two Taoists had already followed
Master Bi for many years. When Grandmaster Dong was learning his skills, he was
taught mainly by the two Taoists.
Although Grandmaster Dong had studied the skills for some time, he did not
receive the complete training and had to leave the mountain. He became a eunuch
for the Ching royalty, and later was recognized by officials for his Kung Fu skills.
He then taught in the capital, where he had many students.
After studying with Bi Cheng Xia, Ying Man Tian lived in South Anhwei
and taught Han Mu Xia. Under Han, only Wu Meng Xia could be said to have
continued Han’s ambitions. Song Yi Ren came to Shandong Province and taught
Gao Yi Sheng. Gao had learned Bagua Zhang from Grandmaster Dong’s students
Song Shang Rong (宋長榮) and Cheng Ting Hua (程廷華) in the past. He also
taught Bagua Zhang in the Shandong Province. One day an old Taoist priest saw
Gao teaching Bagua and told him he was doing “blind-fisting,” which he must have
learned from the followers of Dong Hai Chuan. Gao knew that this priest must be
an expert. He and his son Gao Qi Zhan (高歧山) prostrated themselves before
the priest and asked to be his pupils.
Bagua Zhang training is divided into Pre- and Post-Heaven (先後天): Pre-
Heaven has eight Basic Mother Palm “circle walks” at the outside of the circle;
64 Post-Heaven Palm is divided into eight sessions and runs in a straight line.
When someone is familiar with the skills, the straight line can be run around
the outside of or into the circle to correlate with the natural “square and circle
theory.” Its training method is also divided into eight types: wading, attack, escape,
linking, changes, trapped, sticky, and separate (即: 一行, 二攻, 三卸, 四連環,
五変, 六困, 七黐, and 八離). Step-by-step training ensures that it has practical
applications. Bagua weaponry includes the knife, staff, sword, and spear. It is also
divided into a set form and points, but the training in weaponry cannot be separate
from palm training’s important points. Weapons are seen merely as extensions of
the hands.
After Gao had mastered all the skills, Song Yi Ren decided he had a follower,
and he left Gao with a manuscript and carried on his wandering. After this, he
disappeared and his whereabouts were never known again.
Gao taught Bagua Zhang on a soccer pitch at a Tianjin British Demarcation
session. He promoted 64 Palms, which led to him becoming embroiled in a
misunderstanding with a Kung Fu brother he had known for 15 years, Zhou
Yu Xiang. At a banquet, Zhou and Gao had a fight. All of Zhou’s attacks were
nullified by Gao, yet when Gao attacked with his palms, Zhou couldn’t deal with
it. Luckily Sun Lu Tang was also present and mediated between the pair to clear
up the misunderstanding, caused by the fact that Grandmaster Dong didn’t teach
64 Palms.
Han Mu Xia’s student Wu Meng Xia thought that Han’s original name was Jia
Yung (金鏞). But he changed his name to Mu Xie (慕俠) in order to commemorate
his teacher Ying Xie (應俠天), who himself changed his name to Meng Xi in order
to assimilate Mengzi, the saint. Wu had learned all the skills from Han, but there
were only 50 Old Palm applications. When he heard that Gao was teaching 64
Palms applications, he started to learn from Gao too. In the morning he learned
from Gao, and at night he cross-referenced these skills with those of Han. He
proved that the teaching methods and palm applications of both masters must
have come from the same place. As a result, the lost techniques of Bagua Zhang
became united and the whole system of Bagua Zhang was kept.
Master Wu Meng Xia then realized that, despite learning Bagua Zhang for
many years and receiving instructions from ten masters, he had not received the
true teachings—not because his teachers were dishonest, but because few held
the genuine traditions. Bagua Zhang had been famous for a long time, but many
teachers had learned only a small part of the art and thought they knew it all.
They simply scratched the surface but then added their own ideas and changed
the original form, passing this off as the original art. After a few generations the
original form had been diluted and changed so much that Bagua Zhang had lost
its true nature and meaning. Students did not understand its true origin and their
martial arts skills were far removed from the traditional teachings of Bagua Zhang.
GAO’S BRANCHES
Gao style Bagua Zhang now has several branches.
1 Tianjin: Master Liu Feng Cai’s branch

Liu Feng Cai is a senior student who learned from Master Gao Yi Sheng in his
home village. Master Liu Feng Cai’s student, Wang Shu Sheng (王書聲), passed
the six copies of Master Gao’s manuscript to his student, Liu Shu Heng (劉樹行).
Wang’s students Ge Guo Liang (戈國良) and Li Xue Yi (李學義) taught many
students in Tianjin.
Liu Shu Heng with CS Tang

Li Xue Yi, Liu Shu Heng, unnamed, CS Liu Shu Heng’s visit to Hong Kong
Tang, Ge Guo Liang, and Allen Lui
2 Tianjin: Wu Meng Xia branches

Wu Meng Xia branches still teaching Tianjin and Lang Fang include Wang Jun
Xing, Wang Jin Zhong, and Qi De Ju.
Wang Jun Xing (王俊興) and Wang Jin Zhong (王進忠) in Tianjin
Qi De Ju (齊德居) in Lang Fang of Hebei

3 Hong Kong: Ho Ho Choy

Ho Ho Choy is the only person who taught Gao style Bagua Zhang in Hong Kong.
He started the school after World War II and taught until he died.
Ho Ho Choy and CS Tang, 1972 Ho Ho Choy with students, 1983
Ho Ho Choy with students, 1989 Ho Ho Choy with students, 1990
4 Taiwan: two branches

Zhang Zhun Feng has a lot of students in Taiwan. Wu Jin Yuan also taught in
another province. I have met his son, Wu Guo Ching (吳國正).
Pan Yue (潘岳) of Yi CS Tang, Wu Guo Ching, and students

Zong and Tianjin style
THE LEGEND OF MASTER GAO YI SHENG
Master Gao Yi Sheng (高義盛) (1866–1951)
Learning Bagua Zhang

Gao Yi Sheng, also named Tak Yuen, was born in 1866 in Shandong. He learned
Da Hong Quan when he was young and practiced Xing Yi Quan under Li Cun
Yi. At 26, he studied Bagua Zhang from Master Song Chang Rong, the student of
Dong Hai Chuan. After three years he had learned only the Single Palm Change.
He was disappointed when Song said that he was not ready for more instruction,
and he left to find another teacher.
At 30, he practiced with his relative Zhou Yu Xiang, a student of Cheng Ting
Hua. They compared what they knew, and took part in combat to test each other’s
skills. After Gao was defeated three times in three attempts, he asked to be Zhou’s
student. Zhou took Gao to meet his teacher in Beijing. Cheng accepted him and
it was arranged that Zhou would teach Gao.
From left to right: He Jin and Feng Jun Yi (Cheng’s students),

Cheng Ting Hua, and Cheng Yau Lung (Cheng’s son)
Gao trained with Zhou in Shandong and traveled to Beijing to study with Cheng.
In 1900, Cheng was shot, aged 52, by German soldiers when attempting to escape
during the Boxer Rebellion.
Zhou Yu Xiang’s student Yan De Hua (閻德華) published a book called
Application of Bagua Zhang, which was later renamed Manuscript from Broken
Wall at Shaolin.
Master Zhou Yu Xiang Application of Bagua Zhang Yan De Hua
Gao continued studying under Yin Fu, an earlier student of Dong Hai Chuan. A
relative who worked in the palace gave him one of Dong Hai Chuan’s manuscripts,
The Golden Box of Oral Principles, wrapped in yellow silk. It contained 108 poems,
which Gao studied and memorized. At 45, he returned to Shandong and began to
teach and sell accessories.
One day a Taoist priest came to watch Gao’s class. He didn’t look very happy
with what he saw. Noticing his expression, Gao asked him what was wrong. The
Taoist told him, “Even though you have been scraping the surface of this art for
many years, you are still boxing blindly.”
The Taoist revealed himself as Song Yi Ren, a student of Bi Cheng Xia, the
teacher of Dong Hai Chuan. He claimed that Dong had studied Pre-Heaven but
had not completed Post-Heaven. Gao begged the Taoist to stay and teach him,
which he did for three years, teaching both Gao and his son.
Teaching Bagua Zhang

When he was 53, Gao left Shandong and returned to Hebei, where he taught in
Yang Cun village, Tianjin. During Chinese New Year, Zhou visited Gao’s home to
bring greetings to his mother. Zhou held a teacup and pushed it towards Gao, but
could not move him, so he tried to attack Gao under his arm. Gao pressed down
and threw Zhou far away. Zhou attempted to attack twice and was deflected. Zhou
was surprised, but Gao explained that he had met Song and completed the system
of 64 Palms.
His first student in Tianjin was Wu Meng Xia. Wu had heard from Mr. Guan
Shi Xun, a classmate and school principal, that a powerful Bagua Zhang master
had come to Tianjin. They drove to the hostel where Gao was staying. Wu told Gao
he wanted to see real Bagua Zhang and attacked him. Gao used an Open Palm and
threw him twice. Wu kneeled down immediately and asked Gao to accept him as
a disciple.
Gao started to teach Wu and his Kung Fu brother, Zhang Zhun Feng, privately
in Zhang’s store. He mainly taught them basic and power conditioning.
In 1936, Gao started teaching at the soccer ground of the British concession
in Tianjin every morning.
He had a large crowd of students. He used Dong’s manuscript to write his own
Bagua Zhang book and edited several versions of it.
One day a Taiji Quan master, Hei Xin Du, came to the ground and challenged
him to a fight. Gao used Tan Palm and stroked his bladder. Hei crashed to the
ground and ran home, where he died. The police came to the ground to look for
Gao, who fled to Yang Cun village. He never returned to the park. Later he moved
back to Shandong, and died in 1951.
His Cantonese student He Ke Cai taught in Hong Kong, and another student,
Yu I Xien, taught in San Francisco. Zhang Zhun Feng immigrated to Taiwan to
teach, and other students, such as Wu Men Xia and Liu Feng Cai (劉鳳彩), taught
in Tianjin.
Liu Feng Cai Group photo of Gao Yi Sheng’s 76th birthday party
The characteristics of Gao Bagua Zhang

In Gao Bagua Zhang, the Xian Tien can be divided into Single Palm Change, Eight
Palm Changes, and a final form called Wu Long Bai Wei, or Black Dragon Swings
Tail. These ten elements form a dragon: Single Palm Change is the head and all
the other movements are derived from and follow it; the eight changes make up
the body; Wu Long Bai Wei is the tail.
The Hou Tien are derived from the Xian Tien, and are divided into eight sets
of eight palms. The different sets themselves have different emphases. For instance,
one set contains the simplest and most important principles of application, another
has kicking methods, and another elbows. It is a comprehensive system of fighting
techniques.
Gao said: “Without Pre-Heaven the art of Bagua Zhang has no root; without
Post-Heaven the art is incomplete. Pre-Heaven is for strengthening the body, Post-
Heaven is for protection.” He also said: “After you practice Post-Heaven, you can
leave Pre-Heaven behind; if you practice Tian Gan, you can forget the 64 Palms.”
The park in which Gao Yi Sheng Gao Yi Sheng’s house

taught Bagua Zhang
THE LEGEND OF MASTER WU MENG XIA—

BAGUA ZHANG RESEARCH EXPERT
Master Wu Meng Xia

(吳孟俠) (1906–1977)
Dong Hai Chuan, the founder of Bagua Zhang, had the deepest understanding
of the art, and he popularized and shared Bagua Zhang in Beijing. That there are
practitioners both in China and abroad is a testament to his hard work.
Dong Hai Chuan taught Bagua Zhang according to the individual, using
only techniques and forms that were appropriate to each student’s body type and
natural talents. As a result, the total number of techniques that he taught made up
only around half of what he knew. Those of the generation of Yin Fu, Cheng Ting
Hua, and Shi Ji Dong, who received the most teaching from Dong, only learned
about 20 palms and these were not clearly separated into Pre- and Post-Heaven
Palms. Most of them combined Post-Heaven methods with the circle walking of
Pre-Heaven Palms, and we can only imagine what the rest were like. There are few
practitioners who have preserved the separation of the circle walking of the Pre-
Heaven Palms and the straight-line attacks of the Post-Heaven Palms.
Dong Hai Chuan taught in the Beile Palace in Beijing, where he passed away
without illness at the age of 84, in the sixth year of Emperor Guangxu’s rule. He
was buried outside the Eastern Gate of Beijing, with hazel trees to the northeast
and next to a rainbow-shaped bridge. His followers erected many steles to record
events in Dong’s life and the names of his disciples, which are a rich source of
information about his life. After his death, others worked together to spread Dong’s
teachings: his eldest disciples Yin Fu and Shi Liu taught outside Zhaihua Gate in
the Eastern Wall area of Beijing; Cheng Ting Hua taught outside Chongwen Gate
in the southern part of the city; Liu De Kuan taught in the Western Wall area; and
Sung Yong Nian taught in the north.
Han Jin Yong

Han Jin Yong (韓金鏞) from Tianjin had studied Xing Yi Quan and Bagua Zhang
with Dong’s disciple Zhang Zhan Kui and was a contemporary of Li Cun Fu, Liu
Jin Yin, and Wang Jun Cheng. However, Han felt unsatisfied and traveled aimlessly
until he reached Wan Nan (part of Anhui, north of the Yangtze river) and met
Ying Wen Tian (應文天), who came from another branch of Bagua Zhang and
taught him in great detail. Ying brought Han to Guang Hua Mountain, where he
was studying the Tao. Han learned from Ying that Dong Hai Chuan and Sung Yi
Ren (宋益仁) were of the same lineage, and their teacher was Bi Cheng Xia (畢
澄霞). Dong had learned only half of the art, but even with that had managed to
reach a sublime state.
After Han completed his studies, he compared the techniques that he had
learned from Master Ying and Zhang Zhan Kui, and decided that what Ying had
taught him was more complete.
In 1918, a Russian strongman Kang Tai Er convened an international fighting

competition in Beiping’s2 Central Park and styled himself as the strongest man
in the world. He looked down on Chinese martial arts. Han Mu Xia, along with
his teacher Zhang Zhan Kui and Li Cun Yi, made a trip to Beiping and, using the
Tiger style, Han knocked Kang Tai Er down in the Liuguo Hotel and took away a
gold medal. The next day, Kang Tai Er took to the stage again and, seeing Han in
the crowd, ran away to hide. Most of the gold medals went to Han, who presented
them to the Jinmen Wushu Society. After Han returned to Tianjin he was feted
by the people.
Wu Meng Xia
Around this time, Wu Meng Xia sought out Han as a teacher because of his fame.
Wu was born in 1906 in Fujian and had been studying Shaolin Kung Fu and
weapons since he was seven. He had learned over 30 different styles and forms
and understood the common teachings of Shaolin Kung Fu. At 18, he began to
study Xing Yi Quan, and at 22, he began to study Taiji Quan and Bagua Zhang. At
26, he had a revelation that Taiji, Xing Yi, and Bagua Zhang could not be compared
to other arts and gave up Shaolin Kung Fu to concentrate on learning the finer
points of the three arts.
He studied Taiji Quan with many teachers, finally ending up with Niu Lian
Yuan (牛連元). Niu was good friends with Yang Ban Hou, the second son of
the founder of Yang style Taiji Quan, Yang Lu Chen, and received his individual
instruction. Wu also studied Xing Yi Quan with many teachers, latterly with Han
Mu Xia. He studied Bagua Zhang with 11 teachers and became a disciple of Gao
Yi Sheng.
Wu had a burning passion for martial arts and always sought out its true
transmission. As a result, he had studied with nine Bagua Zhang teachers, but
was still unhappy. He returned to study with Han Mu Xia for seven years. Han’s
original name was Han Jin Yong; since he had received his teaching from Ying
Wen Tian, who was also called Ying Xia (應俠), he thus took the name Mu Xia3
(慕俠) in order to show respect and admiration and demonstrate that he would
never forget his teaching. Wu knew this and, as Mencius or Mengzi (孟子) was
also known as the Second Sage and had an admiration for Confucius (孔子), he
took the name Meng Xia (孟俠) to show his ambition to follow in Han’s footsteps.
Wu heard of Gao Yi Sheng’s fame and sought him out as a teacher. He
2 Beijing or Peking was renamed Beiping during the Republic of China Era (1911–1949) and
the capital was moved south to Nanjing.
3 Literal meaning: in admiration of Xia, the martial arts hero.
completed his studies in five years and became good friends with many of his
fellow students, including Qiu Feng Pei.
The story of Cheng Ting Hua

Cheng came from Shanxian in Hebei Province, and, in terms of style, was Dong’s
most straightforward student. He opened a glasses shop outside of the Southern
Gate in Beijing, and most people called him “Eyeglass Cheng.” He often stood for
the whole day at work, so his lower basin was very strong. Every day he would carry
wine with his arms stretched out and the wine bottles in his palms, without spilling a
single drop. When training, he set up a wooden barrel and concealed himself inside,
turning without stopping. He was the student of whom Dong was most proud. He
taught marital arts outside of the Zhongwen Gate, and his sons Youlong and Youxin
also received the true transmission from him. His other students included Zhou Yu
Xiang, Zhang Yu Kui, Han Qi Ying, Cou Cheng, Li Han Zhang, Sun Lu Tang, Feng
Jun Yi, Que Ling Feng, Dumpling Guo, and Li Wen Biao. Gao Yi Sheng also studied
with him for two years, but only learned eight palms.
In 1901, during the Boxer Rebellion, the Eight Nation Alliance invaded China,
and martial artists such as Tan Ci Tong and the strongman Wu Deng Jun were
killed. Cheng’s disciples pleaded with him to leave Beijing to avoid confrontation,
but integrity was the most important thing for him, and putting on a large overcoat
and tying a short sword to each arm, he went out and fought with ten German
soldiers, and was killed. His students buried him.
The story of Gao Yi Sheng

Although Gao lost a good teacher, he practiced for 20 years without stopping
and he was teaching Bagua Zhang in Shandong by the time he was 45. After his
encounter with Sung Yi Ren, Gao and his son learned from Sung, who taught them
everything that he had learned. When their studies were complete, Sung went
away, leaving behind a boxing manual written by Bi Deng Xia.
Sung had advised Gao that if he taught martial arts, he should teach all 64
Palms, otherwise the art would be lost, so Gao returned to Tianjin and taught the
64 Palms.
Wu Meng Xia had become very familiar with the basics of Bagua Zhang from
his teachers, but he was looking for the true transmission. As Wu had received
tutelage from Han, Gao had to teach Wu the true art in order to prove that his
teaching was authentic. Wu knew that Han had only learned 50 palms from Ying.
Wu had never dreamed that Gao, who taught the 64 Palms, would be in Tianjin.
When Wu was studying under Gao, he realized that he was learning similar
skills to those of Han. Gao and Han had never met, but this proved that they had
learned their art from the same lineage and had the same teacher. Wu wanted
to arrange for them to meet; however, Han was far more famous than Gao after
defeating the Russian Kang Tai Er. The teachers had different temperaments: Han
was arrogant and loved to fight, while Gao were more even tempered but also loved
to fight. If they met, it was likely that they would duel. Wu had learned that Han
never showed any mercy and that he would draw blood once he came to blows, so
he felt he would be at a disadvantage in a duel. As Han always said, hard (strong
power) came before the soft (flexibility). As they were students of the same style, if
either of them lost the duel, Wu would lose a good teacher. So Wu only mentioned
to Han that Gao had learned his skills, and Han was very pleased and full of praise,
saying that Gao was a true disciple of their style. Han asked Wu to pass on his
calling card to Gao, to pay his respects. Gao sent his own name card and in return
Wu practiced under Gao and told Han what he had learned from him, to check
his teaching was in line with Han's. This ensured that Gao had taught him true
Bagua Zhang techniques.
Wu and his martial arts brother, Zhang Jiao Feng, studied under Gao for five
years before graduating and went on to duel with many people. In 1940, after
meeting with fellow student Wu Jun Shan (吳峻山) in Kunming, Wu Meng Xia
studied with Single Saber Han Fu Yi, who was a student of Dong’s pupil Liang
Zhen Jin. Wu Meng Xia and Wu Jun Shan were sparring and Wu Jun admitted
defeat and begged for instruction. Wu Meng Xia agreed to teach in his teacher’s
name, and for Wu Jun Shan it was like waking from a dream: “I am now 69, and
have been studying Bagua for 40 years, and only now have I received the true
transmission. It is truly like having achieved enlightenment in the morning, I am
happy to die in the evening.” Wu Jun Shan’s book Bagua Zhang was in circulation
at the time, and he freely admitted that he had been forced to write the book by his
teacher Zhang Zi Chiang, and it contained nothing but some street fighting and
training techniques. One of Gao’s students, Du Shao Tang (杜少棠), published
a book called The Swimming Body Motion Linking Palm but this also failed to
include the important principles. At this point, Wu thought that most people who
published books on Bagua Zhang not only included hundreds of errors but also
lacked information about the true value of the art.
During the war of resistance against Japan, Wu left Tianjin. He once sparred
with Wu Tu Nan in Nanjing. In 1937, he took the post of instructor under Wang
Ching Wei, and later moved with the Chinese Government to Chongqing to be
section head of the communications section in the Military Works Department.
Wu used his free time to set up the Chinese Kuoshu Study Association in the
Lihe Machinery Factory on Chung Yi Road. Many people who had been on the
run studied with him, such as Wang Zi Ren, Liu Zi Cheng, Tong Deng Xuan, Li
Zhuang Fei, Chen Ming Shan, and Chen Ming Guang. Wang Zi Tong, a martial
arts instructor from Sichuan, challenged Wu and lost badly. Tong Deng Xuan,
also from Sichuan, was a student at Jiaotung University, and came to study with
Wu because of his fame. Li Zhuang Fei (李壯飛) was employed in the technology
office, and he introduced his good friend Chen Ming Shan (陳明善), a graduate
of the Chinese University who had applied to enter the Military Works Vocational
School. Later, Wu had an argument with Wan Qiu Sheng, who had published in
the Wushu Encyclopedia about whether Dong Hai Chuan and the Bagua School
had lost its treasure. As a result of the argument, he also fell out with Li Zhuang
Fei. After that, the only practitioners at the Chinese Kuoshu Study Association
were Liu Zi Cheng and the Chen brothers (Li Zhuang Fei went to Shanxi when the
government moved), and the Association did not develop any further.
The Chen brothers later taught the Gao style, and Chen Ming Shan started
a business to support Wu, which supplemented his meager salary at the Works
Department. Chen Ming Shan was the only student to receive Wu’s whole teaching.
After the war, Wu went to Hong Kong to search for his brother Wu Zhao Fung
(吳兆峰), but when he did not find him he returned to Tianjin, where he made
ends meet by practicing acupuncture. It wasn’t long before his brother arrived in
Tianjin from Chicago, and they set up the Guang Hua Tradition Association and
later the Bao Zhen Bagua Zhang Society together.
Dr. Fred Wu, Li Zhuang Fei, and Jiang Wen Yu
Once the Chinese Government returned to Nanjing, Wu was detained for being
an officer under the Wang Government (汪精衛政府). Wu Zhao Fung tried to go
to Hong Kong but was also detained for once being a secretary to Wang. However,
when China started being run by a communist government, there was a focus on
promoting Chinese Wu Shu and publishing books and the art. Wu Meng Xia wrote
a book called 81 Step Taiji Quan and Commentary on the 9 Principles which was
published in Tianjin. The book exposed many secret principles written by Yang’s
family.
In Hong Kong, Ho Ho Choy, Gao Yi Sheng’s “inner-door disciple” (a
disciple who has been admitted as a senior student), read the book and started
a correspondence with Wu. Wu realized that there was a fellow disciple in Hong
Kong and was happy to share his heartfelt thoughts. He explained that only Gao Yi
Sheng had received the complete transmission of Bagua Zhang; others had learned
a technique here or half a move there and mixed up the teachings. He encouraged
Ho to take on responsibility for teaching the 64 Palms in Hong Kong and passed
on many valuable boxing tips, observations, and theories.
Unfortunately during the Cultural Revolution, Wu lost contact with the
outside world. His brother, Wu Zhao Fung, was sent to Xinjiang and was killed by
local workers in 1966.
Wu Meng Xia was accused of being a member of an unlawful religion and
jailed for eight years. After he was released, he was ill and weak and could not
teach. He died in 1977 and was buried in northeast China. He had a son, movie
director Wu Guang Pu (吳光普), and a daughter, who both lived in the northeast.
His son once wrote a Bagua Zhang manuscript but this was never published. Wu’s
student Qi De Ju (齊德居) published three books about his teaching.
Wu’s main students were:
• Meng Yu Zhang (蒙玉璋)
• Qi De Ju (齊德居)
• Wang Jun Xing (王俊興)
• Wang Jin Zhong (王進忠)
• Shang Yong Fa (張永發)
• Yu Cheng Yong (喻承鏞).
Qi De Ju’s books
Taiji Quan (Hong Taiji Quan Bagua Zhang Xingyi Quan

Kong version) (Chinese version)
Wu Meng Xia performing Yang Ban Hau Taiji Quan Wu Meng Xia, Gao Yi
Sheng, and Wu Zhao Fung
Wu Meng Xia’s students still teach his art
Wu Meng Xia (center), Qi De Ju (second from left), and other students
CS Tang and Wang Jun Xing in Tianjin Shang Yong Fa (back row, left), Wang Jin
Zhong (front row, center), and others
THE LEGEND OF MASTER HAN MU XIA—THE

STRANGE HERO OF THE MARTIAL ARTS WORLD
Han Mu Xia (1877–1947) (second from

left) with masters of internal martial arts
The legend of Han Mu Xia is closely related to Gao style Bagua Zhang, because he
proved the lineage of the Guang Hua Mountain system Bagua Zhang.
Chinese martial arts have a long history. During the late Qing Dynasty when
the country was invaded by foreign powers and the strong were bullying the weak,
traditional martial arts were tested. Huo Yuan Jia (霍元甲), Han Mu Xia (韓
慕俠), and Wang Zi Ping (王子平) courageously stepped forward to fight for
righteousness and defeated strong men from Russia, Germany, and England,
winning back pride for their country and demonstrating the value of Chinese
martial arts.
Han Mu Xia was a famous martial artist at the time. His original name was
Han Jin Yong (金鏞) and he was born in Jinghai in Tianjin. He started studying
the arts as a child, and in his teens he was accepted as a disciple of “Lightning
Hands” Zhang Zhan Kui, one of the eight major disciples of Dong Hai Chuan.
He later became a disciple of the head instructor of the Yihe Group, the Xing Yi
master “Single Saber Li”—Li Cun Yi. After he had learned his art he worked for
the Tianjin police force for over ten years. He often solved complicated cases, and
was well known for keeping the peace and his prominent contributions to policing.
However, he was unsatisfied with himself and made several trips to the south to
visit famous masters, meeting Li Guang Ting (李廣亭), Song Yue Zhai (宋約齋),
Che Yi Zhai (車毅齋), and other famous Xing Yi masters.
Han sincerely respected and delighted in the techniques of Bagua Zhang,
and pursued his studies to the point of intoxication. Dong Hai Chuan always
remained tight lipped regarding where he had learned the art, but did mention
that he received his instruction from a Taoist on Snow Flower Mountain (雪花山)
in Wan Nan in Anhui Province. Han searched hard and finally found the young
Taoist Ying Wen Tian on Guang Hua Mountain. Ying appreciated his efforts and
passed on the true principles of Bagua Zhang to him, including the Pre-Heaven
Palms and the Dragon Form piercing method, and the Snake Form continuous
entrapping 64 Post-Heaven Palms. After Han had received the teaching from the
southern system, he changed his name to “Mu Xia,” “appreciating chivalry,” so that
he would never forget his teacher. He combined both the southern and northern
streams of Bagua Zhang, plus the principles of Xing Yi Quan, into one system.
He returned to Tianjin to share the teachings, and in 1912 set up the Chinese
Martial Artists Association and a training hall for the Han Mu Xia style, so he
could teach his students with integrity. He worked with others to set up a martial
arts preparatory school and actively promoted the use of martial arts in army
training. In 1916, he was hired to teach at the Tianjin Datong girls’ school and
the Nankai school. Zhou En Lai (周恩來) came to study under him because of
his fame.
Han was influenced by the idea of openness in his teaching and built the Han
Nine Teacher Hall to commemorate his nine teachers. In the 1920s, he served
as the Marital Arts Instructor to the Northeast Army under Zhang Xue Lang.
He set up a large saber unit instructed in the use of the Xing Yi spear, which
had remarkable success during the war of resistance against the Japanese at the
Great Wall.
In 1918 in Beijing during the Contest of Ten Thousand Nations, Han defeated
a Russian strongman, Kang Tai Er, who called himself the strongest man in the
world. Kang Tai Er organized a martial arts convention in the central park in
Beijing and prepared 11 gold medals for the various competitions. Han, Zhang
Zhan Kui, and Li Cun Yi rushed to the Grand Hotel de Wagon-Lits in Beijing to
fight with Kang Tai Er. In the fight Han used the advancing thrusting and crashing
motion and the Five Dragon Waist Entrapping Palm to knock Kang Tai Er over.
Kang Tai Er wrote a letter to Li Cun Yi indicating defeat and presented all the gold
medals to Han. This event rocked the martial arts world.
Han started a martial arts school and taught Zhou En Lai (周思來). Yuan Shi
Kai (袁世凱), the false King of the Republic of China had invited Han to teach
but he turned him down. He broke his arm and resisted the Warlords to teach. He
also challenged the famous Wu Dang sword master, Li Jin Lin (李景林). Finally,
he died in 1947 in a poor situation.
Han Mu Xia and Han Mu Xia’s son, Han Qi, Han Qi

his son, Han Qi doing Bagua moon knife
Han’s daughter, Han Shao Xia, holding the sword from her father
Han Mu Xia when Han Mu Xia in Han Mu Xia’s wife

he was young middle age
Han Mu Xia’s two sword postures Han Mu Xia’s sword posture

after breaking his left arm
A drilling posture Han Mu Xia’s Bagua Zhang Han Mu Xia’s Xing Yi

with his student teacher, Zhang Zhan Kui Quan teacher, Li Cun Yi
Han Mu Xia’s Bagua Han Mu Xia’s martial arts studio in Tianjin

Zhang classmates
Han Mu Xia’s martial arts studio in Han Mu Xia teaching at Tianjin

Tianjin in 1920 (front row, Han is third Datong girls’ school (back row
from left and Zhou En Lai is fourth) fourth from left is Han Mu Xia)
The Russian fighter Kang Tai Er (in the middle of the group) The gold medal
Grand Hotel de Wagon-Lits, where Han Mu Xia and students inside the
Han Mu Xia defeated Kang Tai Er studio after winning the gold medal
THE LEGEND OF MASTER HO HO CHOY

AND DRAGON STYLE BAGUA ZHANG
Ho Ho Choy (何可才 Ho Ho Choy at the

老師) (1911–1995) Botanic Garden, 1960
Although Bagua Zhang had been popular in Northern China for some time, its
transmission in Hong Kong has only happened in the last 40 years. Ho Ho Choy
has devoted more than anyone else to teaching the Bagua Zhang 64 Palm style in
Hong Kong and has had the most disciples.
Ho Ho Choy was born in Canton Province, in the Xizhu village of the Shishan
(Lion Mountain) area in Nanhai County. He was also called He Ze Neng and
used the name Dacai in Tianjin. As he was completely devoted to teaching Bagua
Zhang, martial artists called him “Bagua Ho.”
The origin of the name of Xizhu village is believed to have come from when
Huineng, the Sixth Patriarch of Zen Buddhism, was teaching the dharma in the
village (the character for Zhu is another word for India or Buddhism). The Sixth
Patriarch had composed a poem describing the beauty of the Shishan area:
The people are prosperous and harvest bountiful in the luxuriant plains
Xizhu’s spirit and dignity demonstrates the Buddha’s blessing
The lion’s many mountain peaks devoid of the sound of birds
The white vines and vast forests resonate with the Oriole
The view of Tian Hu Lake lifts men’s spirits
The wheat full, the fields fertile, and the warehouses overflow with a hundred
grains
The water of Xiao Niang Keng is crystal clear
The Beginning
Deng Fang (1877–1955) Deng Fang and his wife demonstrating the spear
Xizhu village is very near the Sanshui area, and Ho Ho Choy’s uncles Deng Yi and
Deng Fang both lived in Sanshui in Dongpu village. They learned Hung Quan
from Master Lam Sai Wing (or Li Shi Rong in Mandarin). When they were both
accomplices to Master Lam in a major incident at the Leshan Theatre, Deng Yi hid
in his hometown and Deng Fang escaped by boat to the South Pacific. After the fall
of the Qing Dynasty, Deng Yi opened the Renhe Paper Store on Lungjin Middle
Road in Xiguan. Deng Fang opened the Guangan Paper Store on Changshou West
Road. At the time, the Grandmaster of Hung Quan, Wang Fei Hung, was seeing
patients at a clinic in Xin Dou Lan, Po Chi Lam. The brothers became disciples
under Wang Fei Hung in an official ceremony. Deng Fang established Yi Yong Hall
(a martial arts society dedicated to overthrowing the Qing Dynasty) in Daiheji and
later transferred his operations to the warlord Zhang Fei’s eldest son Zhang Rui.
When Ho Ho Choy was young, he loved martial arts, and spent his time
immersed in both old and contemporary martial arts novels. He left his hometown
at 18 and moved to the Sansheng Society in Yuqing Lane in Guangzhou. His father
worked at a gold store in Shiqipu, so Ho Ho Choy often visited his uncles, and he
started studying under Deng Fang. For the first three months he learned to stand
in Horse Stance, and he also became proficient at the Gongzi Crouching Tiger Fist
and the double broadsword. He soon moved to Hong Kong and worked at Kam
Wing Lung Co. on 35 Wing Kut Street.
Master Ho (second from left of Deng Fang’s student

those seated) at Deng Fang’s studio He Lap Tin’s book
Master Ho at Deng Fang’s funeral

Gao style Bagua Zhang
A drawing of Gao Yi Sheng
When Ho Ho Choy was 26, he went north to Tianjin and lived in Fu An Lane in
the British concession. The following year he started working for an American
sporting goods company in the French Concession. However, not a day went by
where Ho Ho Choy did not think about martial arts. He was always reading martial
arts materials, but regretted that he did not have a teacher. He could practice the
forms, but did not yet have an understanding of the applications.
The Marco Polo Bridge Incident, a battle that marked the beginning of the
Sino-Japanese War, happened on July 7, 1937. Due to Tianjin’s status as a Treaty
Port, it was relatively unaffected.
Ho Ho Choy often went to the British soccer field at the intersection of Tang
Shan Road and Guangdong Road and became friends with the Swedish soccer
player, Johansson, and the famous Chinese tennis player Lin Bin Hua, as well as
Uncle Wang, the caretaker of the grounds. Uncle Wang asked him why he did not
study martial arts there and Ho replied that, although there were many teachers
there, he did not know which ones had real skills and which ones were charlatans.
Uncle Wang replied: “As for martial arts, I am not an expert and I do not know
which style is good, but there is a Gao Yi Sheng who teaches at the soccer grounds
and only teaches Bagua Zhang and he has a lot of students. There are those who
have studied many different styles of martial arts yet have come to study with Gao.
If you are interested I can make an introduction.”
In 1938 Uncle Wang introduced Ho to Gao Yi Sheng. Gao was not tall and
he had deeply tanned and ruddy skin giving him the appearance of a “country
bumpkin.” However, when Ho saw how he taught students and moved like a
swimming dragon, he resolved to study with him. Gao asked Ho if his motive for
studying martial arts was to rescue people. Ho replied that he was studying martial
arts for its own sake. Gao then drew a circle in the sand with his cane and taught
Ho how to walk the circle. This was the first day of Ho’s Bagua Zhang studies.
Bagua Zhang Master Gao Yi Sheng

Gao Yi Sheng was born as Gao De Yuan and was also called Gao Shou San. He
was born in Yangcun township in Tianjin County in Hebei Province. His family
was originally very wealthy and had a lot of land. When he was young he did not
have to work, and at 26 he went to Beijing and studied Bagua Zhang under Song
Chang Rong in the Northern Wall area. In the first three years he only managed
to learn the Single Palm Change. He begged to be taught more but his teacher
told him that the time was not right. Gao was deeply disappointed and went to
study under Cheng Ting Hua in the Southern Wall area. Of all the disciples of
Dong Hai Chuan, the creator of Bagua Zhang, Cheng had the most students. Gao
studied with Cheng for two years and learned eight palms. Unfortunately, Cheng
was killed by rioting soldiers during the Boxer Rebellion, and Gao lost a great
teacher. He felt that the only thing he could do was to study with his fellow disciple
Zhou Yu Xiang, and they practiced together for 15 years, during which time Gao’s
skills improved greatly.
Gao later taught Bagua Zhang in Shandong, and one day an old Taoist priest
watched him teach and sighed incessantly. After Gao finished, he asked the priest
why he was sighing. The priest said that although Gao had immersed himself in his
art for many years, he was still fighting blindly. The priest said, “I also study Bagua
Zhang and was a fellow disciple of Dong Hai Chuan under Bi Deng Xia of Guang
Hua Mountain in Shanxi Province. Dong Hai Chuan left the mountain and I have
not seen him since.” Gao begged the priest to accept him as his disciple. Gao ended
his teaching duties, and he and his son, Gao Qi Zhan, followed the priest to his
home and started learning Bagua Zhang from the beginning. The priest was called
Sung Yi Ren and studied alongside Ying Wen Tian and Dong Hai Chuan from the
alchemist Bi Deng Xia. Once Sung had transmitted his art, he made to leave, and
despite repeated entreaties to stay he refused. He left a parting gift of the boxing
manual by Bi Deng Xia as proof of his lineage. Gao and his son spread the true
Bagua Zhang transmission to several provinces. At 60, he taught the 64 Palms at a
soccer field in the British concession in Tianjin. When Bagua practitioners heard
of this, they all came to study under him.
Gao taught Bagua in the early morning and separated his students into four
classes. First there was the normal class, which cost two dollars a month, in which
he only taught the forms for the 64 Post-Heaven Palms and the Eight Pre-Heaven
Palms. Next was the intermediate class, which cost five dollars a month, in which
he only taught applications. The third class was the special class, which cost an
additional one dollar per palm, and in this he taught one attack, one defense, and
one linked form. Finally, the private class cost 20 dollars a month, and in this he
taught his inner-door disciples. The specialty of the Gao style was in the one attack,
one defense, and one linked form, so there were three ways to practice each palm.
Ho Ho Choy was using the name Dacai in Tianjin at that time, so many of his
fellow disciples only knew him as a Cantonese man called He Dacai. Three days
after starting to study with Gao, Ho began to research the techniques with his
fellow students, leading Gao to suspect that Ho planned to use the techniques to
take revenge or was part of the criminal underworld, so he tried to find out more
about Ho’s background. It was only after Uncle Wang, the caretaker of the grounds,
vouched for Ho’s character and enthusiasm to learn that Gao formally began to
teach Ho the art.
Gao taught the beginners’ class. The process was to learn the form first, with
Eight Post-Heaven Palms for each Pre-Heaven Palm. After students had learned
each individual Pre- and Post-Heaven Palm, they would be taught the single-
person Post-Heaven linked straight form and single-person Pre-Heaven linked
circular form. Ho wanted to learn the applications after less than three months.
He discovered that a fellow student, Qiu Feng Pei, a painter who originally studied
with Han Mu Xia, had offered Gao five dollars a month and was able to learn the
applications very rapidly. Ho begged Gao for more teaching, and when Gao saw
his perseverance and dedication, he agreed, pleased to have discovered such a
promising student from the south.
Ho entered the intermediate class, in which Gao began to explain the vicious
applications for each of the techniques. However, Ho was still not satisfied; he also
asked how to neutralize each application. After he had asked the same questions
about four palms, Gao asked him for an additional dollar for each palm that he
taught him, so Ho’s expenses included one dollar for each palm plus the five dollars
a month. He was taught one attack, one defense, and one linked form, as well as
variations in different situational training methods such as sticking hands and
separated hands. He was also taught martial arts theory such as the 24 Essential
Points, the Three Basins, and the Five Elements form and applications.
In Gao’s method, there are Eight Pre-Heaven Palms and 64 Post-Heaven Palms,
each of which is separated into six variations, making a total of 384 palms. If one
learned one palm a week, including foundational exercises, it would take two years
to learn all of them, and it is harder to calculate the time required if including
applications and actual fighting. Very few students can learn the attack, defense,
and counter-attack moves for each palm. Using Ho’s method of paying one dollar
per palm, which included one attack, one defense, and one linked attack, the time
required was substantially shortened and he progressed far quicker than the other
students, learning all the open-handed techniques within only five years.
From left: Wu Meng Xia, Gao Yi Sheng, and Wu’s brother Wu Zhao Fung
A long, thin physique focuses on the Dragon Form

Ho Ho Choy was Cantonese, and was of average stature for someone from the
south. However, he was obviously disadvantaged in terms of his size and his power
when compared with his fellow students, who were all from the north. Gao was
well aware of this, and emphasized that a small person should focus on defense
and detailed technique, and said that through hard training one can generate 120
percent power. Thus Ho focused mainly on defense and the finer requirements
of each palm. He used many ways to neutralize his fellow students’ attacks. Even
those who did not study under Gao or had left his tutelage knew of the Cantonese
man who liked to practice fighting with others and would allow his opponent to
attack continuously in order to train his defensive skills and receptivity.
There were five other students who trained the hardest and had the greatest
impact on Ho. One of these was Qiu Feng Pei, who had a hard, strong body and
threw himself into his attacks with extreme force, which Ho learned to avoid.
The second was Mr. Zhang from Hubei who liked to use grappling attacks and
locks that Ho was often unable to escape. After much study, Ho learned to use his
guile to slip away and throw his opponent as soon as he touched his body. There
was also a Taoist priest who was skilled with the sword and who often fenced
with Ho, teaching him a lot. Another student, Li Kang Zhang, often sparred with
Ho, and there was a fellow student from Guangdong, Bao Zhan. Gao said that
to achieve success, one needed someone of a similar size to practice attacking,
defense, and linked forms with, to avoid obstacles arising because of a difference
in size. Ho became good friends with Mr. Bao and they often sparred together,
their techniques improving daily.
In addition to teaching the 64 Palms, Gao also looked at each student’s
strengths and instructed them to practice a certain type of style. Gao said,
mockingly, that some people had not received a true transmission and thought
that the Dragon style was superior to the Tiger style, hoping to study only the
Dragon style. He said some called it “Dragon style Bagua,” but the movements did
not look as if they were of the Dragon style. Gao himself had specialized in the
Dragon style and there were few after him who reached his level of achievement.
The movements of the style extend up high and then twist down low, and only
those who are tall and thin with a fluidity of movement can hope to master this
style. Gao originally taught Ho the Monkey style, but Ho expressed admiration
for the Dragon style. Gao thought Ho’s body type was appropriate, so he agreed
to teach Ho the Dragon style.
Leaving the city

On December 7, 1941, the Japanese bombed Pearl Harbor, leading to the outbreak
of the Pacific War, and Japan’s involvement in the Second World War. The situation
in China became increasingly chaotic and the foreign concessions in Tianjin were
blockaded, with people living in fear. Gao was over 70 and did not want to live
in a world that was at war. At the suggestion of his son, Gao Qi Zhan, he decided
to return to the countryside the following year. By then, many students that had
graduated from his tutelage, including Wu Zhao Feng, Wu Meng Xia, Qiu Feng
Pei, Zhang Zhun Feng, An Ji Hai, Li Yuan Zhang, Zhao Bai Chuan, Hubei Zhang,
and Bao Zhan, were already teaching boxing in the British concession.
The challenges to learning about weapons

After Gao returned to the countryside, Ho could only rely on what he had already
learned and continued to spar with Qiu Feng Pei and Bao Zhan. He had completed
his empty-hand training, and he regretted that he was still unfamiliar with the
Bagua weapons. Of all the other students, Qiu Feng Pei was closest to Ho and,
having been with Gao for many years, he was familiar with Gao’s character. He
suggested that Ho use Gao’s birthday as an excuse to visit his hometown to pay his
respects and beg to continue training. Ho prepared the finest wine, “Wujiapi,” and
visited Gao at his home. Gao had retired to Danjiezi in Yangcun township in the
suburbs of Tianjin. He lived behind the Laoyude Tang herbalist shop and was no
longer teaching. He was deeply moved that Ho came from so far away and agreed
to continue teaching him.
Yangcun township was very far from the British concession of Tianjin. As
Ho had to work during the day, he took the Beijing–Tianjin railway to Yangcun
every weekend and walked to the herbalist’s. He would learn with Gao for the
day and then stay overnight. Once Gao could see that Ho’s Open Palm learning
was complete, he began to teach him the Bagua weapons. He stated that Zhao Bai
Chuan had learned the sword in the past, Li Yuan Zhang had learned the staff, and
Mr. Li had studied the broadsword, but there were few who had completed the
weapons training. Gao committed to teaching Ho in a detailed manner, using his
cane as a medium of instruction.
Gao style weapons include the Bagua broadsword, sword, cudgel, spear,
and cane. Each weapon is divided into individual forms (point) and sets. The
individual forms evolved out of the handwork and were divided into single
movements and linked sets. This was further divided into 64 Post-Heaven points
and eight Pre-Heaven points. The set then combined the Pre- and Post-Heaven
points and was divided into eight linked forms. The training method was similar to
empty-hand training. When teaching the weapon sets, Gao taught the broadsword
first. However, Ho was suspicious and asked how the movements were different
from the empty-hand sets. Gao replied that they were in essence the same: one
broadsword movement came from the Opening Palm, and Scooping and Lifting
(Peng Tuo) came from the Scooping Palm. Gao explained that the weapons were
an extension of the hand, so holding a weapon was the same as training with an
empty hand (with the exception that anything held in the hand would affect the
spacing between the hands).
There was a Cultural Garden and Little Garden in Tianjin, and Ho often trained
with Bao Zhan in the Little Garden. Mr. Zhang, who taught Luo Han Fist (a style
of Shaolin Kung Fu), sometimes trained there too. He wanted to try to spar with
Ho, and Ho used his Piercing Palm to force him back towards the wall. Zhang used
his strength to escape and struck downwards. Ho again used his Piercing Palm
and lifted Zhang onto his back and then gently let him down. After this encounter,
Zhang could not stop praising Ho.
In the Cultural Garden, Mr. Lan, who taught Wu style Taiji, challenged Ho,
who used the Storing (Tun) Palm to throw him to the ground. Lan had previously
fought a Hsingyi practitioner and had no reply to the breaking fist of his opponent.
The next day the two parties called upon their lackeys to continue the dispute, but
luckily Li Yuan Zhang was able to resolve the situation. Lan introduced the Hsingyi
practitioner to Ho to spar against. Ho was able to neutralize his breaking fist every
time and used the Single Scooping (Peng) Palm to slap his cheeks several times.
After two years of Ho spending each weekend visiting Gao and sparring with
his son, he had received the complete true transmission for both empty hand and
weapons. He also received the heartfelt approval of Gao himself, who considered
Ho to be the disciple he was most proud of in his later years. Gao had a cane set,
which he used as a walking stick that he carried every day. It could be used to
hook and to poke, and each move was always unanticipated by his opponent. Ho
was just about to learn this set when Tianjin was heavily affected by the Sino-
Japanese War, and most enterprises had to close down, including the sporting
goods company that employed Ho. Japan was also at war with Britain and America
and wanted to take over the British concession. Ho suddenly felt homesick and
wanted to return home.
When Ho bid farewell to Gao, Gao asked him whether he would rely on
teaching martial arts for his living in his hometown and Ho replied that it would
depend on the circumstances. Gao knew that once they parted they would be
unlikely to see each other again, and was reluctant to part. As Ho was about to
leave, Gao used the following example to encourage Ho to continue to study, apply
his teachings in a practical manner, and not to hold on to fixed rules or only
understand the fixed forms without understanding their changes: Each herb in the
medicine cabinet in the herbalist’s shop could be very effective against a particular
illness, and picking the appropriate herb would treat the disease. This point
stressed the importance of both adapting to the situation at hand and variations.
A medicine cabinet in the herbalist’s shop

Back to South China

In March 1944, Ho took his wife and daughter and left Tianjin. The son of the
owner of Shi Chang Company, who studied Bagua Zhang with Ho occasionally,
came to see him off. After passing through Nanjing, Shanghai, Hangzhou,
Nancheng, Jiangxi, Nan Xiong, and Sanshui, and spending 40 days in a car or on
foot, Ho finally arrived home.
Because of the closed-door policy of the People’s Republic of China, Ho could
not return to China for some time. When he did return to the old city, everything
had changed and he could not find his old friends. He visited the train station and
the Yang village, but he could not find the herbalist’s shop.
The location in which Gao Yi Sheng taught Bagua Zhang
Xizhu village had also been devastated by the Japanese and was a wasteland. Ho
and his family were only able to survive by farming. Ho circled the pine trees,
changing palms. Although the other villagers knew that this was some form of
martial art, they did not understand the intricacies behind the movements, and no
one was interested in learning from Ho. A villager called Miu Qi saw that Ho was
performing his circle walk in an area that was full of cow manure, so they named
it “Cow Dung Fist.”
Ho had had a passion for cricket fighting since he was young. In Guangzhou,
at the beginning of autumn every year, the arena for dueling crickets opened,
called the Sound of Autumn Society. Ho’s uncle still lived in Guangzhou and was
interested in cricket fighting, and he knew that Ho was very skilled at catching
crickets, so he sent someone to ask him to collect some prime specimens in the
countryside and bring them to Guangzhou to sell at a high price.
The most common way to catch crickets was to climb the mountain at night
and look where the crickets’ chirping could be heard. Ho was very familiar with
the nature of crickets and had his own way of catching them. He made tubes from
wax paper, and left many of them on the mountain top at night, covered with dried
grass or in a crevice between two rocks, so they would not be heated up by the hot
sun. As dawn approached, the crickets would look for places to hide, often under
piles of grass or in the crevices of the rocks, and many would enter the tubes. The
crickets were afraid of the sun, so would not leave the tubes in the daylight, and
found it difficult to escape in the dark. After breakfast, Ho would return to the
mountain to collect the tubes. He would hold a tube level to see if it contained any
crickets, and if there were crickets inside he would turn the tube on its end, cover
the other end, and point it into a bamboo basket so the crickets would fall in. Most
of the tubes would contain crickets, and he could collect more than a hundred in
a few days. He put them in a jar to find the ones with fighting ability. He had soon
caught almost all the crickets on the mountain.
Dueling crickets
After Japan surrendered and the war was over, Deng Fang reopened his martial arts
school in Guangzhou and asked Ho to come and assist in the teaching. However,
Ho had already changed to practicing Bagua Zhang and had neglected his Hung
Quan for some time, so he was not interested in doing so; he continued to spend
his days farming.
A coincidence: Bagua Ho meets Shandong Li

In 1950, Ho took his family to Hong Kong, but he found life there hard without
a way to make a living. After a month or so he was at a loss, when he read about
a soccer match between Lin Bin Hua and Yeh Guan Hung in the Shing Bao
Newspaper at his cousin’s place. Lin was a good friend of Ho’s from Tianjin, and
they met at the soccer ground. Lin treated him as though he was meeting a long-
lost relative, slapping him on the back and yelling out loud. Lin found him a job at
his old landlord’s company—a subsidiary of Jardine Matheson—and Ho started
work on April 1, 1951.
Whenever Ho was free, he would go to his friend Miu Liu’s jewelry factory to
chat. Miu, from his hometown, was skilled at martial arts and tried to persuade
Ho to start teaching again. However, Ho felt that in Tianjin most people practiced
Taiji, Xing Yi, Bagua Zhang, and Northern Shaolin, whereas what was most
common in the south was Hung Quan. Most northerners had never heard of Hung
Quan, let alone other forms of southern Kung Fu. After he returned to the south,
it was not surprising that no one in the villages knew of Bagua Zhang, but even in
Hong Kong, with its innumerable masters of northern and southern styles, no one
knew of Bagua Zhang, which had one of the biggest followings in the north and
was widely praised by those who practiced other styles. Only Taiji attracted some
interest, because of its medical benefits. Others thought that Bagua Zhang only
involved circle walking or thought it was the same as Xing Yi. Thus, Ho wondered
if his skills were rare and whether there were any other practitioners in a place as
large as Hong Kong.
Miu mentioned that someone from mainland China practiced circle walking in
the Botanic Garden every morning, and it was very similar to what Ho practiced.
Ho was very surprised and resolved to go and have a look for himself.
The first day of 1952 was a vacation, so Ho arrived at the Botanic Garden in the
early morning and saw a short, fat man from mainland China practicing with 35
people watching him. He looked closely and indeed it was Bagua Zhang. The main
difference between their practices was that his Single Palm Change emphasized
the attacking aspect whereas Ho’s emphasized the twisting of the body and the
defensive aspect. Ho waited until he had finished, and then in Mandarin asked
him his name and who his teacher was.
The man said he was a student of Liu Qing Fu, was from Yang County in
Shandong, and was called Li Xing He (李性和), and he asked about Ho’s lineage.
It so happened that Liu Qing Fu was a student of Dong Hai Chuan’s disciple Yin
Fu and, although the lineage was different, the principles did not depart from the
changes of Bagua Zhang.
Ho Ho Choy and Li Xing He

Li asked Ho to show him a set of forms, and Ho willingly did so to demonstrate

his sincerity. After Ho finished, Li also felt that it came from the same source. He
said that he had not met any other fellow students in Hong Kong. He’d recently
encountered Wang Zhi Yuan, but he had to leave Hong Kong in a hurry. Li said
he had been very busy every day and had barely been able to find time to practice
himself, let alone teach. He saw that Taiji Quan, which had always been weaker
than Bagua Zhang in the north, flourished in Hong Kong and Bagua Zhang had
fallen behind. He said the problem was that no one had put themselves forward
to teach, and encouraged Ho to start teaching. Ho explained that he had left his
teacher over nine years ago, had forgotten much of what he had learned, and did
not intend to teach.
Li said, “I am from Shandong, and am not fluent in Cantonese, and always
find it difficult to express myself. You are from Canton, and should teach your
own people, otherwise Bagua will be lost in Hong Kong. And you started from
knowing nothing and studied to graduation—will you not find it easy to refresh
your memory?”
Ho was moved by Li’s sincerity and resolved to start teaching. He went often
to the gardens, and taught Xu Jin Po, Yu Lan Ji, Wang Dong Quan, Ren Yong, and
others. Ren Yong had once combined their strength to try to twist Li’s arm to no
effect. So Ho tried sparring with Li, and it was like two dragons fighting. Li praised
Ho’s evasiveness, after deciding on a position he could enter at will, and there was
no stopping him. Ho praised Li’s power, and thus there was mutual admiration
between the two heroes; people called them Bagua Ho and Shandong Li.
A Chinese doctor called He Xing was on very familiar terms with Ho, and
he had a nephew called Bang, also known as Shou Chung, who begged to be
Ho’s disciple. Ho ordered him to show what he had learned, and felt there were
many openings to his technique, so he asked him to attack him with all he knew.
Ho used a Piercing Palm to neutralize his attacks and the boy happily admitted
defeat. Seeing his honesty, Ho willingly accepted him as a pupil, and used this as
an opportunity to refresh his memory. Shou Chung was extremely clever, and he
graduated in two years.
Mr. Wang, who worked in the same office building as Ho, could kick a sack of
white rice over five feet and had studied Northern Luo Han Palm. He looked down
on Ho’s soft Kung Fu, and attacked Ho with a punch. Ho used a Piercing Palm in
reply to all his attacks and knocked him to the floor. Wang then recognized the
value of Bagua Zhang in actual combat and started to learn with him.
The Interlocking Requirements of the Eight

Palms and Peng Shao Kuang (彭昭曠)
After Li and Ho had known each other for a year, another Bagua Zhang practitioner
arrived in Hong Kong from Jiangu. He discovered that Bagua Ho and Shandong
Li were the only fellow practitioners in Hong Kong. He first introduced himself
to Li Xing He, saying that he was Yang Rong Ben’s student. Yang was the student
of Dong Hai Chuan’s disciple Shi Ji Dong. Peng was very willing to spend time
researching texts about Bagua Zhang and had put together an article called “The
Interlocking Requirements of the 8 Palms.” He really wanted to make sure that the
information was accurate, so he decided to call upon his fellow practitioners. Li
introduced him to Ho, and they began corresponding and also became quite close,
meeting each other often. Peng received much material from Ho for his article.
After Peng finished his work, he sent it to the foremost martial arts magazine at
the time, King of Martial Arts Novels, for printing. Ho often bought the magazine
and happened to see in this issue of the magazine an article called “Five Element
Fist of Hung Gar” written by his uncle Deng Fang, which was how he found out
that his uncle was in Hong Kong. Ho was very happy about this and went to his
uncle’s school at Portland Street to meet him. When they saw each other, happiness
was mixed with sorrow, and they talked about how Deng taught Ho how to catch
crickets, and how both their houses were full of the crickets they had caught, even
throughout the war with the Japanese. It turned out that Deng had come to Hong
Kong as the communists had come south and liberated Guangzhou.
The martial arts magazine King of Martial Arts Novels
Liu Chi Dong, who had studied Hung Quan with Zhao Jiao, heard that Deng Fang
was a true disciple of Wong Fei Hung and came to visit his apartment on Shanghai
Street and later helped him set up his own school on Changsha Street and helped
him officiate at the Guoshu Department at the Fish Buyers’ Association, Shau
Kei Wan.
Now that Liu Chi Dong and Ho had re-established contact, they often visited
each other, and Ho discovered that both his uncle Deng Yi and Deng Fang’s son,
Deng Zhu Dou, had died from illness, and that Deng Fang’s fellow disciple Che
Jiang Yi had also come to Hong Kong. Che was also very skilled at cricket fighting,
and often challenged Ho. Ho also became good friends with Deng Fang’s students:
Liu Chi Dong, He Li Tian, and Yuan Ling.
Peng Shao Kuang, 1950 Peng Shao Kuang, 1960 Peng Shao Kuang, 1980
Peng rarely taught Bagua Zhang the art; only Hu Siu studied with him for any
length of time, and he devoted most of this time to painting. Peng lived in Hung
Shiu Kiu in the New Territories. The mainland
government spared no effort to promote martial arts,
putting together marital arts training sets and encouraging
the old masters to publish martial arts materials. Peng
sent Ho a copy of Wu Meng Xia’s 81 Step Taiji Quan and
Commentary on the 9 Principles published by People’s
Sports Publishing House. Ho had heard that Wu was an
early disciple of Gao Yi Sheng, so he gathered his courage
and wrote to Wu via the publishing house. Wu Meng Xia
met up with fellow disciple Qiu Feng Pei and heard that
Ho was also his fellow disciple. Wu happily corresponded Peng Shao Kuang’s book
with Ho, answering all of his questions on martial arts
and explaining the key principles, the Three Basins, Five Elements form and
applications, the ten large single changes, the 12 animal styles, the four standing
stances, the series of sticky palms, 108 steps in total, and the training secrets of the
24 Essential Points, plus many anecdotes of the martial arts world.
Peng had written about Taiji, Xing Yi, and Ching Ping Sword
Dr. Fred Wu, also an inner disciple of Wu Meng Xia of Gao Yi Sheng style, lived
upstairs from Peng. After hearing Ho was a fellow disciple, he left his address for
him, but by the time Ho visited, he had already moved. Around the same time,
the chief editor of the martial arts magazine King of Martial Arts Novels, Sheng
Bai Guo, passed his responsibility to the Buddhist Hermit Xu Kai Ru, who was
very good friends with Ho. Xu asked Ho to demonstrate the Eight Pre-Heaven
Palms, for some photos, which were later published in the magazine alongside an
explanation written by Peng.
The magazine was sold in the United States. Wu Meng Xia had a student he
taught on behalf of his teacher (Gao) called Chen Ming Zhao who saw it and
started corresponding with Ho. He related his previous studies of the art and his
training in Chongqing and hoped that Ho could send diagrams so that he could
continue his training in the art. Ho explained that the art could only be explained
through physical feedback, and he was unable to transmit the art without teaching
in person. As they were divided by the distance of the Pacific Ocean, he had to
send his regrets.
Ho Ho Choy begins formal teaching

In 1955, Deng Fang died. Ho still kept in contact
with Deng’s students Liu Qi Dong and He Li Tian.
Towards the end of March 1956, Lian Bin Company
(Ho’s employer’s company) had purchased 12 tons
of goods from the mainland, but the buyer claimed
they had only ordered four tons, and the company
collapsed. Ho gave up his life as a clerk and got
ready to offer classes to students. As he had spent
five years in the Botanic Garden reviewing his art,
he was able to structure his knowledge in a suitable
format to teach. On April 1 he started teaching on
the rooftop terrace of one of his student’s home
at No. 36 Peel Street in Central. His first students Ho drew nine circles on the
included Xu Jin Bo, Huang Dong Quan, Huang rooftop and taught students
Ning, Cobbler Jian, Ren Yong, Li Kun Lian, Zhong to step on them as trigrams
Wen, and Li Bo.

Ho originally lived in Mid Levels, but because of redevelopment he moved to
Chai Wan (Block 18, New Area), and the roof terrace was also destroyed. Ho then
taught on the rooftop of the Lin Bo Construction Materials and Furniture Company
at No. 372 Hennessy Road in Wan Chai (at the intersection of Tin Lok Lane).
Although teaching martial arts was Ho’s only profession, he did not do any
self-promotion or advertising and did not take part in any society events that he
saw as being boring. He did not put up a sign to advertise his fitness club but only
taught his formal disciples. However, his fame was such that many sought him out
as a teacher and he had students all over Hong Kong and Kowloon.
The studio building, 1970 The building’s rooftop
Demolishing the building to widen the tram road
The building now

Studying with Master Ho

After my teacher Dr. Chan Yuet Suen immigrated to the
United States, I was eager to learn some other styles. I
felt that Shaolin hard fighting was more beneficial to
developing the body than internal martial art. I was
working as a night shift cashier in Hyatt Hotel. In the
very early mornings, I would take the small cross-
harbor boat to Hong Kong side, and walk to Hong Kong
Botanic Garden to find a teacher to continue my study.
In the 1960s, most of the masters taught here,
and I met some teenagers who were studying martial
arts at different schools. We were happy to share our
knowledge with each other, setting up a small martial
arts club on Sundays and publishing a magazine.
Three of these 13 young practitioners learned Bagua Zhang from Ho. I saw they
practiced solo form and two-men set sparring. I said to myself: “I must learn Bagua.”
The first night

I asked my friends to introduce me to Ho, but none of them dared because of his
temper. I knew his address—it was in Wan Chai, just 15 minutes’ walk from my
home.
At 8pm on December 1, 1969, I walked to the top floor of an old building.
There were no lights; I was in darkness. I silently entered the roof, which was
surrounded by several tall buildings. There seemed to be no one there. But by the
dim light reflected on the windows, I saw a man at the other side of the roof. He
soon saw and approached me, asking why I was there. He found two chairs and
we sat down and talked. He began to smoke.
Ho: Why do you want to learn Bagua?
CS: I’m interested.
Ho: Here, we teach Bagua Zhang only, nothing else. The monthly fee is 30 dollars;
there is teaching from Monday to Saturday. I teach 64 Palms first and then
circle form; it can be completed within 100 days. If you continue to study after
this, we start the application—one palm has six changes, 64 Palms have 384
changes. We teach one change every night, then you need 64 weeks to finish.
For circle palms, we have application, attack, defense, counterattack, go into
a straight line, and go into the center of the circle. You need three years to
complete the palm system. Then you can start Bagua weapons: we have the
sword, saber, stick, and spear.
Ho then told me about the history of Bagua Zhang and the stories of how Master
Gao Yi Sheng learned from a Taoist.
Ho: Don’t try to teach; this cannot support your living. Do call me “Lo See”
[meaning teacher; “Se Say” in Japanese]. Don’t call me Sifu. In the northern
part of China, we also call my master “Teacher.” We would call the driver and
cook “Sifu.”
He then took my hand sincerely and taught me to walk a circle with both hands
pressing downwards. Once I could manage this, he taught me to raise my hand,
point to the center, walk, and then change sides. He said this was “Single Palm
Change.” I was so glad that I had learned the famous Single Palm Change on my
first night.
We practiced on the rooftop until 1975 when the building was demolished.
The building belonged to Mr. Lam Bo, one of Ho’s students, who ran a furniture
shop downstairs and let Ho use the roof for free.
Master Ho drew eight big circles and one Studio address

long straight line on the rooftop
Master Ho and Master Ho Rooftop training with

CS Tang demonstrating the Master Ho and CS Tang
Five Dragons Palm
Training the six series Training in Bagua Zhang weapons

for Bagua Zhang kicks
Bagua saber Bagua Zhang stick

training in a circle
Bagua Zhang stick training in a straight line

The stages of Ho’s teaching

Ho’s first stage of teaching started in 1952 and involved him recalling his knowledge
of Bagua Zhang and practicing in the Botanic Garden. From 1956 he taught at his
student’s rooftop in Central district. At that time, most martial arts masters taught
on rooftops, because of the space required and, most importantly, the need for
secrecy (they did not teach openly because they wanted to keep their knowledge
a secret). There would only be a few students in each class.
The second stage of Ho’s teaching took place at night times on the rooftop in
Wan Chai, and this is where most of his students were trained. Ho was middle age
by then, and was very strong and energetic. He would concentrate his teaching
at night time only. He acted as a sandbag for his students, letting them practice
locking and pushing on him.
In order for Ho to teach publicly and legally, we registered the school in the
police register and formed the “Pa Kua Physical Training and Health Association”
on April 10, 1973.
The third and final stage of Ho’s teaching took place from 1975. He moved to
the third floor of a nearby building and had a grand opening of the public school.
Ho had to teach full time, and by then most of his students were rich. He ran the
school for eight years, until he retired.
The grand opening of the studio of Pa Kua Physical Training and Health Association
View of the studio

Master Ho and CS Tang with others at the school
Occasionally, Ho would teach some private students on a hill at the edge of his
district. Towards the end of his teaching career, he taught some students in the lift
yard at his home.
Around 20 students came to the rooftop every night, and there were about 50
active members in the class, which were run on a drop-in basis. Classes normally
took place at 7:30–11:30pm. There would be no class if it was raining, but we still
came in the hope that the rain would stop; if not, we would sit together and listen
to our master’s stories. There was no shelter on the rooftop, so if it rained heavily,
we would stop training and go out for dinner.
We would not practice weapons at night time, because it was too dark, so
we started to practice on Saturday afternoons. Tsui Kwok Leung made some
wooden swords and sabers. Weapons training takes a long time, and only four of
us attended the weapons class. After the class we would go to a nearby restaurant,
where we would hear many stories and theories from Master Ho.
What attracted me to the study of Bagua Zhang
1. There are so many impressive stories of Bagua Zhang.

2. The philosophy is so linked to Chinese culture.
3. The system is so complete—from the fundamental level to the top level.
4. There are fixed movements for sparring and Push Hand that classmates
can practice easily.
5. The application is so practical and simple but the theories are so deep.
The first thing I learned from Master Ho

Ho taught me walking the circle first. He demonstrated the guarding posture
to me and then walked around the circle. He asked me to follow once and then
demonstrated changing to the other side. He explained that it was the Single Palm
Change, held my hands, and led me to change. Ho said that his master, Gao, taught
him in exactly the same way.
The learning progression of Ho’s Bagua Zhang system

Ho taught in a similar way to Gao.
Bare hands
1st stage:
1. Single exercise, single form
a. Pre-Heaven and Head and Tail
b. Post-Heaven
2. Single exercise, linking form
2nd stage: Two-men set—sparring and application
1. Single forms for Post- and Pre-Heaven
2. Linking forms for both (students A and B, named Yin and Yang; the
routine is called Yin and Yang Bagua Linking Zhang)
3. Push Hands
3rd stage: Changes
1. 64 Palms practice
– In a circle
– Into and across the center

2. Eight Big Palms practice
– In a straight line
– Into and across the center
3. Pre- and Post-Heaven as a whole
– One Pre- and eight Post-Heaven Palms and meet at the center; next,
eight times as a cycle to complete the Global Form.
Weapons
1. Broadsword
2. Sword
3. Cudgel
4. Spear
5. Stick with hook
All movements have set forms of eight routines in a straight line and the ten Pre-
and 64 Post-Heaven single and linking forms.
Teaching Bagua Zhang fighting application

Ho taught each student independently and separately. There was no group study
or a team that practiced the same forms at the same time.
Once a student could exercise and perform the Pre- and Post-Heaven Palms,
it would be time for the second stage: application.
1. How to attack: Ho never employed an assistant and taught by himself. He
would hold the student’s wrist and then perform the attack form to them.
Then he would ask the student to perform the attack on him. He used his
own body to accept the student’s attack so that they could feel the strength
and he could adjust their push.
We had a long, straight line on the floor. Ho would demonstrate an
attack on us along the line, and when we reached the end we acted back
at him until we reached the end of the line. Ho would silently bear our
pushing.
A senior student hung a sandbag for us to push and practice the Five
Element energy (this was not for punching). What one feels in the body
is of utmost importance. He would ask you to grasp his hand, and would
show how easily he could unlock if you acted correctly by keeping the 24
Essential Points.
2. How to discharge: Ho would teach how to vanish or discharge one’s strong
push attack by changing direction using the waist to move and hollowing
the stomach muscles.
3. The link circle: How to attack by using the same form of your enemy after
you have discharged his attack. Once you know how to attack effectively
and efficiently and discharge safely, it is time for your counterattack. This
was a short form of discharge—when the attack reached your guarding
area and his action completed two thirds, you discharge immediately and
using the same attack form that your enemy had just used.
4. The change: Ho would show how to apply the form you had just learned
(one of the 64 forms) to attack your enemy in six directions (front, back,
left, right, top, and bottom) when he is holding a guarding position. These
changes relate to the change theories of the I-Ching. This was not learned
through talking, but through practicing the changes in a set series during
every lesson.
Ho’s contact with Master Zhang Zhun Feng of Taiwan

Gao Yi Sheng had a disciple called Zhang Zhun Feng, who was originally the
Managing Director of “Autumn in the Han Palace” (Han Gong Qiu) Company
in Tianjin and was very good friends with Wu Meng Xia. In 1947, he and several
employees moved to Taiwan. He found it difficult to run his business in a new place
and his employees returned home. Zhang stayed in Taiwan to teach Bagua Zhang
and Taiji Quan. When Zhang remembered his fellow student Wu, he wrote to Li
Ying Ang, an internal arts teacher in Hong Kong, to ask for help to track down
Wu’s address. Li asked Ho on Zhang’s behalf. Ho was elated to find out that he had
a fellow student in Taiwan and wrote Wu Meng Xia’s address on his own card and
mailed it to Zhang.
Yin Ke Gang (尹克剛), who was studying in Taiwan, had studied with Zhang
for four years, and had learned boxing at school, had studied martial arts, and was
well versed in Shaolin and internal Kung Fu.
Zhang was employed by the Department of Security to teach Taiji Quan and
some Bagua Zhang. Zhang had mentioned to Yin that a Cantonese man called He
Dacai had been one of the last students of his teacher. He did not know that the
Bagua Zhang teacher Ho Ho Choy was also the fellow student who was then called
He Dacai. Yin wanted to refresh his Bagua Zhang knowledge, so he asked Li Ying
Ang if there were any Bagua Zhang teachers in Hong Kong. Li said that only Ho
taught this style in Hong Kong and introduced them.
Yin was worried that he was currently studying with the wrong person, so
he wanted to watch Ho to see if their teaching was similar. Ho was teaching a
straight-line linked form that night, called Snake style Wrapping Palm. Watching
the paired practice convinced Yin that it was one of Master Gao’s 64 Palms. Ten
days later, Yin went to Chai Wan to visit Ho and Ho demonstrated the single forms
and sparred with him. Yin realized that he had only learned the training forms
and did not know how to use them. Yin had originally learned the Tiger style but
Ho felt that his body would suit the Dragon style. He thought Yin had potential,
so he happily taught him. They would spar every week, and Ho taught Yin the
three parts of every palm, including the attack, defense, and linked form, and held
nothing back. Ho remembered what Gao had once said in earnest: Even though
the teacher may be alive, the student may not be able to follow him for a long time.
And even if the student has adequate time, the teacher may not live long enough
to teach him the whole art.
Yin Ke Gang, also named Yin Zhen Quan (尹振強)

Once Yin Ke Gang knew about Wu Meng Xia, he wrote to him and begged to be
taken on as a disciple. Wu was happy to have a student in Hong Kong and agreed to
treat him like a disciple, and sent him photographs explaining the applications of
the Single Palm Change. Wu corresponded with Ho and Yin, and they all benefited
a lot from this. Wu had been active in the martial arts world for over 50 years and
was clear about the true principles underlying martial arts; his study of its history
greatly exceeded the average person. The secrets that he passed on had not been
seen by the outside world, as most had been transmitted orally or stemmed from
his personal experience, so this was a valuable resource for the Bagua School.
He stressed that one must be clear that the founder of Bagua Zhang was Bi Deng
Xia, not the alchemist from Snow Flower Mountain nor Fang Tian Jue of Jiu Hua
Shan as legend had it. During the Cultural Revolution in the 1960s, all traditional
arts and martial arts were banned, so Wu’s correspondence also came to an end.
Li Xing He had moved to Taiwan to work, Yin had moved to Canada, and Peng
Shao Kuang retired to the New Territories. Ho applied himself wholeheartedly to
teaching martial arts and in the following years taught a large group of students
like He Can Zhong, Li Rong Sheng, Cao Yao, Wu Bin Quan, Chen Yong He, Liu
Ru Lin, CS Tang, Xu Guo Liang, Li Zhi Ming, Ke Sheng, Wang Chang Gen, and
others, and they were all very accomplished.
The special adventure

Hong Kong had banned fighting crickets, so Ho had started gathering medicinal
herbs. He would take three to five students to Lantau Island or the mountain
top in Chai Wan to gather fresh herbs. At a little stream beside the bridge to the
Ling Yam Monastery at Ngong Ping, Ho discovered a large bunch of Dog’s Track
Herb and began furiously harvesting it. A young monk appeared, and Ho and the
students tried to avoid him as they were afraid of being scolded. However, the
monk announced loudly that the herb was extremely useful. It was clear that
the monk was familiar with Chinese herbs and the group initiated a conversation
with him, asking his Buddhist name and how he came to be familiar with Chinese
herbs. He replied that someone within his order had taught him, and he explained
how to prepare a special poultice to treat a snake bite.
On April 10, 1971, Ho, along with his students Liu Ru Lin, Wu Bao Quan,
CS Tang, and Xu Guo Liang, went to Mui Wo and went up Luo Han Mountain
to pick herbs. They spent the night at Bao Lian Monastery and the following day
went down to Deer Lake. At Ling Yin Monastery they met the same monk, who
had temporarily made the monastery his home. He mentioned that he had seven
“Ruler of the Grains Pills” that could stave off hunger for several days. Liu Ru Lin
humbly asked him for some and arranged to meet him a month later. The monk
led the group to the abbot of the temple. The abbot lay on the bed, smoking opium,
and he had a long talk with the group. This was the first time I saw someone
smoking opium, which smelled very special.
The next day the group tried to go back down the mountain but heard that
a Signal 8 typhoon was forecast. They rushed down to the pier and saw the last
ferry leaving. It was raining heavily, and there were no hotels or houses near the
pier. They found a temple called King of Hou Temple (侯王廟) and asked the
abbot for shelter. Four of the group slept on the floor that night. They returned to
their concerned families in Hong Kong on the ferry the next day. I have very good
memories of that trip.
Approaching the Ling Yin Monastery Chinese tea breakfast after the typhoon
Ling Yin Monastery’s sign A monk smoking opium inside the temple
At that time, Ho’s inner-door disciple Ren Yong was interested in Taoism and
was studying with “the Drunken Taoist,” He Chi Zhong—the head priest of the
Chinese monastery Po Do Tong in North Point. Ho had heard that the Drunken
Taoist had once read an anthology of Bi Deng Xia’s poems in Guangzhou, and Ho
asked a student, He De Biao, what he thought about this. Ho held his birthday
celebration at the same place every year: the second floor of the Yan Yan Restaurant
in Central. Ho’s students Liu Ru Lin and Meng Ke had arranged with He De Biao to
find the anthology on the seventh day of the first month of the lunar year in 1971,
but were unable to enter the temple. They tried again on the first day of the second
month, but the Drunken Taoist had retired to the mountain for several days. Liu
Ru Lin noticed a fortune teller nearby and asked him which Taoist temple Bi Deng
Xia studied at and when Bagua Zhang was brought to the world. The fortune teller
using the planchette writing stated:
Intention strives to be pure and still, thoughts strive to be clear, enlightenment
strives to be complete, the way seeks to be bright. Thoughts are detailed like the
many threads in the Taoist cloak, the wide dawn and the endless clouds supported
by a single tree, seeking to meet the boat at the mouth of the river, with a light
breeze on a moonlight night as dawn is about to break.
This prophesy aroused Ho’s interest, and he took his student He Can Zhong to
the temple to seek an explanation from the spirit of Master Bi. A second prophesy
stated:
The affair has a happy ending; with a sincere heart everything is appropriate,
everything is greatly auspicious, perform the rites, it is indeed an auspicious spirit.
It seemed that something would be revealed. Ho then asked about the history of
the art again. The spirit replied:
The Pure Yang appreciates the sincere heart. Today you have come to inquire;
what you seek will be as you desire. Do not hesitate to go forward, it will be
meaningful to both parties, and what remains will be forever fragrant.
In the midst of the writing there seemed to be an image of giving and receiving,
but what was hardest to decipher was “both parties.” Did it mean Ho and Master
Bi or Ho and his student?
On April 4, the spirit of Lu Dong Bin descended upon the temple to speak
through the planchette writing. The writing stated:
You who seek have perseverance. Receiving the materials depends on your
fortune; you are a lucky man, the opportunity arises anew every day.
It seemed to state that Ho was destined to receive a collection of Bagua Zhang’s
true teachings. Ho’s student Lei Meng Ke asked when Bagua Zhang would again
impact the martial arts world. The writing stated:
Wait for the months to pass, guard the clouds, keep your heart happy, forge and
strengthen the vital essence for that is the true wholeness. The beautiful jade is
carved before it becomes a vessel; to protect you the cloud opens to reveal the
new moon.
Ho’s student He Can Zhong was also a Taoist, and he asked about Grandmaster
Bi but did not receive instructions, so he decided to ask again the next day. The
new writing stated:
The heat of summer has not come into its element; wait for the excitement of the
coming days—the mountains have a person you are destined to meet, to repay a
ten-thousand-year favor.
A precious Nei Gong text

On the 28th day of the fourth month of the lunar calendar in 1971, Ho and his
students spent the night at the Ling Yam Monastery and went to speak with the
monk. There was a lot of discussion on Buddhist teachings and Ho asked if the
monk could interpret the words of the prophesy. The monk replied that this was
a Zen Koan and could not be interpreted literally; Ho had to wait until the event
had happened before he could understand its spirit. Ho also talked about the
relationship between Bagua Zhang and the principles of the I-Ching, and the monk
remembered that he knew a hermit who guarded a precious Nei Gong text. Ho
begged to borrow it but the monk said that the hermit never showed anyone the
text—the monk had known the hermit for 20 years, but he had only ever glanced
at it. The hermit had said that he would only pass it on to someone whom he was
fated to meet and was familiar with the principles of the I-Ching. Ho left his card
with the monk in the hope of receiving the text.
Two months later, the monk brought the treasured texts to Ho’s house. One was
called The Heart Transmission of How to Reach Dao, and the other was a practical
step-by-step guide to meditation. The Taoist principles were in accordance with
Bagua Zhang and the Five Elements, and when Ho showed the monk his own
writings on Bagua Zhang, he was extremely happy and said that it was Ho’s karmic
fortune to have received the complete practice. Ho took the monk to Tin Lok Lane to
his practice area, pointed to the circle on the ground, and showed how it was similar
to the diagrams in the book. Later, they shared a vegetarian meal. Ho explained that
he wished to pay his respects to the monk as a disciple, but the monk replied:
Although you have been taught by him, you do not need to meet face to face,
as long as you are grateful—that is enough. Now that he has transmitted the
text to you, you have to make five observances: 1) you may not circulate printed
copies; 2) you may not teach it to those who do not understand the fundamental
principles; 3) do not teach it to those who seek to profit from it; 4) do not transmit
it to young people; 5) it is not that you may not teach this, but you must consider
the appropriate person.
Having received the valuable text, Ho spent time studying it, and on June 30
the monk came to retrieve the original. Not long after, the monk left Ling Yam
Monastery for another monastery in the New Territories.
Ho took his students Lei Meng Ke, Wu Bao Quan, CS Tang, and Xu Guo Liang to
Fong Wong Shan (Lantan Peak) to pick herbs. At the iron gate of Bao Lian Monastery
they found the words “Cessation and Stillness” written, along with the words “Listen,
Contemplate, Practice.” And on Luk Wu Path they found a house on which was
written “Complete Enlightenment,” and inside there was a pair of hanging scrolls
that read, “Five hundred years have come and gone and we have just met and you
ask, who is it that has carried the burden on his back for a millennium?” This seemed
to correspond to Ho’s quest for the anthology of poems, and the fact that he now had
to singlehandedly promote and transmit the art. He also realized that “receiving the
materials depends on your fortune” referred to his receiving of the Taoist text. He
also remembered that when he met the monk at Ling Yam Monastery, there was a
plaque on the Gate of Correct Perception on which was engraved, “The vital Qi, a
single bell, one body of water winds around and reaches the opposite shore. Hidden
cultivation offers proof of the Tao. A range of mountains encircling protects the
true essence.” The words were in complete accordance with the prophesy. In order
to confirm this and seek further enlightenment Ho and his students consulted the
oracle again; this time it said:
With the utmost effort you have cultivated the fields from the past until now,
you have been detailed in every aspect, but you can sleep your whole life without
mastering yourself, for the illusions (world) change in an instant as do your
thoughts, the beautiful sun will rise from here, from the early shadows the wind
and clouds form.
This seemed to give a definitive conclusion to the prophesy: the movement and
stillness practices are united in one teaching and need to be taught with the
greatest attention and effort; the day when the teaching would be widespread and
respected was not far off.
At the beginning of the eighth month of the lunar calendar of 1972, Ho caught a
cold. As he was recuperating at home, he was very bored and sat in the lotus position
to start training in accordance with the instructions in The Heart Transmission of
How to Reach Dao. Suddenly, he felt his lower Dantian was burning hot and the
true Qi shot from his anus up to the Governing Vessel through the Yang Che, Lu
Che, and Ta Niu Che acupressure points; the Tai Yang points on both his cheeks
started pulsating as though they were electrified, and after sweating for a while, he
felt comfortable and at peace. He continued his practice for five days and the feeling
remained. When he consulted the manual he immediately understood the writing
in the “Heaven’s Root Moon’s Cavity 36 Palace” diagram, which stated: “When
inhaling you will hear the sound of the tiger’s whistle and the sound of the wind;
when exhaling the dragon’s singing the clouds arising.” It seemed that the “sun at
the bottom of the sea” referred to the area of the sexual organs (in the area of the
perineum). The last prophesy stated, “The beautiful sun will rise from here; from
the early shadows the wind and clouds form.” Was this not referring to the True
Qi (Kundalini Energy) rising up the body and the clouds forming when breathing
in and out? It seemed that the passage was referring to the True Qi dissolving the
blockages in the body. Ho trained according to the manual’s instructions, and as he
trained in Bagua Zhang every day, he already had a deep understanding of moving
and standing meditations. And as the information in the manual was in complete
accordance with the principles of Bagua Zhang, his progress was rapid. He also chose
the appropriate students with whom to share the secrets.
A Shaolin monk, Huang Hung CS Tang visiting the temple where

Zhan, who lived to be 105 Grandmaster Bi Cheng Xia lived
A group photo taken after meeting the monk Master Ho with the monk
Allen Lui and CS Tang The Book of Special The Heart Transmission
visiting Ling Yam Monastery Adventure written of How to Reach Dao
by CS Tang
Communication with Zhang Zhun Feng of Taiwan

In Taiwan, Zhang Zhun Feng had taught martial arts on the second floor of No. 19
Chunghsiao East Road, Section 2, for 20 years and worked with as many as 20,000
students. In March 1972, Lei Meng Ke’s friend, who had the surname Deng, was
going to Taiwan on business. Ho asked him to take a photo of all the students
after a banquet as a gift to Zhang. When Zhang received the photo he was beside
himself with joy, and wrote to Ho relating all that had happened since they had
parted. He sent a photo of his family and also asked Deng to take Ho a hanging
scroll of the 64 Palms to show that he was also a student of Gao Yi Sheng.
Li Xing He had also moved to Taiwan, but when he returned to Hong Kong
for business he went directly to Tin Lok Lane to find Ho, where they caught up on
events that had happened after they had left. He also went to Ho’s birthday party
and took a photo with Ho and the Buddhist Hermit Xu Kai Ru to commemorate
the event.
Students’ expectations
Ho taught Bagua Zhang in a set sequence and hoped that each student could
learn the whole system so that it would not be lost. However, while many students
learned all the forms for the 64 Palms, few of them had the patience to continue
their study and learn the applications and how to put them to practice. Only a
few people learned the weapons and the “sticking and separating hands,” a kind
of sparring.
Some of Ho Ho Choy’s students

Huang Dong Quan (黃東泉) was a businessman who sold glass bottles. He had
trained in the hard styles when he was young, but changed to Bagua Zhang in
middle age and his body changed from being very weak to being strong. After
graduating from the art he started teaching in the Hung Hom area.
Huang Dong Quan and student
Ren Yong (任永), originally a chef in a dim sum restaurant, has a strong body and
teaches in Kowloon City Park. Huang Ci Ning opened a school on Dai Nam Street.
Ren Yong and CS Tang

Students who are still in the process of acquiring the art are Hu Shen, Lei Meng
Ke, Wu Bao Quan, CS Tang, Xu Guo Liang, Chen Yong He, and Ho’s son, Ho Yu
Quan. They are studying diligently and readying themselves for the time when it
is their responsibility to transmit and promote the art.
Ho Ho Choy’s performance
Ho rarely performed, but he demonstrated in public twice: once at the Southern
Playground and once at Wang Dong Chai’s annual dinner. I was lucky to be there
to see these performances.
Master Ho performed at the Master Ho performing Bagua Zhang at

Southern Playground in 1968 Wang Dong Chai’s annual dinner, 1972
Important dates in Ho Ho Choy’s life

1911: Ho was born on the 20th day of the 7th month (lunar calendar), in a village
in Guangdong Province in China. His birthday is easy to remember, as it is the
same day as when Bruce Lee died!
1928: Ho learned Hung Kar southern Shaolin style.
1936: Ho went to Tianjin.
1938: Ho learned Bagua Zhang from Gao Yi Sheng.
1942: Ho learned more Bagua weapons in Gao’s village.
1944: Ho returned to his home village in Guangdong.
1950: Ho went to Hong Kong.
1952: Ho met Li Xing He of the Yin style in Hong Kong.
1955: Ho started teaching Bagua Zhang in Central.
1971: Ho met a monk and received the books of The Heart Transmission of How
to Reach Dao.
1995: Ho passed away peacefully at home on November 2.
Ho Ho Choy’s special characteristics

• When new students applied to learn from him, he would never ask them
what they had learned before. If you paid, he would teach.
• However, he hated students who had learned Taiji Quan previously,
because they always seemed to practice without energy and they often
softened their hand, so others could easily cross their boundaries.
• He would use vulgar language or hit students on the hands or head if they:
– showed slow responses or were stupid
– did not understand quickly or follow his demonstration immediately
– did not remember what he’d taught the day before
– would not release the lock, even if it made it more difficult to release.
• He welcomed questions, so he could show that he could answer them
easily.
• He liked to unlock from Chin Na to demonstrate the application of Pre-
Heaven methods.
• He liked to share the theories of the I-Ching and incorporate them into
Bagua Zhang.
• He liked to talk about herbs every night.
• He hated students teaching outside without telling him.
• He had asked three students to leave the school.
Respecting the teacher

• On the first day of the Chinese New Year, we would visit Ho’s home, pay
our respects, and gave him our red packets.
• At every mid-Autumn festival, we would give Ho a red packet to show our
respect for his teaching.
Master Ho and CS Tang, 1980 Master Ho’s calligraphy instructing

CS Tang to teach Bagua Zhang
Open Palm and an old manuscript demonstrating the same thing
The following photos show visitors of the Gao Bagua Zhang lineage from Tianjin.
Huang Jin Xing and guests visiting Liu Shu Heng and guests visiting
THE LEGEND OF MASTER ZHANG ZHUN

FENG—GAO BAGUA ZHANG IN TAIWAN
CS Tang and Zhang Zhun Feng, 1973 Zhang Zhun Feng (1903–1974)
In 1973 I visited Zhang Zhun Feng and made the following notes:
Ho Ho Choy, who had single handedly promoted Gao Yi Sheng’s Guang Hua
Mountain style of Bagua Zhang in Hong Kong, had always harbored a fondness
for his fellow disciples from his time in Tianjin. He only knew of Wu Meng Xia in
mainland China, with whom he had lost contact, and Zhang Zhun Feng in Taiwan
to whom he occasionally sent letters to share his thoughts.
I was touring Taiwan and asked to pay my respects to Zhang. I visited his studio
on the second floor of No. 126 Xinyi Road, Section 2, Taipei City, on May 5, 1973.
The school offered bone-setting services as well as teaching martial arts. Hanging
outside the school was a black sign with gold lettering saying “Shandong Yizong
Guoshu Headquarters.” Inside, Zhang taught Xing Yi Quan, Bagua Zhang, and Taiji
Quan. There were weapons racks and group photographs of students from various
periods. There was a “Han Gong Qui—Autumn in the Han Palace” banner with a
plaque dedicated to Yin Fu to the right and one dedicated to Gao Yi Sheng to the left.
On both sides were diagrams explaining Tai Chi and Bagua Zhang. There was also a
picture of the Bodhidharma, the legendary monk who brought martial arts to China.
Studio entrance A photo that Zhang Zhun Feng gave

me—it was taken in Taipei, and his
children are in the background
As soon as Zhang realized that I was a student of Ho Ho Choy in Hong Kong, it

was as though a long-lost relative had arrived. He received me with great respect.
When I gave him a photo of Ho in his youth performing a Single Palm Change,
Zhang was overcome with nostalgia. He sighed that he had been separated from
his brethren for many decades, and they were now scattered in so many places.
He also spoke of how he trained with Ho at the soccer grounds at the
intersection of Guangdong Road and Tang Shan Road in the British concession
in Tianjin under the tutelage of Gao Yi Sheng.
Zhang Zhun Feng’s family
Zhang learned Xing Yi Quan as well as Bagua Zhang. He studied Taiji Quan with Wu
Meng Xia under the tutelage of Niu Lian Yuan. Master Niu was a friend and student
of Yang Ban Hou and learned many of the family secrets of the Yang style. He also
placed an emphasis on applications, on the frame and structure, and how his Taiji
Quan differed from other styles. Wu Meng Xia’s publication 81 Step Taiji Quan and
Commentary on the 9 Principles provides a detailed and extensive explanation.
In Taiwan, Zhang taught on a patch of sandy ground in the park. The former Vice
President Chen Cheng rode his horse there every morning to watch Zhang teach and
eventually invited him to the Presidential Palace to perform. Zhang then earned the
approval and admiration of the martial arts community in Taiwan. Zhang’s disciples
reached 20,000 and he taught them in five classes. Zhang lived at his school and his
wife was also skilled in martial arts, assisting him in his teaching.
I showed a diagram explaining the 64 Post-Heaven Palms and a combined
diagram of the Pre-Heaven and Post-Heaven Palms, to support Zhang’s Yi Zong
Bagua Diagram of the 64 Palms. Zhang’s wife and I demonstrated movements and
commented on the similarities and differences. It seemed that Zhang had learned
the Tiger Form, where the movements were tighter and more powerful, whereas
Ho taught the Dragon Form, which was more expansive, smoother, and softer.
Single Palm Change posture of Mrs. Zhang and Zhang
Gao Yi Sheng’s starting movement is Kai Zhang (Open Palm), and the meaning
is profound, as it implies both enlightenment and breaking open, and is of the
Qian hexagram. It is the most basic and the seed of the 64 Palms and is a special
feature of the Gao system. When I started practicing the Dragon style Kai Zhang,
my body twisted up and drilled down, hand pierced, brushed aside, then pushed
down and burst the step to the middle. However, Mrs. Zhang used contact of the
hands before launching into a drilling movement, which is a movement from Kai
Zhang’s third step. Both evidenced the first eight Houtian palms. Zhang said that
he liked to use the Open Palm, Hidden Palm, and Evading Palm most of all. And
he also mentioned that Gao Yi Sheng had liked to use right Kai Zhang most of all,
and defeated innumerable martial artists with this move. He once used Kai Zhang
to kill the nefarious villain “Poison of the Black Heart.”
Gao Yi Sheng used Kai Zhang to crush and break the bladder of “Wicked Heart
Guy,” who eventually died after three days. Gao had to flee to a village and did not
return to Tianjin city.
Mrs. Zhang explained their three basic exercises: Zhan Zhuang or standing
meditation; Five Elements Steps; and Zhuan Yao (Smooth Turning Hip). Their
fighting principles are: pulling, hitting, timing, exquisite technique, the eight
elbows, eight legs, eight shapes, and eight types of step. Ho’s style has a web of
eight guiding principles: hard and soft; clockwise and anticlockwise; straight and
cross; and form and shape. All this goes to prove Wu Meng Xia’s dictum that “the
practice of Bagua Zhang resides in sinking and weight as its structure and fluidity
and following in its application.”
Position of the bladder in the body From left: Wu Meng Xia, Gao
Yi Sheng, and Wu Zhao Fung
A poster of Zhang’s system

Zhang had received a message that Wu Meng Xia, the martial arts hero of deep
knowledge and ability who was clear about the unadulterated, original theory
of Bagua Zhang, had had a stroke and had passed away many years prior.
Unfortunately, he only left a book on Tai Chi. But his personal letters have become
valued source material for Bagua Zhang. His brilliant life story tells of his hard
striving for the true art and will aid those who come after him in their personal
development by acting as a mirror to their efforts.
The display in Zhang’s studio
Letters between CS Tang and Zhang
A detailed account of my meeting with Zhang Zhun Feng

I worked in a travel agent and had the chance to get a discount fare. On May
7, 1973, I visited Taiwan without any preparation or planning. Two days after
arriving in Taipei, I went to Taipei Botanic Garden at 6:00am. I saw many Chinese
martial arts that I did not know. I saw Master Gao Dao Sheng teaching Mantis
form and showing a very high level of the art and we had a long talk. At 8:30am,
I took a taxi to Zhang’s studio.
I knocked on the door, and Mrs. Zhang let me in. Zhang sat on a chair, where
he stayed for my whole visit. Mrs. Zhang explained that Zhang had a problem
with his leg.
When I said that I had come from the school of Ho Ho Choy in Hong Kong,
Mrs. Zhang was so surprised and let me sit down in front of Zhang. Zhang was so
eager to inquire about my master and many other things.
Zhang’s language still had a Shangtong accent, and wasn’t pure Mandarin, and
was difficult for me to understand. Mrs. Zhang asked me whether we practiced the
Five Elements Steps, the 64 straight-line palms, etc.
She then demonstrated most of the forms, especially static stances, Five
Elements walk, and the “move” exercise of the Ten Heavenly Stems. I practiced
my style of 64 palms in linking form, which she had never done before.
Comparing our styles

Differences:
• Mrs. Zhang used more strength and was more explicit.
• All movements were in single form with no linking-into-eight routines.
Similarities:
• We all did Pre- and Post-Heaven in a similar format.
After the meeting, Zhang gave me a hanging diagram of all 64 Palms, a photo of
his family, and one of himself bearing the long “Moon Teeth Spade.”
Zhang’s eyes were open very wide like an eagle, and his palms were large and
powerful. He always sat with his back straight. It was easy to feel that he was a
master on first sight.
Zhang said:
• “We never met with your master in Tianjin.”
• “Tell your master that I was the boss of a famous fruit distributor ‘Ho Kun
Chow,’ he must have heard of that.”
• “Did your teacher tell you the essential thing of Bagua Zhang? It’s the Cross
Tie.”
He then held my right hand and made contact with his right hand, making a cross
like an “X” and explained the application. All the way he just sat. His hand was
big and strong. When he grasped my wrist, it felt like an eagle claw that I could
hardly escape.
I asked Zhang, “Which of the 64 Palms do you think are most useful and
effective?” He replied, “Well, the Open (Koi), Hide (Chong), and Elude (Sim),
etc. Do you know that Master Gao had a combat with a Taiji teacher? He struck
at his stomach. It was so strong that the teacher died three days later because of a
broken bladder.”
Zhang sent me two rhyme manuscripts after I returned to Hong Kong: the Wu
Chi Win Yuen Rhyme and Five Word Truth Scripture Rhyme. He mentioned that
he kept these manuscripts a secret and would not easily pass them to students,
because the content was harmful, treacherous, and murderous. I studied them and
asked him questions about them. He answered my questions about the theories
and the 12 animal forms in Bagua Zhang.
The following year, I engraved a stone seal and sent it to him. He replied that
he was in hospital and liked the seal very much. He explained the rhyme to me
again. Soon after this, on July 5, 1974, he died.
A seal engraved by CS Tang for Zhang
Visiting Taiwan again

I returned to Taipei in 1983. I knocked on the door of Zhang’s home but no one
answered. However, Mrs. Zhang soon arrived, coming back from the market.
I told her who I was. She was so surprised and asked if it was really me. We sat
down and talked. I had brought a photo of Zhang’s book that my Japanese student
Kasao had found in a sports library in Tokyo and asked whether there were any
remaining copies. She said that, when Zhang died, they had burned most of his
manuscripts during a ceremony, including Dim Muk Book, Chai Mui Stick, and
BaGua Qiqong. She said she would look for them, and asked me to visit again the
following day.
I arrived the next morning, and there were several students waiting there. Mrs.
Zhang said there were no more books left, except for a manuscript of Xing Yi Quan,
which she gave me as a souvenir. On that day I also met Zhang Yong Liang. Later, we
became very good friends and he gave me some Bagua Zhang manuscripts.
Chapter 3
BASIC EXERCISES
AND SYSTEM
THREE BASINS AND PALM DEFINITIONS

Gao style Bagua Zhang is divided into three parts, which are called the Three
Basins (“basins” is a term used in Chinese martial arts that means “portions”).
1. The height of the level of practice:
– High-stance walking
– Middle-stance walking
– Low-stance walking
2. The size of the circle:
– Large circle with large steps
– Medium circle with normal steps
– Small circle with tight steps
3. Definition of different parts of the body:
– Horizontal basin—eight directions of stepping
– Vertical basin—eight parts of the body
– Diagonal basin—eight positions of the palms
135
The Three Basins of Bagua Zhang

Right column: Three Basins for height of stands—first row, high stand;
second row, middle hight stand; third row, low stand.
Middle column: Three Basins for size of circle—first row, big circle for self turning steps;
second row, middle circle for 8 steps; third row, small circle for just crossing center.
Left column: Three Basins for three-dimensional—horizontal, vertical, diagonal.
Basic E xercises and S ystem 137
1 Horizontal basin—eight 2 Vertical basin—eight 3 Diagonal basin—eight

directions of stepping parts of the body positions of the palms
Clockwise from top: Right Clockwise from top: Head, Clockwise from top:
leg steps forward 45 degrees, palm, stomach, leg, thigh, Center of palm, fingertip,
back to left, sideways, back step, chest, and hand. edge, bottom, back, side of
left 45 degrees; left leg thumb, claw, and fist.
steps back, back 45 degrees,
sideways, and hook step.
EXPLANATION AND APPLICATION

Horizontal basin—eight directions of stepping
The eight directions of stepping

Clockwise from top: South 離 Lí—right leg steps forward; South west 坤 Kun—to
front 45 degrees; West 兌 Duì—back to left sideways; North west 乾 Qian—back
to left 45 degrees; North 坎 Kan—left leg steps back; North east 艮 Gen—back
45 degrees; East 震 Zhen—sideways; South east 巽 Xun—and hook step.
The position of the eight steps
The Five Elements of the steps
Pei step
Back Bui
Left Ji
Right duo
Vertical basin—eight parts of the body
Head, palm, stomach, leg, thigh, step, chest, and hand
Diagonal basin—eight positions of the palms

Different palm positions correspond to the Eight Trigrams. In the past, knowing
the names and positions of the palms was a way of secretly identifying that you
were a closed-door disciple.
Yang Palm (陽掌) Yin Palm (陰掌)

Positions of the Eight Trigrams in the palm
Clockwise from top left: center of palm, fingertip,

edge, root, back, side of thumb, claw, and fist
142 XI AN T I AN BAG UA ZH A NG
乾 Qian, 坎 Kan, 艮 Gen, 震 Zhen, 巽 Xun, 離 Lí, 坤 Kun, 兌 Duì

乾 Qian, 坎 Kan, 艮 Gen, 震 Zhen, 巽 Xun, 離 Lí, 坤 Kun, 兌 Duì
QQian—CenTer Kan—edge
Kan—edge gen—boTTom (艮卦掌根)
ian—center Gen—bottom (艮卦掌根)
(乾卦掌心-搬掌)
(乾卦掌心-搬掌)
(坎卦掌外緣-砍掌)
(坎卦掌外緣-砍掌)
zZhen
hen— side(震卦下削)
—Side (震卦下削) xXuu— finger (巽卦指插)
—finger (巽卦指插) Llíí—
—claw
Claw(離卦抓捋)
(離卦抓捋)
KKunun—
—baCK (坤卦掌背)
back(坤卦掌背) Duì
d —fiST
uì— (兌卦成拳)
fist (兌卦成拳)
Basic
BA S IC E xercises
XE RCIS E S and
A N D S ystem
yS T E M 143
The application of the eight positions of the palms
CenTer (乾卦掌心 - 搬掌)

1 Qian—center H earT of palm (center
heart The palm) attack
CenTer of the aTTaCK
2 Kan—edge (坎卦掌外緣-砍掌) 3G
gen—bottom
boTTom (艮卦掌根): the The root
rooT of
(also Called P
alSo called pi Z
zhang (劈掌)) The palm (also
the Called Tar Z
alSo called zhang (塌掌))
4Z
zhen—side
Side: inner edge (震卦下削) 5X
xu—finger (巽卦指插)
Claw (離卦抓捋)

6 Llí—claw 7 Kun—back
baCK (坤卦掌背)
8D
duì—fist
fiST (兌卦成拳) D rawingS from 1972 showing
drawings Showing the
The
relationship
relaTionShip of the
The palms
palmS with The I-C
wiTh the i-ching
Ffrom left
lefT: center
CenTer of palm, fingertip
fingerTip, edge,
boTTom, back
bottom baCK, side Thumb, claw
Side of thumb Claw, and fist
fiST.
A common palm attack

(Demonstrated by Eric Poling.)
2 Kan—edge 2 Kan—edge 3 Gen—bottom (艮卦掌

(坎卦掌外緣-砍掌) (坎卦掌外緣-砍掌) 根): the root of the palm
BAGUA ZHANG FIVE ELEMENTS STEPS EXERCISE (五行步)

The Five Elements Steps exercise is a set of walking patterns for beginners,
especially those practicing Gao style Bagua Zhang. This is a training exercise.
1. Move forward in a stable manner.
2. Lift your back leg with power, as if you were pulling a heavy car tire.
3. Lift the back leg up in a flat position, without showing the bottom of the
foot.
4. When moving forward, keep the total weight on the front leg.
5. Move the back leg very slowly to strengthen the muscles.
6. Pause when the back leg passes the front leg.
7. Keep the leg flat—do not stand up when stepping.
8. When the back leg passes the front leg, generate power in the standing leg.
9. Try to step forward as far as you can, but do not jump.
10. The key here is to bend your body forward, like a wall falling down, or as
if you were to crush your opponent by falling down on the ground.
11. Rush forward with a heavy landing and keep your balance.
12. Walk continuously with the left and right leg until you reach the wall; then
turn back to walk again.
13. Turn with the T-step (where the steps form a T-shape), keeping a good
angle to the step.
14. Remember to walk in a straight line with straight steps and no Bai Bu
(擺步), i.e. turning foot outward 45 degrees.
Drawing of the Five Elements relationship by Master Ho Ho Choy

1. Pei step is forward
2. Bei Bu to the back
3. Ji steps to left
4. Duo steps to right
5. Stay is standing without movement.
They correspond to the five elements of Metal, wood, water, fire and earth.
Walking with the Five Elements Steps
1 2 3
4 5 6
7 8 9
10
How to turn with the T-step and walk with a straight foot
11 12
Front view of walking with Five Elements Steps
13 14 15
16 17 18
BAGUA ZHANG KICKING POLE EXERCISE (踢樁)

Bagua Zhang Kicking Pole exercise is an important
exercise practiced before circle walking in Tianjin
Gao style Bagua Zhang.
This exercise is intended to improve:
• keeping the balance when applying power
when moving
• waist power and speed of throwing
• the power of kicking the opponent’s leg
• turning 360 degrees without losing balance.
Bagua Zhang Kicking Pole exercise
1 2 3
4 5 6
7 8 9
10 11 This throwing technique

helps the practitioner to:
• stand with low
Horse Stance
• generate power at
the waist and back
• bind and throw
forward with strong
power
• sink and keep the
balance.
12 13 14
15 16 17
18 19 Kick hard, and rub the

ground with the foot
while walking forward
to create sound.
Practice on the
other side and keep
practicing continuously
until tired.
Old drawings showing the continuous Kicking Pole exercises

BAGUA ZHANG WALKING STEPS EXERCISES

The Mud Walking step (趟泥步)
‘1 Qian’
‘2 Duì’ ‘5 Xu’
‘3 Lí’ ‘6 Kan’
‘4 Zhen’ ‘7 Gen’
‘8 Kun’
Different walking methods of the Mud Walking steps

Different walking methods are applied according to the style and requirements.
Eight Mother Palm method 1
• Flat rise and flat landing.

• This walking method is normally used in Ching style Bagua Zhang and is
widely recognized as being standard in competition. It is also called the
Beijing style of Mud Walking step (趙泥步).
1 2
3 4
• Kicking stepping (趨踢步).

• This method is used in Fu style Bagua Zhang.
6 7
8
• Kick and rub the ground with the feet, creating a sound (擦踢步).
• This method is used in Neiking style Bagua Zhang.
9 10
11 12
Eight Big Palm method 1
• Horse stepping—lift up the back leg to kick.

• This method is used in Yim style Bagua Zhang.
• It is called “Horse Hoof step” (馬蹄步).
13 14
15 16
Eight Big Palm method 2
• This method is used in Gao style Bagua Zhang.

• It is called “Elephant step” (大象獻蹄).
17 18
19 20
64 Palms stepping method
• Crane stepping, with a big and upper body, like falling.

• This method is used in Gao style Bagua Zhang and in straight-line 64
Palms practice.
• It is also called “Rub and Drag step” (搓拉步).
21 22
23 24
156 BAGUA
X I AN T I AN BAG UA ZH ANG
Turning to the other side of the circle
1 2
3 4
5 6
7
Three ways of Mud Walking Bai Kou Bu steps

1 The inside leg bends 45 degrees inwards, the outside leg steps on the line
8 9
2 Both legs step on the line or circumference
10 11
3 The inside leg cuts a tangent to the circumference,

the outside steps on the line
12 13
Right leg Left leg
Left leg
Right
leg
Left leg Right leg
Mud Walking on the line of the circle

• The most common style is Mud Walking, where the front leg points
straight and the back leg points 45 degrees inside the circle.
• In the traditional style, the front leg also points 45 degrees; this protects
the bottom of the foot.
• In Tianjin style the feet stay on the line of the circle.
1 2
When turning as Bai Kou Bu (擺步

turning the foot outward 45 degrees
and then inward 45 degrees) most
styles do it in a triangle shape.
In Tianjin style the Kou Bo
is done in a T-shape.
4 5
(Demonstrated by Grace Poling.)

Application of Bai Kou Bu steps
(The following steps are demonstrated by Florence Lio.)
1 Kou Bu (turn the foot inward 45 degrees) to lock the front leg
1 2
2 Bai Bu (turn the foot outward 45 degrees) to lock the front right leg
3 4
3 Bai Bu to lock the front left leg
5 6
4 Kick Shuttlecock Bu (hold up leg like kicking

a shuttlecock) to avoid low kicks
7
8 9
5 Lock leg throw
10 11
12 13
BAGUA ZHANG LEG-STRETCH EXERCISES

Basic exercises
Stances (步型)
1. Horse Stance (馬步)

2. Bow Stance (弓步)
3. T-Stance (丁字步)
4. High Empty Stance (高虛步)
5. Half Horse Stance (半馬步)
6. Crouch Leg (仆步)
Press legs (壓腿)
1. Bow Step Press Leg (弓步壓腿)

2. Empty Step Press Leg (虛步壓腿)
3. Crouch Press Leg (仆步壓腿)
4. Front Press Leg (正壓腿)
5. Side Press Leg (側壓腿)
6. Front Split Leg (正劈腿)
7. Side Split Leg (側劈腿)
In order to kick and walk with power and flexibility, you must do the basic exercises
frequently. On the next pages are some of the usual practices performed in my
class. (Demonstrated by Annabel Cheng.)
Stances (步型)
Horse Stance (馬步) Bow Stance (弓步)
T-Stance (丁字步) High Empty Stance Half Horse Stance

(高虛步) (半馬步)
Crouch Leg (仆步)

Press legs (壓腿)
Bow Step Press Leg (弓步壓腿) Empty Step Press Leg (虛步壓腿)
Crouch Press Leg (仆步壓腿)
Front Press Leg (正壓腿)

Side Press Leg (側壓腿)
Front Split Leg (正劈腿)
Side Split Leg (側劈腿)

The wrong posture for Crouch Leg
(Demonstrated by Benjamin Leung.)
Good postures for Crouch Leg
(Demonstrated by Erica Liu.)
Stances and kicks in the form
Horse Stance in Tiger Palm Crouch Leg in Snake Palm

168 X
X II AN
AN T
T II AN
AN BAG
BAG UA
UA ZH
ZH ANG
ANG
h
High
igh KiCK in SnaKe
kick in nake f
Form
orm KiCKS in e
icks in ight p
EighT Palm
alm
e mpty STanCe
EmpTy tance in
in SevenTh
seventh Single
ingle l eg STanCe
Leg tance in
in SevenTh
seventh palm
palm
e ight m
EighT other p
MoTher Palm
alm
BAGUA ZHANG SPIN CIRCLE EXERCISES

These spin circle exercises are practiced for the flexibility of the body and joints.
They can also be used after the warm-up exercises.
1. Curl Cloud Exercise (捲雲掌): This exercise is practiced before studying
the Snake Form of the Eight Big Palm to prepare the shoulders.
2. Turn Cloud Exercise (盤雲掌): This exercise is practiced before the
Dragon Form of the Eight Big Palm, so the body gets used to bending
forward and backward and the hands become more flexible at moving in
circles.
3. Penetrate Cloud Palm (穿雲掌): This exercise is practiced before the Tiger
Palm of Eight Big Palm and to generate the side power.
Curl Cloud Exercise (捲雲掌)

Single side exercise
1 2 3
4 5 6
7 8 9
Both sides exercise
10 11 12
13 14 15
16 17 18
19 20
Turn Cloud Exercise (盤雲掌)

Single side Turn Cloud Palm
21 22 23
24 25 26
27 28
Both sides Turn Cloud Palm
29 30 31
32 33 34
35 36 37
38 39 40
41 42 43
44 45 46
47 48 49
50 51
Penetrate Cloud Palm (穿雲掌)

52 53 54
55 56
Drawings of how to
practice the Three Spin
Circle exercises
BAGUA ZHANG FIVE ELEMENTS POWER EXERCISES

Five Elements Power exercises teach practitioners how to generate a different
level and angles of power: striking downwards, sinking down, throwing upwards,
sideways, and the unity, whole body power.
These exercises train long and slow power first, then short and fast. Without
completing these sets of training, you are not ready to throw your opponent away
to the door, window, or ceiling.
Five Elements Power:
1. Downwards power (沉力) (Metal)
2. Sinking power (暗力) (Water)
3. Bottom power (底力) (Wood)
4. Inwards power (內力) (Fire)
5. Unity power (整力) (Earth)
1. Metal against wood

2. Wood against earth
3. Earth against water
4. Water against fire
5. Fire against metal
Metal
Water Earth
Restriction will be Restriction among five
separated elements
Wood Fire
Helping each other Five corners
Drawing by Master Ho illustrating the rivalry of the Five Elements

Downwards power (沉力) (Metal)

Strike from top to bottom to strike your opponent so they fall to the ground. (This
is also called Dragon Waist.)
1 2 3
Side view
4 5 6
7
Sinking power (暗力) (Water)

Retreat and pull your opponent to the ground.
1 2 3
Side view
4 5 6
7
Bottom power (底力) (Wood)

Throwing upwards from the lower part of the body.
1 2 3
Side view
4 5 6
7 8 9
180 X
XII AN T I AN BAG UA ZH ANG
10 11
Inwards power (內力) (Fire)

Twist the arm to the left side and then to the right side.
1 2 3
4
Unity power (整力) (Earth)

Combine all five powers into one united power and strike.
1 2 3 4
Side view
5 6 7
Application of the Five Elements Power

Downwards power (沉力)
1 2
3 4
Sinking power (暗力)
5 6 7
8 9
Bottom power (底力)
10 11 12
13 14
Inwards power (內力)
15 16 17
18 19 20
21 22
23 24
25
Unity power (整力)
26 27
28 29
(Demonstrated by CS Tang, William Steinberg, and Fok TS.)
TEN HEAVENLY STEMS EXERCISES (八卦掌十天干)

CS Tang taught these exercises on a Hong Kong TV program in 2011.
Yi
Tin wood
Geng Wu
Yang metal Horse
Si Wei
Snake Goat
Chen Ren
Dragon Yang water
Shen
Monkey
Gui You
Yin water Rooster
Mau
Rabbit Ji
Yin earth
Yin
Tiger Xu Ding
Dog Yin fire
Bing
Yang fire Hai
Wo Pig
Yang earth Zi
Chou Rat Jia
Ox
Xin Yang wood
Yin metal
The Ten Heavenly Stems (Tian Gan)

Historical background
Heavenly Stem, or Celestial Stem, Tian Gan in Chinese, is an ancient Chinese
cyclic character numeral system: Jia (甲), Yi (乙), Bing (丙), Ding (丁), Wu (戊),
Ji (己), Geng (庚), Xin (辛), Ren (壬), Gui (癸).
They were first used to date years in the Shang Dynasty, and are now used
with the 12 Earthly Branches in the Sexagenary cycle of years. They are associated
with the concepts of Yin and Yang and the Five Elements and are commonly used
in Chinese astronomy and Feng Shui. The Shang people had a myth in which
there were ten suns, each of which appears in order in a ten-day cycle (旬). The
Heavenly Stems were the names of the ten suns and were found in the given names
of the kings of the Shang. The Stems are still commonly used nowadays in China
in counting systems similar to the way the alphabet is used in English.
Bagua Zhang Nei Gong exercises

This set of exercises is part of the Gao Yi Sheng Bagua Zhang syllabus, and is
concerned with the rooting of the martial body. The exercises can be practiced
at different heights of stance and rates of vigor to train the internal movements
(commonly called Jing) inherent in the techniques explored by the circle forms
and the straight-line (Hau Tin) sets. There are also regional variations depending
on the lineage of Gao style Bagua—there are differences in the Tian Gan taught
by Zhang Zhun Feng in Taiwan with that of those taught in Tianjin.
The meaning of Tian Gan as a “heavenly stem” in Mandarin relates in a deep
cultural way to the Taoist models of the universe. Initially these theories need not
concern the martial development of the body.
The movements are well conceived and if practiced properly can be very
demanding. The body work produces strong legs and thighs over time and
straightens the lower back to help the body’s bowing movements. It is possible to
see the body as the “trunk” and the arms as the “branches” of a tree, reflecting a
Taoist concept of the universe, where the body is reflective of nature.
Tian Gan express the way the body should work in a martial technique. By
reducing the amount of variables of movement, the low stances of the Tian Gan
focus the body work on the area prescribed by their names—for example: Ban,
meaning Parry; Kun, meaning Chop; Tiao, meaning Hook.
There are ten exercises in the Gao Yi Sheng syllabus and they can be practiced
in intelligent ways. The sets can also be practiced with an emphasis on flexibility
or an emphasis on explosive power.
Some use them to train as part of a circuit, practicing them in sets. For
instance, you could choose to do 20 on either side in between some crane dips
and spot pad work.
As a warm-up exercise to help stretch the legs and torso, practice them long
and low, extending all through the body.
This power development can strengthen the heart. These exercises improve the
circulatory system, massage the internal organs, and lengthen the spine.
The power produced by diligently practicing these well over time is quite
substantial. The opening and closing shapes of the body in Tian Gan will focus
the training directly into simple and practical martial applications that should later
be reflected in the palms.
Ready posture
The function of Back Fist (貼背拳)

Before starting, make a fist and put it behind your lower back. This is to:
• make you concentrate on moving with one hand
• direct your Qi, through the contact of the back of your fist, to consolidate
from your body back to your kidney, so you store your Qi for future use.
Requirements of every movement

1. Stretch as much as you can.
2. The hand and leg must reach as far as possible to a position that you cannot
reach.
3. Keep the breathing deep and long.
THE NAMES OF THE TEN HEAVENLY STEMS:

TIAN GAN OR TEN INDIVIDUAL EXERCISES
1. Ban: Parry (Jia (甲)) 搬 Obverse
Reverse
2. Kan: Chop (Yi (乙)) 砍 Obverse
Slice
3. Tiao: Hook (Bing (丙)) 刁 Horse Stance
Bow Stance
4. Zhuang: Crash (Ding (丁)) 撞 Single
Double
5. Kao: Lean (Wu (戊)) 靠 Single
Double
6. Beng: Smash (Ji (己)) 崩 Straight
Horizontal
7. Zhua: Grasp (Geng (庚)) 抓 Entwining
Side
8. Yi: Thrust (Xin (辛)) 掖 Forward and back
Piercing
9. Cuo: Rolling (Ren (壬)) 挫 Downwards
Upwards
10. Song: Loosen (Gui (癸)) 鬆 Single
Double
1 Ban: Parry (搬: 正、反)

Description: Obverse
1. Start in a sideways stance (Bow Stance) with the front leg and the back
leg in a straight line. The front knee (the left leg) should be at a 90-degree
angle, with the knee directly above the heel. The back leg should be fully
extended with the weight on the furthest edge of the foot.
2. The torso should be extended, lightly resting on the front thigh, parallel
(face down) to the floor. The right arm and fingers should be fully extended
forward with the palm also facing the floor. The left hand should be
clenched lightly in a fist on the small of the back (opposite the Ming Men
acupressure point). The focus should be on the hand.
3. As the weight shifts from the front to the back leg, draw the right arm
straight back, softly without tension, with the palm facing up, at the same
time until the weight is on the back foot and the front leg is fully extended.
(The arm may be lightly bent when drawing it back.) The arm is then
extended fully straight backward with the palm facing upward. The focus
should remain forward.
4. Keeping the body in the same position, raise the arm upwards to form the
third corner of a rectangle. The focus moves to the tip of the arm.
5. Bring the arm and body over and down in a smooth pressing motion,
pushing through the back foot to generate power, shifting the weight from
the back foot to the front foot back to the original position. Do not let the
front knee pass the heel. The arm should be extended at all times. The
circular motion should be smooth and not clenched, utilizing the power of
the whole body. Do not end with a slapping motion at the end (this would
just use the muscular power of the arm).
6. First train slowly to build flexibility before adding power. The movement
of the Kua (hips) should be in a rocking, pendulum-like movement as the
body moves back and forth.
Description: Reverse
1. Start in the same sideways stance with the front leg and the back leg in a
straight line. The front knee (left leg) should be at a 90-degree angle, with
the knee directly above the heel. The back leg should be fully extended
with the weight on the furthest edge of the foot.
2. The torso is extended in the same position but it is the left hand that is fully
extended with the palm down. The right hand is clenched lightly in a fist
on the small of the back.
3. As the weight shifts from the front to the back leg, draw the left arm
straight back, softly without tension. This time, internally rotate the hand
fully so that the palm and elbow are both facing upwards. Bring the arm
back in full extension. Again, make sure the weight is on the back foot and
the front leg is fully extended. The focus should remain forward.
4. This time, the emphasis should be on bringing the left shoulder as far back
as possible, twisting the torso so that it is almost facing completely to the left.
5. Again, bring the arm and body above and over in a smooth pressing
motion, as the weight is shifted from the back foot to the front foot. The
focus should follow the arm motion. Repeat.
Application
This movement is to train a pressing attack using
whole body power. If the opponent is grabbing onto
the wrist it will take him forward and off balance,
releasing the grip. Then the palm can be used to
strike the top of the head or the face or to push the
opponent over. Note: For senior practitioners,
try to touch the ground when
bending (demonstrated by Casto)
Ban: Obverse (甲：正搬)
1 2
3 4
5 6
Ban: Reverse (甲：反搬)
1 2
3 4
2 Kan: Chop (砍: 正、削)

Description: Obverse
1. Start in a sideways stance with the front leg and the back leg in a straight
line. The front knee (left leg) should be at a 90-degree angle, with the knee
directly above the heel. The back leg should be fully extended with the
weight on the furthest edge of the foot.
2. The torso should be facing forward in an upright position. The left arm
should be extended to the left at a 60-degree angle to the body. (Extending
too far back will lose the integrity of the connection between the arm and
the body.) The palm is facing down. The arm should be slightly curved
towards the front, and the wrist should be cocked slightly to the right.
3. As the weight shifts from the front to the back leg, draw the left arm out to
the right and back, softly without tension. The palm should rotate upwards
as the torso rotates 90 degrees to form a straight line with the legs. The left
hand should rest softly against the right shoulder. Again, make sure the
weight is on the back foot and the front leg is fully extended.
4. As the weight shifts back to the front foot, bring the left hand back to the
original position in a smooth slicing movement. Make sure the front knee
does not pass the heel. The intention and Peng Jing should be focused on
the outside of the arm, as this is where the arm will strike the opponent.
of the Kua (hip crease) should be in a rocking, pendulum-like movement
as the body moves back and forth.
Description: Slice
2. The torso should be extended, lightly resting on the front thigh parallel
(face down) to the floor. The right arm is extended downwards at about a
45-degree angle to the floor with the palm facing upwards. The arm should
intersect about halfway down the shin. The focus should be on the palm.
3. As the weight shifts from the front to the back leg, sweep the left arm
around and back along the 45-degree line, softly but firmly until it is
pointing upwards towards the sky. The arm should remain fully extended
and the palm should remain facing upwards. The focus should follow the
hand. Make sure the intention and the Peng Jing are on the right blade of
the hand. Again, the wrist should lead and be slightly cocked to the right
as the arm comes up. Make sure the weight is on the back foot and the
front leg is fully extended.
4. As the weight shifts back to the front foot, sweep the left hand back to the
original position in a smooth slicing movement. Make sure the front knee
does not pass the heel. The intention and Peng Jing should be focused
on the left side of the arm. (This movement can also be used to pull an
opponent down and off balance.) The focus again follows the movement
of the hand.
5. Repeat.
Application
This attack can be used as a backhand strike to the chest with the elbow and
forearm (obverse variation) or as a chopped block.
It can also be used to slice upwards to the neck and under the chin of the
opponent (slice variation). Sliding alongside the attacker, the right arm grabs the
left wrist while the left arm can either sweep above the attacker’s right arm to the
neck, crushing the windpipe and knocking the opponent down, or it can sweep
under the arm to the armpit and unbalance the opponent.
It can also be used to pull an opponent down.
Kan: Obverse (乙：平砍)
1 2
3 4
5 6
Kan: Slice (乙：斜砍)
2
3 4
3 Tiao: Hook (刁: 馬、弓)

Description: Horse Stance
1. Stand in a wide Horse Stance with the left hand pressing directly
1.
downwards, with the energy pushing through the wrist to the bottom of
the palm, which is parallel to the floor. The right hand is fully extended with
the arm sweeping back past the ear as far as it can. The tips of the thumb
meet the tips of the fingers as though they were picking something up.
2. Bend the waist 90 degrees forward, swinging the right arm forward to
2.
the same position as the left arm while opening up the palm. The focus is
down to the ground.
3. As soon as the arms are in the same position, the waist straightens and
3.
bends backward swinging the left arm up to mirror the original position.
One should imagine that one is pulling the opponent’s head by grabbing
hold of his hair. During the exchange the arms are fully extended and should
exert an opposing force to each other, like stretching an elastic band. This
equal and opposing force is what generates the internal power in internal
martial arts.
4.
of the Kua (hip crease) should be in a rocking, figure-of-eight movement
as the body moves up and down. However, this is a subtle movement as
weight is changed from one side of the body to the other.
Description: Bow Stance
2. The torso is straight up (or leaning forward slightly) with the left arm
extended outwards just above the head, with the fingers cupped and
fingertips touching. The right arm is pushing directly downwards with
the palm facing downwards.
3. As the weight shifts backward from the front to the back leg, the torso
twists to the back. The left palm opens and turns to the back as the left arm
begins to come across to the back. The right palm flows back and brushes
around to the outside of the right knee, which is now at a 90-degree angle.
4. When the torso turns to completely face the back, the right hands swing
down and up respectively to mirror the original position. Again, the arms
are fully extended and exert an opposing force, like an elastic band.
5. Repeat.
Application
This exercise strengthens and improves the flexibility of the
back and seeks to cultivate an awareness of internal power.
Although the lifting and pulling motion is ostensibly to
simulate the pulling of the opponent’s head by grabbing the
hair, followed by a palm strike to the chin, the movement
can be used as a block or a palm strike. The force is
exerted from the leg through the hips and the waist, and
as one side is moving forward, the other is pulling back,
thus increasing the torque. This is similar to the spiraling
energy or silk-reeling energy of Chen style Tai Chi.
Note: The body must be very straight, with both hands
stretching using opposing power (demonstrated by Conan
Tsang, right).
Tiao: Horse Stance (丙：正刁)
1 2
3 4
5 6
7 8
9 10
Note: Bend very low when pressing down, stretch high, and lean back slightly to
stretch your back (demonstrated by William above).
Tiao: Bow Stance (丙：側刁)
1 2
3 4
5 6
Benjiman’s posture
4 Zhuang: Crash (撞: 單、雙)

Description: Single
1. Stand with the weight on the right foot angled outwards at 45 degrees in
a low stance. The left leg should be extended forward in a relaxed manner
with the heel resting lightly on the ground with the toes extending up.
2. The torso should be upright with the right hand lifted and extended
forward, at about the same level as the forehead. The fingertips are clasped
in a ball and lightly touching. The left hand is touching the waist with the
palm completely externally rotated, facing outward to the left with the
thumb facing down.
3. Draw in the abdomen and sink the tailbone; slide the left foot forward,
pushing off with the right leg until the right leg is fully extended and the
left knee forms a 90-degree angle with the floor. The left foot should be
similar to a Mud Walking step and the power should be generated by the
spiraling energy from the back foot.
4. At the same time that the torso is moving forward, the left hand is thrusting
forward parallel to the floor until the left arm is fully extended in front of
the body to execute a palm strike. The palm strike should be executed in a
spiraling movement with the palm ending facing forward and the thumb
facing up. The strike area is the bottom fleshy part of the palm. The palm
should not begin to rotate until the elbow is past the torso, and the power
and acceleration should only be initiated at this point.
5. The right hand swings forward and down as a counterweight to the left
hand thrust and externally rotates to the right until the right hand rests
lightly on the waist. The torso ends up resting lightly on the left thigh with
the focus on the left palm.
6. Sink and return to the original position, drawing the left arm back to the
waist and extending the right arm outwards and upwards. Remember to
keep a low stance throughout the movement. Do not stand up too high in the
original position, as the upward and downward movement wastes energy.
Description: Double
with the front of the foot lightly touching the ground.
2. Both hands should be resting lightly at the waist with the palms completely
externally rotated and thumbs pointing down.
3. Draw in the abdomen and sink the tailbone; slide the left foot forward,
pushing off with the right leg until the right leg is fully extended and the
left knee forms a 90-degree angle with the floor. The left foot should be
similar to a Mud Walking step and the power should be generated by the
spiraling energy from the back foot.
4. At the same time that the torso is moving forward, both hands are
thrusting forward parallel to the floor until both arms are fully extended
in front of the body to execute a double palm strike. The forearms should
be lightly touching in a mirror image as the arms are moving forward. The
palm strike should be executed in a spiraling movement with the palm
ending facing forward and the thumbs facing up. The strike area is the
bottom fleshy part of the palm. The palms should not begin to rotate and
the forearms should not touch until the elbow is past the torso, and the power
and acceleration should only be initiated at this point.
5. As the weight shifts back to the right foot, both arms swing out and back
in a large circle, first internally rotating until the arms are fully extended
to the side of the body. The weight should be fully on the right foot at this
point.
6. Begin to rotate on the heels of both feet until the torso turns 180 degrees
to face the original position while externally rotating the palms until they
are brought back to their original position at the waist. The weight should
be on the left foot and the stance should be a mirror image of the original
position.
7. Keep a low stance as you are executing the movement to minimize bobbing
up and down and as you change direction.
Application
This movement trains the power and flexibility to execute the palm strikes that
are characteristic of Bagua Zhang. The full extension of the movement lengthens
the back and shoulder muscles and the low stance strengthens the leg muscles.
Remember to emphasize the sinking motion so that the full power of the hips and
legs and full weight can be brought to bear on the strike.
The left arm in the single strike provides a counterweight to the strike, helping
to generate the internal power. The rotation or spiral energy is also characteristic
of internal martial arts. The function of the left arm is also to grab the opponent’s
wrist and to control or pull him off balance. The upward motion simulates a block.
In the double strike, the outward sweep of both hands trains them to perform
a large, round movement and also allows for grabbing the opponent’s wrist to
control or pull him off balance.
Zhuang: Single (丁：單撞)
1 2
3 4
5 6
Left side (左勢)
1 2
3 4
5
Zhuang: Double (丁：雙撞)
1 2
3 4
5 6
5 Kao: Lean (靠: 單、雙 )

Description: Single
2. Place both forearms together at a 90-degree angle to the biceps with the
fingers extended to the sky. The forearms should be perpendicular to the
ground and in front of the face.
3. Lift the arms up and over and twist the torso to the left, extend the left
palm, and bring the right arm down to guard, ending in a Pre-Heaven
stance. Stand for at least five minutes.
4. To make the practice harder, raise the left leg parallel to the floor and angle
the foot straight up, pushing through the heel.
5. Practice on both sides.
Description: Double
2. Place both forearms together at a 90-degree angle to the biceps with the
fingers extended to the sky. The forearms should be perpendicular to the
ground and in front of the face. Lift both arms up and hold the palms
upward, as if holding a peach, ending in a Pre-Heaven stance. Stand for at
least five minutes.
3. To make the practice harder, raise the left leg parallel to the floor and angle
the foot straight up, pushing through the heel.
Application
This technique is the standing stance for the Pre-Heaven Palms. It helps to generate
Qi in the body and allows one to focus on alignment, especially the 24 Essential
Points, in a fixed position. The objective is to come immediately into the correct
alignment when required, without adjustment. The weight on the back leg also
strengthens the thigh muscles, allowing a lower stance in circle walking and a
stronger thrust.
Kao: Single (戊：單靠)
1 2
3 4
5 6
Kao: Double (戊：雙靠)
1 2
6 Beng: Smash (崩: 直、橫)

Description: Straight
1. Stand in a Horse Stance with both hands in tight fists at the waist. The
palms should be facing up.
2. Punch out the right hand in a relaxed way along the center line. The palm
should be facing up until the elbow is in front of the body. At this point,
accelerate through the punch while internally rotating the fist until the
thumb is at the top at the end of the punch. Aim for the center of the body.
Make sure the punch is straight, and do not punch up from below. Make sure
the wrist is locked and does not collapse upon the punch.
3. Punch out with the other hand while drawing the original fist back. The
original fist should be rotated back to its original position. However, when
the two arms meet in the middle, the left forearm should be pushing down
the right forearm in a forceful rubbing motion to take the center line.
4. There should be a complementary force between the two arms, with one
pulling back as the other punches out, similar to an elastic band, as well as
a gentle rocking motion of the hips to power each punch. Keep your elbows
down at all times and do not raise your shoulders to telegraph the punch.
5. Repeat.
Description: Horizontal
1. Stand in a Horse Stance with both hands at the waist. The thumbs should
be drawn back, but only the first and second joints of the fingers should
be curled tightly. The impact point should be the finger joints, not the
knuckles. The palm is facing up.
2. Punch out the right hand in a relaxed way along the center line. The palm
should be facing up until the elbow is in front of the body. At this point,
accelerate through the punch while internally rotating the fist until the
thumb is at the top at the end of the punch. Aim for the point in between
the rib cage at the base of the sternum. Make sure the punch is straight,
and do not punch up from below. Make sure the wrist is locked and does not
collapse upon the punch. This fist is called “Leopard Fist.”
3. Punch out with the other hand while drawing the original fist back. The
original fist should be rotated back to its original position. The forearms
do not touch.
4. There should be a complementary force between the two arms, with one
pulling back as the other punches out, similar to an elastic band, as well as
a gentle rocking motion of the hips to power each punch. Keep your elbows
down at all times and do not raise your shoulders to telegraph the punch.
5. Repeat.
Application
This technique emphasizes the correct method of punching in the internal arts,
while generating internal power. The single smash also trains the punch to push
down the opponent’s block and continue to its target, and should be used to punch
the opponent’s vital organs.
The second technique is more powerful, as the power is concentrated on a
much smaller area and is also meant to strike the acupressure points and other
vital points, causing momentary concussion, paralysis, or even death.
Beng: Straight (己：崩 – 直崩)
1 2
Beng: Horizontal (己：崩 – 橫崩)
1 2
3 4
7 Zhua: Grasp (抓: 纏、側)

Description: Entwining
1. Stand in a Horse Stance with the left hand fully extended all the way to the
fingertips with the fingers together, aiming to pierce the opponent’s throat.
The palm should be facing up and the wrist should be locked straight, not
bending upon impact. The other hand is at the waist in a claw position,
with the elbow back and the palm facing down.
2. The extended arm should then rotate counterclockwise into a claw
position, imagining that the thumb and the first two fingers are grabbing
the opponent’s wrist. This movement should be executed crisply and the
elbow should carry on sinking down (do not allow it to splay out).
3. Pull the left hand back to the waist while simultaneously striking out with
the right hand with a finger strike to the throat.
4. There should be a complementary force between the two arms with one
pulling back as the other strikes out, similar to an elastic band, as well as
a gentle rocking motion of the hips.
5. Repeat.
Description: Side
1. Start in a sideways stance with the front leg and the back angle in a straight
2. The torso is leaning forward with the right arm fully extended to the
fingertips and aiming at the throat. The left arm is curled into a fist on the
small of the back.
3. As the weight shifts backward from the front to the back leg, the palm
rotates clockwise into a claw and begins to pull downwards.
4. When the weight has shifted completely to the back foot, the right hand
should be in a claw, with the palm facing down behind the knee.
5. Unwind the claw and shift the weight to the front foot and back to the
original position, executing a finger strike.
Application
This technique strengthens the fingers for a throat strike, and in the event that the
strike is blocked, a grab is executed to the opponent’s wrist and they are dragged
off balance, opening them up for another strike.
Zhua: Entwining (庚：穿抓)
1 2
3 4
5
Zhua: Side (庚：纏抓)
1 2
3 4
5 6
7
8 Yi: Thrust (掖: 前後、穿)

Description: Forward and back
1. Stand in a Horse Stance with both hands resting at the waist. Both hands
should be fully internally rotated with the palms facing outwards and the
thumb pointing down.
2. Thrust both hands forward and pointing downwards at an angle of about
30 degrees, aiming at the lower part of the torso of the opponent or the
groin area. The palms should begin to rotate and accelerate once the elbow
is past the torso, and end with a palm strike with the bottom of the palms
(the thumb should be on the top but should not stick up). Sink the body
upon impact.
3. Slowly bring both hands back to the original position in a relaxed manner,
taking care to prevent the elbows from splaying out. At the waist, rotate the
hands, keeping the wrists connected to the waist so that the fingers end up
pointing behind the body, with the thumb facing upwards.
4. Thrust the palms backward with a palm strike angled downwards about
30 degrees. Sink the body upon impact. This palm strike should be with
the heel of the palm, arching back the hand, with the fingers and thumb
pointing directly downwards to the earth.
5. Rotate and return to the original position. Repeat with a forward strike.
Description: Piercing
1. Stand in a Horse Stance with both hands in a fist at the waist, with the fist
facing down (fingers up).
2. Thrust the right hand forward and pointing downwards at an angle of
about 30 degrees, opening up the fist into a palm, aiming at the lower part
of the torso of the opponent or the groin area. The palm should begin to
rotate and accelerate once the elbow is past the torso, and end with a palm
strike with the bottom of the palm (the thumb should be on the top but
should not stick up). Sink the body upon impact.
3. Slowly bring the palm back into a fist at the original position in a relaxed
manner, taking care to prevent the elbows from splaying out. At the waist,
rotate the fist, keeping the wrists connected to the waist so that the fist ends
up pointing backwards.
4. Open the fist and thrust the palm backward with a palm strike angled
downwards at about 30 degrees. Sink the body upon impact. This palm
strike should be with the heel of the palm, arching back the hand, with the
palm perpendicular to the ground.
5. Rotate and return to the original position. Repeat with a forward strike.
Application
This technique trains the power of the palm strike to the front and back and, unlike
the earlier technique angles, the strike is at the vital points in the lower basin of
the body.
The curling motion, bringing the palm from the front to the back, minimizes
the space required for a change of striking direction and allows one to generate
power to strike at someone who is behind or to the side when one is moving. The
movement is not clear to the opponent and is difficult to block.
Yi: Side and piercing (辛：掖 – 側掖)
1 2
3 4
Yi: Forward and back (辛：掖 – 前後掖)
1 2
3 4
5 6
9 Cuo: Rolling (挫: 滾、上)

Description: Downwards
1. Stand in a Horse Stance with both hands in an upside-down fist at the

waist, with the fingers up.
2. Punch downwards to the center, aiming at the genital area with the right
hand at an angle of 45 degrees, rotating the fist until the thumb is facing
up by the end of the movement. Initiate the rotation once the elbow is past
the body. Keep the arm extended.
3. As the right arm pulls back, the left arm punches out along the center
line. Midway through the extension, the left forearm should rub strongly
against the right forearm, pushing the right arm down and accelerating
towards full extension.
4. Repeat the action with the right arm, pushing down the left forearm as it
punches out along the center line.
Description: Upwards
1. Stand in a Horse Stance with both hands in an upside down fist at the waist
with the fingers facing up.
2. Punch upwards, aiming for the face with the right hand, rotating the fist
until the fingers are pointing down. Initiate the rotation once the elbow is
past the body.
3. As the right arm pulls back, punch the left arm out towards the face,
rotating until the fingers are facing down.
Application
This technique is to train the practitioner to bypass a block by rubbing vigorously
and pushing the blocking hand down (in the case of the downward movement)
or by pushing the blocking hand outwards to the side (in the case of the upward
movement). The vigorous friction generated by the movement will distract the
opponent and make it difficult to keep their arm locked in place due to the heat
and pain.
Cuo: Downwards (壬：挫 –下挫)
1 2
3 4
Cuo: Upwards (壬：挫 – 上挫)
1 2
3 4
10 Song: Loosen (鬆: 單、雙)

Description: Single
1. Stand in a Horse Stance with both hands facing inwards at the level of the
Dantian. The elbows should be soft and out to the sides. The fingers and
wrist should be loose.
2. In a relaxed manner, flick the right arm out and to the right in a whipping
motion to the level of the eyes, ending with the fingers extended. The arms
should not be tense when executing this motion.
3. Softly return the arm to the original position, and flick the left hand out
and to the left to the level of the eyes using the same motion in a mirror
image.
4. Repeat.
Description: Double
1. Stand in a Horse Stance with both hands facing inwards at the level of the
Dantian. The elbows should be soft and out towards the sides. The fingers
and wrists should be loose.
2. In a relaxed manner, flick both arms out in a whipping motion to the level
of the eyes, ending with the fingers extended. The arms should not be tense
when executing this motion.
3. Softly return the arms to the original position.
4. Repeat.
Application
This technique is used to deliver a strong backhand slap to the face to stun and
distract the opponent, to open him up for another technique. The arms and joints
should be completely relaxed and should strike like a whip.
Song: Single (癸：鬆 – 單鬆)
1 2
3
Song: Double (癸：鬆 – 雙鬆)
1 2
Applications
Each Tian Gan exercise was originally derived for striking but was later modified
into stretching exercises. In Tianjin, there are two sets of Tian Gan: beginners
practice the first set to stretch and build up power; the second set is used to
increase the power and put the exercises into a real fighting environment.
1 Ban
Strike the forehead of your enemy heavily and try to press him down to the ground
by swinging the right hand with full power.
2 Kan
Attack the neck by using the transverse power
The Kan-Slide cuts down, breaks the elbow of the arm,

and then strikes up to chop his trachea
(Demonstrated by Andre Sigwalt and Christopher Liechti.)

Two-men drill exercises

Each Tian Gan is also arranged for two-men drill exercises so that you can train
in a realistic combat situation. For example, in Zhua: Grasp:
1 2 3
4 5
This exercise also trains the duration and strength of your Horse Stance.
BAGUA ZHANG CONDITIONING

1 Hand conditioning
The conditioning and strength of the hands is an essential part of the techniques
of Chin Na, so this training should be very conscientious.
Exercise 1: “Grab the vase”
1 2
In the position of Sei Ping Ma, grab the outer edge of a vase or container filled with
water for ten minutes, then switch to the other hand. After a week of daily exercise,
add sand to make it heavier and, thus, increase grip strength.
Exercise 2: Closing and opening a clamp

Another interesting exercise, using more modern tools,
is to use devices such as a clamp to strengthen the hands.
This device uses equal pressure when grasping and closing
it. Through this exercise you should increase the number
of repetitions and sets, for example perform 20 repetitions
twice each day and gradually increase the repetitions and
sets. This type of apparatus develops the musculature of the
forearm and tendons of the hand, but not the mobility of the fingers.
Exercise 3: Rotation and grip of metal balls

Rotate two steel balls in the hands, first from the center of
the palm and then on the tips of the fingers. This exercise
strengthens all the muscles of the hand equally and improves
mobility by using the tendons of the forearm.
Exercise 4: Rub a cane

Another very interesting tool for training the hands is a ruler or short cane, around
30–40cm long and 3–4cm thick. These are produced in different shapes and
sizes—some have engravings and edges to massage or facilitate the grip.
Hold the cane with both hands and twist it, as if twisting or wringing a towel
or a rope. This can be done horizontally or vertically. If it is done horizontally, one
hand is fixed and the other is turned as if trying to break the cane; later reverse the
position of the hands. If it is done vertically, each hand rotates at the same time
in opposite directions.
Another way of rubbing the cane is to rotate it using the arms, with the arms
and wrists making circular motions in opposite directions at the same time and
keeping the grip strong.
It is best to do these exercises in the position of Sei Ping Ma so that the training
can strengthen the legs and the body at the same time.
The exercise can be done for five minutes each day. As the body strengthens,
increase the time to ten minutes.
Vertical rub
Horizontal rub Running rotation

Exercise 5: Iron Palm

This technique is present in many systems of Kung Fu and aims to strengthen the
palm so it can cause maximum damage while hitting without being harmed.
The Iron Palm uses a small bag filled with green soybean, which, according
to Chinese medicine, attracts Qi to the hand and increases blood flow or Yang.
Stand in front of a table or chair on which the bag is placed horizontally. In the
position of Sei Ping Ma, hit the bag with the palm of the hand, first downwards,
then with the back of the hand, then with the side, and finally with the heel of the
palm. Perform these four strokes with forcefulness, and then repeat with the other
hand. You can start with around 20 times for each of the four hits with each hand
and increase the number of repetitions as the hand strengthens.
After training, it is necessary to apply Chinese liniments such as the Dit Da
Jow, a herbal preparation, root, and alcohol liquor used to restore circulation and
prevent bruising and damage to the tissues of the hands.
1 2 3 4
5 6 7 8
Once you have reached a certain level of strength and resistance in the palms, you
can change the hits and do them with the fingertips in the snake shape or the tiger
claw, and with the fist. These are useful for attacking pressure points or hitting.
9 10 11
12 13
Training the Diagonal basin: the eight positions of the palms
1. Qian-center (乾卦掌心)
2. Kan-edge (坎卦掌外緣)
3. Gen-bottom (艮卦掌根)
4. Zhen-side (震卦下削)
5. Xu-finger (巽卦指插)
6. Lí-claw (離卦抓捋)
7. Kun-back (坤卦掌背)
8. Duì-fist (兌卦成拳)
1 2 3 4
228 XIA
ANNTIA
ANN BAG UA ZH ANG
BAGUA
5 6 7 8
2 Strengthening the body

It is also important to strengthen your body with exercises that give you flexibility
and muscular strength. One of the classic exercises of Kung Fu is “The thrust of the
tiger upward,” which is a flexion and rotation of the whole trunk back and forth
and involves all the muscles of the arms and the back.
Exercise 6: The tiger pushes up

Lie supine on the floor and start pushing up to stretch the arms. Lift the back and
take the body back. Then, bend the arms forward to return to the starting position.
This exercise describes a forward movement, but it can also be done in reverse,
bringing the whole body back, flexing the arms, and then moving forward.
1 2
3 4
5 6
Three types of push-up

Push-ups can be done with the palms, the fingers, and the fists, which strengthen
the hands, fingers, and wrists. It is best to start with the palms, then use the fingers,
and end your training with the fists.
Push-ups with the palms Push-ups with the fingers
Push-ups with the fists

Exercise 7: Standing meditation

There are different types of standing meditations within martial arts training, as
well as other “standing methods” called Zhan Zhuang.
Traditionally, standing meditation is way of developing internal strength or
Qi. Some standing exercises develop more mental attitude and concentration; one
should concentrate on the lower Dantian, which is located three inches below the
navel.
This exercise, in addition to increasing the Qi energy, forces the body to relax
more deeply. When you stand in this position for a while, certain areas of the body
feel stress and discomfort, such as the shoulders and legs; relief will only come
from a deep physical and mental relaxation in the posture.
These postures should be practiced for a short time at first: count to 100 in
your head, breathe through the nose, and retain a calm and relaxed attitude. As the
body adapts, increase the time, aiming for a maximum time of one hour.
For this standing meditation, stand with the feet positioned at shoulder-width
apart. Bend your knees as much as possible while still feeling comfortable, keep
your back straight, and push up the pelvis. Imagine a straight line between the
navel and the nose to align the body. Focus the gaze far on the horizon. Place
the hands together in front of the stomach, at the height of the lower Dantian.
Mentally count to 100 slowly while breathing through the nose.
BAGUA ZHANG STATIC STANCE

There are five basic static stances for beginners, which strengthen the resistance
power of your body and back. One should keep the requirements of the 24
Essential Points in mind when practicing this stance. Try to hit the body slowly
and lightly to increase the body's resistance to being punched. By feeling the power
and adding hitting power increases the resistance power of the whole body.
1 Downward static stance
The posture should be low and stretched as much as possible. The legs are pointed
out but the center of the body is pointing to the center, forming a cross shape.
This stance strengthens the leg muscles. Pressing the back and shoulders down
and stretching and twisting the arms diagonally presses the chest down and makes
the Dantian contract.
2 Upward static stance

This stance pushes the palms up as if holding two heavy stones.
3 Inward static stance
Stand in a big Horse Stance, with the thighs at an angle of 90 degrees. Position the
arms as if they are holding a big ball, with the palms facing inwards.
4 Outward static stance
Stand in a low stance with the palms pushing outwards.

5 Single Palm Change static stance

Single Palm Change is the most important stance to practice; most practitioners
practice this stance every day.
GAO STYLE BAGUA ZHANG

SYSTEM OF TRAINING
The whole system includes:

• Xian Tien (先天)—meaning: former heaven, pre-birth, prenatal; for:
strategy, flexibility of the body; used in: circle walking method
• Hou Tien (後天)—meaning: later heaven, after-birth, postnatal; for:
tactics, using attack and defense; used in: straight-line method.
1 Basic exercises
1. Starting postures
– Static stance
– Mud Walking
– Five Elements Steps
– Bear Walks
2. Eight Basic Stretches
– Leg stretches
– Three Spin circle exercises
– Five Elements Power exercises
– Body conditioning
– Iron Palm
3. Ten Heavenly Stems: Tian Gan or ten individual exercises
– Ban: Parry
– Kan: Chop
– Tiao: Hook
– Zhuang: Crash
– Kao: Lean
– Beng: Smash
– Zhua: Grasp
– Yi: Thrust
– Cuo: Rolling
– Song: Loosen
CIRCLE SERIES
2 Basic forms: turning forms (轉掌)
• Wuji Palm
Eight Mother Palms (八母掌)
1. Fierce Tiger Descends the Hill

2. White Monkey Presents the Peach
3. Huge Roc Spreads Wings
4. Lion Opens Mouth
5. Push Window to Glance at the Moon
6. Holding the Moon to the Chest
7. Point to Heaven and Pierce to Ground
8. Black Bear Stretches Arms
Linking form
Drill in each palm
Chin Na forms: two series
3 Three main forms: changing forms (換掌)

Eight Big Palms (八大掌)
1. Snake Form: Follow Shape Palm

2. Tiger Form: Return and Strike the Tiger Palm
3. Dragon Form: Piercing Hand Palm

4. Swallow Form: Overturns Covering the Hands Palm
5. Turn Around Body Over the Back Palm
6. Twist the Body and Pat the Horse Palm
7. Turn Over Body and Rear Insert Palm
8. Stop Body, Parry, and Hook Palm
4 Beginning and ending palms

1. Single Palm Change: Inside change, Outside change
3. Five Dragons Palm
4. Black Dragon Swings Tail
5. Green Dragon Stretches Claw
6. Yellow Dragon Turns Body
7. White Dragon Splits the Water
8. Red Dragon Clings to Pole
9. Black Dragon Swings Tail Through the Forest Set
Drill in each palm
1. Linking forms
– Sequential form
– Random form
– Black Dragon Swings Tail Through the Forest Set
2. One drill linking form
5 Hou Tien 64 Palms

Drill in each palm
1. Attack
2. Release
3. Counterattack
4. Six variations
– Eight linking forms
– Eight drill linking forms
– Combination of whole Xian Tien and Hou Tien forms
6 12 animals (十二地支)
1. Māo: Cat (猫)
2. Yào: Hawk (鷂)
3. Hǔ: Tiger (虎)
4. Yīng: Eagle (鷹)
5. Lóng: Dragon (龍)
6. Shé: Snake (蛇)
7. Mǎ: Horse (馬)
8. Fèng: Phoenix (鳳)
9. Hóu: Monkey (猴)
10. Jī: Chicken (雞)
11. Xióng: Bear (熊)
12. Shī: Lion (獅)
7 Bagua weapons
1. Saber
2. Sword
3. Pole
4. Spear
5. Moon knife
6. Cane
7. Double cane
8. Push Hands
9. Nei Gong
NAMES OF 64 PALMS
1. 乾卦蛇形：─ 開捧扽探挒挑蓋纏
2. 坎卦虎形：─ 十藏砍削二虎倒環
3. 艮卦龍形：─ 穿搬截攔停翻走轉
4. 震卦燕形：─ 推托帶領沾黏隨連
5. 巽卦鷹形擰身：─ 肘頂墜盤橫挫疊擰
6. 離卦馬形轉身：─ 趨踹擺掛踢踏掃蹬
7. 坤卦鷂形翻身：─ 掖擠刁擄崩撞扣搬
8. 兌卦獅形停身：─ 捯狸撕胯搖閃斜竄
Cantonese Putongua English

１乾卦蛇形
開 Hoi Kai open
捧 Pung Peng hold up
扽 Deon Dun pull down
探 Taam Tan reach out
挒 Li Lie split
挑 Tiu Tiao lift up
蓋 Goi Gai cover
纏 Cin Chan wrap
２坎卦虎形
十 Sap Shi cross
藏 Cong Zang hide
砍 Ham Kan chop
削 Soek Xue pare
二 Ji Er two
虎 Fu Hu tiger
倒 Dou Dao fall
環 Waan Huan ring
３艮卦龍形
穿 Cyun Chuan penetrate
搬 Bun Ban shift
截 Zit Jie intercept
攔 Laan Lan block
停 Ting Ting stop
翻 Faan Fan overturn
走 Zau Zou escape
轉 Zyun Zhuan turn
４震卦燕形
推 Teoi Tui push
托 Tok Tuo uphold
帶 Daai Dai carry
領 Leng Ling lead
沾 Zim Zhan adhere
黏 Nim Nian stick
隨 Ceoi Sui follow
連 Lin Lian join
５巽卦鷹形
肘 Zau Zhou elbow lock
頂 Ding Ding elbow strike
墜 Zeoi Zhui drop elbow
盤 Pun Pan coil
Cantonese Putongua English

橫 Waang Heng across
挫 Co Cuo grind
疊 Dip Die fold
擰 Ning Ning twist
６離卦馬形
趨 Ceoi Qu forward chasing kick
踹 Caai Chuai backward kick
擺 Baai Bai swing kick
掛 Gwaa Gua hang kick
踢 Tek Ti upward kick
踏 Daap Ta tread kick
掃 Sou Sao sweep kick
蹬 Dang Deng heel kick
７坤卦鷂形
掖 Jik Ye tuck
擠 Zai Ji squeeze
刁 Diu Diao pluck
擄 Lou Lu capture
崩 Bang Beng smash
撞 Zong Zhuang bump
扣 Kau Kou hook
攀 Bun Pan climb
８兌卦獅形
抖 Dau Dou shake
狸 Lei Li raccoon dog
撕 Si Si tear
胯 Kwaa Kua thigh throw
搖 Jiu Yao swing
閃 Sim Shan avoid
斜 Ce Xie slanting
竄 Cyun Cuan leap/scurry
LEVELS IN GAO STYLE BAGUA ZHANG

Level 1
Basic exercises
1. Start posture Static stances
Mud Walking
Five Elements Steps
Bear Walk
2. Eight basic stretches
3. Ten Heavenly Stems: Tian Gan
Basic forms: turning forms (轉掌)

Eight Mother Palms (八母掌) Tian Gan
1. Fierce Tiger Descends the Hill 1. Ban: Parry (A)
2. White Monkey Presents the Peach 2. Kan: Chop (B)
3. Huge Roc Spreads Wings 3. Tiao: Hook (A)
4. Lion Opens Mouth 4. Kao: Lean (B)
5. Push Window to Glance at the Moon (A)
6. Holding the Moon to the Chest (B)
7. Point to Heaven and Pierce to Ground (A)
8. Black Bear Stretches Arms (B)
Linking form: Mother Palms linking form

Two-men drill: Chin Na Series 1
Each palm drill Series 2
1. Static
2. Push
3. Chin Na
Push Hands and attack and defense
Level 2
Main forms: changing forms (換掌)
Beginning palms
1. Single Palm Change 1. Inside change
2. Double Palm Change 2. Outside change
Xian Tien Eight Big Palms (八大掌)

1. Snake Form: Follow Shape Palm 4. Zhuang: Crash (A)
2. Dragon Form: Piercing Hand Palm 6. Beng: Smash (B)
3. Tiger Form: Return and Strike the Tiger Palm 7. Zhua: Grasp (A)
4. Swallow Form: Overturns Covering the Hands Palm 8. Yi: Thrust (B)
5. Eagle Form: Turn Around Body Over the Back Palm 9. Cuo: Rolling (A)
6. Horse Form: Twist the Body and Pat the Horse Palm 10. Song: Relax (B)
7. Hawk Form: Turn Over Body and Rear Insert Palm (A)
8. Lion Form: Stop Body, Parry, and Hook Palm (B)
Ending palm (A)
1. Five Dragons Palm (B)
Linking forms
1. Sequential form
2. Random form
3. Black Dragon Swings Tail Through the Forest Set
Level 3
Hou Tien 64 Palms (後天六十四掌)
• Solo form of 64 Palms

• Solo form of eight linking series
• Two-men drill of eight linking series
Level 4
Hou Tien 64 Palms (後天六十四掌)
• Two-men drill of eight Hou Tien palms

• Two-men drill of eight linking series
Level 5
Each palm drill
1. Attack
2. Release
3. Counterattack
4. six variations
1 Eight Big Palms
2 64 Palms
Level 6
Weapons forms
1. Saber
2. Sword
3. Pole
4. Spear
Level 7
Weapons points: eight circular and 64 linear
1. Saber
2. Sword
3. Pole
4. Spear
Level 8
Weapons forms
5. Moon knife
6. Cane
7. Double cane
Level 9
12 animals (十二地支--象形)
• Cat
• Hawk
• Tiger
• Eagle
• Dragon
• Snake
• Horse
• Phoenix
• Monkey
• Chicken
• Bear
• Lion
Level 10
Nei Gong
1. Iron Back Gong

2. Small Universe meditation
A drawing showing the palms practiced in Gao style Bagua Zhang by CS Tang, 1971
Chapter 4
EIGHT MOTHER PALMS
THEORY OF GAO STYLE BAGUA ZHANG

The 24 Essential Points
There are 24 Essential Points that are required in circle walking and these are basic
rules in all guarding and attacking circumstances.
Once you start walking the circle, check the three sections of your body—scan
the body from top to bottom—to ensure that the eight parts of each section are
performed correctly.
24 Essential Points 廿四要

1 Head 【頭部】
Head needs to push up 頭要頂
Neck needs to be erect 頸要豎
Chin needs to be tucked in 顎要收
Eyebrows need to raise 眉要揚
Eye needs to concentrate 目要注
Teeth need to close 齒要合
Tongue needs to touch roof of the mouth 舌要舐
2 Arms 【手部】
Shoulder needs to sink 肩要沉
Elbows need to fall 肘要墜
Wrists need to strike back 腕要扣
Palms need to push out 掌要撐
Fingers need to lead 指要領
Thumbs need to open 拇要開
3 Trunk 【身部】
Back needs to round 背要圓
Chest needs to stretch 胸要寬
Abdomen needs to be tight 腹要實
Ribs need to sit 腰部
cont.
247
24 Essential Points 廿四要

4 Waist 【肋要坐】
Waist needs to turn 腰要擰
Buttocks need to wrap 臀要兜
Hips need to contract 胯要夾
Anus needs to lift 肛要提
5 Leg 【腿部】
Knees need to contract 膝要縮
Groin needs to be tight 脛要緊
Toes need to cling 趾要抓
REQUIREMENTS: EIGHT GUIDING PRINCIPLES

Hand positions
• To shut (掩)
• To push at the side (掖)
• To penetrate (穿)
• To crush (軋)
Leg positions
• To kick (蹬)
• To wade (蹚)
• To step on (踩)
• To step at the center (中)
Practitioners must maintain these hand and leg requirements when training in
the Single Palm Change. The following images show the shut, push, penetrate,
and crush positions.
E ight M other Palms 249
1 2
3 4
BAGUA ZHANG XIAN TIEN EIGHT MOTHER PALMS

Definition: inside and outside of the circle
Draw a circle on the ground. Inside the circle is called “inside” and outside the
circle is called “outside.” When one leg steps inside the circle, it is referred to as
the inside leg, for example in “Inside Bai Bu” or “Outside Bai Bu.”
Qian—South
Li—East
Kan—West
Terms for the circle:

1. Circle is the method
2. Inside the circle, is called inside xx
Kun—North 3. Outside the circle, is called outside xx.
圈裡為裡，圈外為外。
Stepping pattern of Xian Tien Palm (先天掌步型)
1 Left leg inside Bai Bu (左內擺步) 2 Right leg inside Kau Bu (右內扣步)
3 Left leg outside Bai Bu (左外擺步) 4 Right leg outside Kau Bu (右外扣步)
5 Right leg inside Bai Bu (右外擺步) 6 Right leg straight step (左順步)
The names of the Eight Mother Palms

轉掌【先天八母掌】 Turning Forms (轉掌) Eight Mother Palms
◎起式– 無極式 Start with Wuji Palm
猛虎下山 1. Fierce Tiger Descends the Hill
白猿獻果 2. White Monkey Presents the Peach
大鵬展翅 3. Huge Roc Spreads Wings
獅子張口 4. Lion Opens Mouth
推窗望月 5. Push Window to Glance at the Moon
懷中抱月 6. Holding the Moon to the Chest
指天插地 7. Point to Heaven and Pierce to Ground
黑熊探臂 8. Black Bear Stretches Arms
◎收式 - 歸元掌 Return to Wuji Palm to end.
1. This form is trained in three stages and each palm contains three different
direction powers.
– Stretch and flexibility for health and to build up balance.
– Resisting power to build up a solid skeleton.
– Combat power (Fajing).
2. Two linking forms of Eight Mother Palms.
3. Two Chin Na drill forms.
4. Each palm has drills practice.
The postures of the Eight Mother Palms
1 Fierce Tiger 2 White 3 Huge Roc Spreads 4 Lion Opens Mouth

Descends Monkey Wings (大鵬展翅) (獅子張口)
the Hill Presents
( 猛虎下山) the Peach
(白猿獻果)
5 Push Window 6 Holding the 7 Point to 8 Black Bear Stretches

to Glance at the Moon to the Chest Heaven and Arms (黑熊探臂)
Moon (推窗望月) (懷中抱月) Pierce to
Ground (指
天插地)
WUJI PALM: BEGINNING

Wuji
Whole body is Everything is

empty no shape and
no sign
Something is
inside In a trance
Taiji
The beginning of Wuji (empty) to Taiji (circle with Yin and Yang) in classic books
Procedure
1. Start with a standing posture.
2. Bend the knees.
3. Raise the arms at the side of the body.
4. Point the fingers to the ground.

5. Begin walking anticlockwise, starting with the left leg.
Counting
There are eight steps in one circle. Walk eight circles in an anticlockwise direction
and then turn back and walk eight circles in a clockwise direction. There will be
a total of 64 steps for a section of eight circles. Walk with Mud Walking step. The
feet should move forward horizontally; do not show the bottom of your foot.
Wuji Palm (無極掌)

1 2 3
4 5
Notes:
• Hollow the armpits.
• Stretch the fingers and point them to the ground with strength.
• Sink down as if you are sitting in a sedan chair.
The requirement of Mud Walking step
Walk like the cow dragging the plough (行如拖犁：拖步上如牛拖犁耕田)

The meaning of walking around the tree

The normal way to practice Bagua Zhang is to walk around a tree. The purpose is
to treat the tree as your enemy, so you walk with your face looking at your enemy.
There is another meaning to the tree in Gao style Bagua Zhang: when you start
practicing Bagua Zhang, the tree you walk around is new and small. When you
walk around the tree every day, your training becomes more advanced and the
tree grows, together with your level of skill.
XIAN TIEN EIGHT MOTHER PALMS (先天八母掌)

1 Fierce Tiger Descends the Hill (第1掌: 猛虎下山)
1 2 3
4 5 6
7 8
How to change direction
1 2 3
4 5 6
7 8
2 White Monkey Presents the Peach (第2掌: 白猿獻果)

1 2 3
4 5 6
3 Huge Roc Spreads Wings (第3掌: 大鵬展翅)

1 2 3
4 5
4 Lion Opens Mouth (第4掌: 獅子張口)

1 2 3
4 5 6
7
5 Push Window to Glance at the Moon (第5掌: 推窗望月)

1 2 3
4 5 6
7
6 Holding the Moon to the Chest (第6掌: 懷中抱月)

1 2 3
4 5 6
7
7 Point to Heaven and Pierce to Ground (第7掌: 指天插地)

1 2 3
4 5 6
8 Black Bear Stretches Arms (第8掌: 黑熊探臂)

1 2 3
4 5 6
Return to Universe: Ending Palm (收式歸元掌)

1 2 3
4 5 6
7 8 9
10
VARIATIONS OF THE EIGHT MOTHER PALMS

There are several variations of the Eight Mother Palms. Sometimes different
teachers have their own variations and some have more complex ways of stepping.
Our system has three stages:
1. Walk the circle with the face looking forward to train your body to be
strong like a mountain moving forwards.
2. Walk the circle with the face and body facing the center.
3. Walk the circle in a low stance with the body facing the center.
1 Fierce Tiger Descends the Hill (猛虎下山)
1.1 Pressing down (下塌掌) 1.2 Move the arms away 1.3 Move the arms very far
from the body (平圈掌) from the body and turn
the body to face the center
(分撐掌-(擰身向圈中))
2 White Monkey Presents the Peach (白猿獻果)
2 The body turns to the center to walk the circle

3 Huge Roc Spreads Wings (大鵬展翅)
3.1 The body turns to the 3.2 Bend the elbow to walk (曲肘上
center (平伸，橫掃千軍) 托走圈 (起如挑檐，落如分磚))
4 Lion Opens Mouth (獅子張口)
4.1 Holding Spear 4.2 Lion Playing With a

Palm (right hand Ball (right hand turns
turns up) (托槍掌) down) (獅子滾球)
Improving the eyesight and alertness with the fourth palm

(Demonstrated by Conan Tsang.)
1 2 3
4 5
The variation is also affected by different applications, such as locking an opponent’s

arm with the upper hand upwards and the other downwards.
1 2
There are different palm turns according to application (demonstrated by Philip

Clarke above).
5 Push Window to Glance at the Moon (推窗望月)
5.1 Body turns to the center 5.2 One palm pushes up and
(身擰向圈中走圈) one is at the back (陰陽掌)
6 Holding the Moon to the Chest (懷中抱月)
6.1 Body turns to the center 6.2 Keep the body in a good posture
(身擰向圈中走圈)
7 Point to Heaven and Pierce to Ground (指天插地)
7.1 Body turns to the center 7.2 Body turns to the

and the arm stretches center and the front hand
fully up and down (身 elbow lowers (垂肘走圈)
擰向圈中走圈)
Side view of this palm (側圖) The upper arm should try
to move closer to your ear
8 Black Bear Stretches Arms (黑熊探臂)
8.1 Holding up the palm 8.2 Holding horizontally 8.3 The hand points
(上托掌 (天馬行空)) (平托掌) down (下托掌)
The consciousness
This palm is also called “Kylin emit the Bible” (麒麟吐書). The inner hand should
look like it is holding a heavy book and the palm is facing up.
1 2 3
The pressing force

The armpits should contract, as if you are have a book in each armpit and are
pressing them to your body; this involves pressing the arms and stretching the
hands outwards. The knees should press together as if you are holding a book
between them, which will create a twisting force in the whole body.
4 5 6
Two men touch walking the circle

Most of the Eight Mother Palms would be practiced with two men touching hands
while they walk the circle. This exercise improves resistance power and alertness
when walking.
The third power The fourth palm
BAGUA ZHANG EIGHT MOTHER PALM LINKING FORM

The Eight Mother Palm linking form is also called “Swimming Body Palm.” It is
combined with Eight Mother Palms and linked in a sequence. It helps to increase
flexibility and awareness of Bagua Zhang. It also includes the application of Chin
Na techniques.
Beginning: Wuji Palm

1 2
1 Fierce Tiger Descends the Hill
3 4
5 6
7 8
9 10
2 White Monkey Presents the Peach
11 12
3 Huge Roc Spreads Wings
13 14
4 Lion Opens Mouth
15 16
17
5 Push Window to Glance at the Moon
18
6 Holding the Moon to the Chest
19 20
7 Point to Heaven and Pierce to Ground
21 22
8 Black Bear Stretches Arms
23 24
Ending: Return to Wuji Palm

25 26
27 28
29
EIGHT MOTHER PALM APPLICATION

1 Fierce Tiger Descends the Hill (猛虎下山)
1 2 3
4 5
2 White Monkey Presents the Peach (白猿獻果)

1 2 3
4 5 6
3 Huge Roc Spreads Wings (大鵬展翅)

1 2 3
4 5
4 Lion Opens Mouth (獅子張口)

1 2 3
4 5 6 7
5 Push Window to Glance at the Moon (推窗望月)

1 2 3
4 5 6
7 8

1 2 3
4 5 6
7 8 9
10
\
7 Point to Heaven and Pierce to Ground (指天插地)

1 2 3
4 5 6
7 8
8 Black Bear Stretches Arms (黑熊探臂)

1 2 3
4 5 6
7 8 9 10
11 12 13
Skeleton
Keeping a strong skeleton is very important. In Eight Mother palms, the practice is
intended to build up power in the hands, arms, back, chest, and legs. The purpose
is to ensure a very solid and strong skeleton, so that you can resist an enemy
pressing, pulling, or punching you. This is demonstrated by David Leffman and
Andre in the photos below.
5 Push Window to Glance at the Moon
1 2
6 Holding the Moon to the Chest
3 4
APPLIED BAGUA ZHANG (八卦掌用法): EIGHT MOTHER

PALM TWO-MEN EXERCISES (先天八母掌對練法)
(Demonstrated by CS Tang (left; A) and William (right; B).)
1 Tiger Palm (猛虎下山對練)

Techniques: Arm lock (技法: 臂鎖)
Each Gao style Bagua Zhang technique can be practiced by two people, in
a reverse format. When A uses the movement to attack B, B will try to escape
and then change angle and use the same movement to attack A. The attack and
counterattack with the same palm movement can be repeated in Gao style. It lets
trainers familiarize students with the technique, and train more smoothly and
wisely. Two palm movements are illustrated here.
1 A steps forward 2 A grasps B’s arm
3 A presses B’s left 4 A presses B to the ground 5 B does the reverse attack
arm downwards
6 B applies the same pressure

2 Monkey Palm (白猿獻果對練)

Techniques: Palm twist lock
1 A twists B’s left palm 2 B twists A’s palm
3 A twists B’s right palm 4 A practicing his strength and

strengthening his skeleton
FUNDAMENTAL CONCEPTS OF TRAINING

IN BAGUA ZHANG CHIN NA
Introduction
Being “in good physical shape” is an essential condition for health, but what is
considered to be “good shape”?
This subjective concept is ruled by the cultural values of each country, for
example in western countries the “physical condition” relates to the esthetic aspect
or shape, but in the east it relates to aspects that are important for maintaining
good health.
The body changes its physical capabilities according to age and characteristics.
For example, one could not do the same physical activities at 60 that one could
have done at 25, but there are some conditions that can be maintained over the
years with regular exercise.
In relation to Chin Na techniques or self-defense, having a good physical

condition is more important than flexibility and strength.
If we had to select the most important qualities for Chin Na, these would
certainly be: strength to hit or repel, flexibility to escape, and speed to counterattack.
Strength means the functional quality of the human being that allows us to
overcome the resistance of an opponent through muscular contractions.
The muscles have the ability to contract and relax through the nerve fibers,
generating muscular tension. When this tension is applied against a resistance, a
force is applied and there are two possible responses: surpasses or winning; not
being able to overcome it.
It is important to understand that there are only two ways to increase muscle
strength:
• increase the mass or the resistance being overcome
• increase the acceleration of the mass by making the movement with more
speed.
For Chin Na the first option is more interesting and we can work at it in various
exercises, such as lifting sandbags with the hands, lifting water vases using the
fingers, or twisting a cane between the hands (as described in Chapter 3).
The next quality to develop is flexibility, which is the muscle’s ability to
perform a greater joint stretch without damage. The magnitude of the stretch will
be given by the maximum range of movement of all the muscles that make up
a joint.
Flexibility does not generate movement but it makes it possible, and for this
you have to make the muscles, tendons, and joints more flexible through dynamic
exercises (with movements or static), which means maintaining a specific position
to stretch the muscle.
Physical conditions generally improve until a certain age. But the flexibility
declines quickly from a very early age without regular training and exercise.
The best type of exercises for training in Chin Na are dynamic exercises that
involve large muscle groups, because they are similar movements to offensive or
defensive actions.
In Chin Na, and more specifically in the Gao style of Bagua Zhang, the Ten
Heavenly Stems or Tian Gan stretching exercises in the group of Nei Gong
exercises develop flexibility, strength, and power in the muscles and tendons. For
example: Zhua (抓), or Grasp, in which one person grasps in different ways and
uses the whole body while grasping; Ban (搬), or Parry, employs the whole body
in circular movements to loosen and strike; Kan (砍), or Chop, uses the horizontal
and vertical movement of the arm.
Physical speed is the ability to perform a movement in the shortest possible time.
Speed can be understood in two ways: how to travel a certain
distance in a certain time (speed of movement), or the reaction
to a stimulus. It is the latter that is of most importance for self-
defense techniques.
Some movements require the whole body to act as a
reflection.
Speed can be a direct or indirect determining factor in an
activity. For example: a direct factor is when the maximum
speed is sought, such as in a 100m race; an indirect factor is when you are looking
for the optimum speed that allows the use of the maximum possible force, such
as in the long jump. In this case, an increase in speed does not necessarily imply
an improvement in performance.
Direct speed is more interesting than indirect speed in Chin Na, because when
one receives aggression, whether through a grasp, push, or hit, our reaction must
be fast.
A reaction ball is one of the best tools to develop reaction speed and reflexes.
This is a small ball that is not spherical, making it difficult to predict where it will
bounce. Exercises with the reaction ball will improve your reaction speed, develop
your hand–eye coordination, and improve the speed of your hands and feet.
An example exercise is to throw a ball against the wall and try to catch it with
one or two hands when it rebounds. Increase the pace and strength of the throw
when you catch it. Example exercises are given here, which will prepare you for
the next chapter where you will find more detailed exercises.
General principles of Chin Na

The Gao system of Bagua Zhang is composed of different
empty-hand forms, exercises, weapons, and training between
two people in which the techniques of attack and defense can
be applied.
One of the first techniques taught in Bagua Zhang are the
Mother Palms, or “previous sky,” that teach you to strengthen
the body, develop body structure, and apply some techniques
of dislocation and control.
In this system of Bagua Zhang, the term Chin Na comes
from the word "Chin," meaning using the middle, ring finger,
and little fingers to grasp, and "Na," which means using the
thumb, index, and middle fingers to grasp.
Chin ( 擒用後三指) Na (拿是前三指用力)
1 2 3
Application of Chin Na
The Chin Na techniques are divided into four groups (with each group having
eight forms of attack and release), plus eight ways of projecting force into Chin
Na, making 72 techniques in total.
The four groups are:
1. Splitting tendons
2. Breaking joints
3. Attacking vital points
4. Choking
There are also Chin Na techniques that involve using several techniques at the
same time; however, they are grouped in a single group by this main effect or
action of rupture of ligament, articulation, vital point, or strangulation.
The following illustrations are some examples of techniques classified in these
four groups:
1 “Splitting tendons” techniques (分筋)
1 2
2 “Breaking joints” techniques (錯骨)
1 2
3 4
3 “Attacking vital points” techniques (點穴)
1
2
4 “Choking” techniques (閉氣)
1 2
CHIN NA IN BAGUA ZHANG SEQUENCE

1 The Oriole Locks the Neck (鎖喉)
This is a dangerous technique to attack the vital points. In the photos below we can
see the attack with the fingers at the throat of the opponent while the other hand
controls the opponent’s second hand.
1 2
2 Tempting the Tiger (降龍)

If the neck is grabbed in this way, the natural reaction is to release the grip by
pulling the opponent’s hand away. In this technique the opponent’s hand is held
firmly so that they cannot escape; the opponent’s elbow is then pressed up with the
arm to lock their wrist. If you continue to press down on the elbow, the ligaments
of the wrist will break.
3 4 5
3 Turn Heaven Seal Up (翻天印)

This technique is another wrist dislocation, which is performed by holding the
opponent’s hand with yours and pressing the forearm forward and down to force
the flexion of his wrist. You can fracture his wrist by pushing your forearm with
the weight of your body on his hand.
6 7
4 Claw of Mantis (刁手)

The next move is a reaction to escape from the opponent’s grasp, followed by a
counterattack. Grasp the opponent’s wrist with both hands, press his arm down
with your elbow, and grasp his fingers with the other hand, pushing forward and
breaking his ligaments and bones.
8 9
10 11
5 The Golden Silk is Coiled in the Wrist (纏腕)

This is an effective action that requires little force, but the precision in the angle
of pressure is very important. Hold the opposite hand of your opponent with
both hands. Adding the pressure of one hand in a downward direction, there is a
rupture of the ligaments of the wrist. With continuous pressure, you can fracture
some of the wrist bones.
12 13
14

This is performed by holding the opponent’s arm, with your shoulder and elbow
bending upwards to break his elbow.
15
7 The Golden Chicken Nods His Head (金雞點頭)

For this technique you have to hold the opponent’s opposite hand with both of
your hands and then push forward and down. In this technique it is important to
have a strong hold on the opponent’s hand to prevent them from escaping.
16 17
8 Bend Bow to Shoot the Tiger (彎弓射虎)

This is a combination of dislocation and imbalance. Turn the opponent’s opposite
hand and make a luxation. At the same time, the other hand pushes up and then
down towards his neck and overturns him.
18 19
These eight techniques are only a part of the Bagua Zhang Chin Na form. They
are attack, defense, or counterattack movements that teach the student how to act
with aggression and how to escape from locking.
The following photos show details of how the hand should be gripped and the
rotation of the fingers. Start with the little finger and close all the fingers until the
hand is in a fist position.
1 2 3
4 5
SPEED AND FLEXIBILITY IN CHIN NA

This part of the training is as important as the conditioning of the hands and
arms. Once the hands and the body have been trained to be powerful and effective
weapons, it is time to focus on flexibility, agility, and speed. These are required in
Chin Na because they are based on principles of angles and mobility of the body
so as not to use too much useless force.
Some people say that these techniques are effective because they are applied
by teachers or strong students, but these techniques were designed to be applied
against a superior and stronger opponent.
Escape exercises
In Chin Na techniques it is important to know different ways to escape a hand
grip, using the angles of movement, the flexibility of the arms and the waist, and
the power of the hand.
These exercises should be practiced regularly so they become natural reactions.
When practicing with a partner, it is important to put resistance in the grip to
be able to check and feel that the action used is effective and realistic.
Exercise 1
When you are gripped at the lower part of the wrist, act as if you want to lift the
arm—first open your palm and stretch your fingers, then push down. This opens
the opponent’s grip until they cannot follow.
1 2
Exercise 2
When your hand is grasped, stretch your fingers and make a circular motion
outward and upward. The area between the thumb and forefinger is called the
“tiger’s mouth”; directing the tiger’s mouth towards the opponent’s arm forces a
release.
3 4
Exercise 3
When someone is holding your wrist with their opposite hand, stretch your fingers
to fill your hand with energy and perform a circular motion upwards from the
bottom of the hand, turning the wrist to release the grip. This movement will mean
the opponent can escape, so quickly take his wrist.
6 7
8
Exercise 4
When someone has their opposite hand above your wrist, stretch your fingers to
fill your hand with energy and perform a circular motion upwards and outwards.
As in the previous exercise, finish the movement by taking the opponent’s hand
to prevent them from escaping.
9 10
11
Exercise 5
When someone holds up the same side of your hand, stretch your fingers and
perform an upward and circular motion. In this exercise the left hand will help to
grasp the other hand by turning and twisting the hand.
12 13
14
Exercise 6
When someone is holding your upper arm with the hand of their same arm (e.g.
holding your right arm with their right hand), flex the elbow down, stretch the
fingers, and open the hand. Grasp the opponent’s arm from below with the tiger’s
mouth. From this position it will be easy to push and release their grip.
15 16
17
Exercise 7
When someone catches your elbow and pushes your arm, stretch the fingers of
the hand to fill the arm and the hand with energy. Do not resist his push, and raise
the arm up. Use the other hand and place it down, catch his wrist, and pull it away.
Once you have hold of his hand, you could counterattack by hitting his face.
18 19
20 21
Exercise 8
This last exercise shows you how to apply pressure on different vital points.
22 23
BAGUA ZHANG DRILLING CHIN NA FORM

(八卦掌擒拿對練兩路)
First section (對練一路)
1 2
Opening Seven Stars Stance A: Fierce Tiger Descends the Hill
3 4

5 6
B: Snake and penetrate
7 8
A: White Monkey Presents the Peach A: Huge Roc Spreads Wings

9 10
11 12
13 14
A: Lion Opens Mouth B: Left hand pushes
15 16
A: Push window to glance the moon

17 18
19 20
A: Holding the Moon to the Chest
21 22
23 24
B: Dragon Form: Piercing Hand Palm

25 26
B: Hero Offers Wine Point to Heaven and Pierce to Ground
27 28
29 30
31 32
B: Pull and kick

33 34
35 36
Black Bear Stretches Arms
37 38
32
39 40
Second section (對練二路)
41 42
A: The Oriole Locked the Neck
43 44
A: Tempting the Tiger
45 46
A: Turn Heaven Seal Up
47 48
49 50
A: Claw of Mantis
51 52
A: The Golden Silk is Coiled in the Wrist
53 54
A: Holding the Moon to the Chest
55 56
57 58
A: The Golden Chicken Nods His Head
59 60
A: Bend Bow to Shoot the Tiger
61 62
63
DISCLAIMER
These techniques are for demonstration purposes only. The author accepts no
responsibility or liability from any injuries resulting from either the proper or
improper application of these Bagua Zhang Chin Na techniques.
When working with a partner applying these techniques, they should be done
slowly and carefully so that the person doing “A” can apply the technique properly
and the person doing “B” can feel if the technique has been properly applied from
the resulting tinge of pain. “B” should tap to let “A” know to stop.
To learn how to apply the techniques correctly, it is recommended that readers
contact the author CS Tang for instruction.
BAGUA ZHANG CHIN NA ROUTINES

(八卦掌八母掌擒拿套路)
(Routine 1 is demonstrated by William Steinberg (A) and Eric Poling (B).)
(Routine 2 is demonstrated by CS Tang (A) and Eric Poling (B).)
Routine 1
1 A and B face off. A and B’s left hands touch back
to back.
2 A starts. A’s left hand rotates counterclockwise,

grabs B’s wrist, and begins to pull it across B’s
body and downward in a 90-degree arc.
At the same time A’s right hand comes up and
pushes B’s elbow up and over.
Result: B is facing the ground with the arm in a
90-degree lock with the palm facing up.
3 B then turns the wrist counterclockwise (palm

down now) and turns his body in a circular
motion toward A, pushing his shoulder into A’s
body while simultaneously bringing his right
hand to strike A’s neck.
4 A’s left hand grabs B’s wrist and then the

right hand seizes B’s palm and begins to turn it
counterclockwise into a wristlock.
5 B’s left hand pushes A’s elbow outward to release

the hand from the wrist.
6 A’s left hand arcs under the elbow to grab B’s left
hand, continuing A’s right leg steps behind B, and
then A’s right arm will arc toward B’s upper chest
or throat to throw B backwards.
7 B’s right hand grabs A’s wrist to stop the throw,

and B steps the right leg behind A to do the same
technique to A.
8 A’s right leg steps back in front of B, A’s left leg

circles in front of B, and they are now standing
face to face. A’s left hand grabs B’s right elbow and
cups behind it. A’s thumb digs into the pressure
point at the crux formed by the bend. A’s right
hand circles clockwise to escape the grip of B’s
right hand and then A’s right hand grabs B’s palm
and bends it down to a 90-degree angle. A’s right
and left hands push against each other to cause
pain to B’s wrist.
9 B’s left hand grabs and removes A’s right hand
from the palm to stop the pain.
10 A’s right hand circles clockwise under B’s left

wrist with the thumb and index finger forming
a “V.” The right hand raises upward and releases
B’s grip. A’s right hand grabs B’s wrist, turning
it clockwise and pulling it to the chest. A’s left
hand also grips B’s left hand and turns it further
clockwise for torque. A’s right elbow arcs over
the top of B’s arm, pressing down on the elbow to
break it.
11 B turns the body toward A, and B’s right hand

pushes A’s elbow off B’s elbow to stop the break.
12 Now A and B’s right forearms are parallel,

with the palms facing in opposite directions. A’s
right hand slides down B’s right forearm, grabs
the wrist, and begins to arc the arm up in a
counterclockwise direction. A’s left hand grabs B’s
right wrist and arcs it higher and turns it more in
a counterclockwise direction, adding torque to
it. A’s right forearm reaches over B’s tricep behind
the elbow and rubs it back to A to begin to create
an arm lock.
A bends B’s hand upward and uses his right arm

to press B’s upper arm.
13 B must turn toward A, and B’s right hand

pushes A’s left arm off B’s left arm.
14 Both A and B’s hands rotate back to the

starting position.
15 B starts by pulling A’s left hand down and

attacking A’s throat with his right hand.
16 A grabs B’s right hand with his right hand.

A uses his right hand and pulls B’s arm to the
right. A’s left hand arcs clockwise under B’s left
hand; the thumb and index finger form a “V.” A
pulls B’s left hand up to a 90-degree angle over B’s
right arm and locks it. A then steps at a 45-degree
angle with B.
17 B takes a bigger step back with his left leg

in order to escape. This must be done to be
ahead of A’s momentum. B’s right arm will arc
counterclockwise to the right and B’s left hand
will simultaneously circle clockwise, escaping A’s
right hand. B’s right hand will pull down on A’s
right arm and then kick at A’s groin with the right
foot.
A will block B’s kick with the left hand, knocking
it away.
18 A will then grab B’s right arm with the left

hand and pull it downward. A’s right arm will lock
around B’s neck. A will then pull forward and
circle to the left to throw B.
19 As A’s right hand locks around B’s throat, B’s

left hand will grab A’s right arm and pull it out
away from the neck to create space.
As A circles, B must turn the body so B’s front

faces A’s rear. B turns his head to the left side and
pulls A’s arm away so there is space to release the
lock.
The routine is finished. Both turn left and apply

the “Four Steps Go Through Forest Palm” to meet
again with both right hands in contact.
Routine 2
1 A and B face off, right hand to right hand.
2 A hits B’s right elbow out of the way and uses

the right hand to attack the throat. It is not a push
but a quick, hard strike to move the arm away.
3 A grabs B’s throat.

4 B must grab A’s wrist with the left hand to

remove A’s hand and to keep the windpipe from
being crushed.
5 A’s left hand covers B’s left hand to pin it in

place.
6 A’s right elbow begins to roll over B’s left

forearm.
7 A’s right elbow is over B’s left forearm and

pushes down to cause pain.
8 B’s right hand must push A’s right elbow away to

release the hold and stop the pain.
9 B’s right hand has pushed away A’s elbow.
10 A’s left hand covers B’s right hand and holds it

tight against the right elbow. A’s elbow doesn’t sit
in the center of B’s palm—it sits against the line
that separates the fingers from the top part of the
“palm pad.”
11 A straightens the elbow and begins to push

straight down against B’s hand. Again, it isn’t
the hand itself that is pushed but the fingers (see
above).
12 This photo is the result of the action above as

B’s fingers are pushed back against themselves
from the downward force of A’s elbow.
13 To stop the pain, B’s left hand grabs A’s right

arm and pushes it down in a counterclockwise
arc.
14 B’s left hand now grabs A’s arm to initiate a

wrist lock.
15 A’s left hand grabs B’s left hand. A’s thumb will

slide into the space between the arm and palm
and begin to “peel away” B’s hand.
16 A has peeled away B’s left hand and

now grabbed it and begins to twist it in a
counterclockwise direction.
17 A pulls B’s arm downward slightly and A

begins to press his right arm, palm up, down
against B’s elbow.
18 A now presses down on B’s elbow and “rolls” it

across the elbow at a 90-degree angle to break B’s
elbow. A’s arm should be perpendicular to B’s. If
A’s arm is at a 45-degree angle, that results in A’s
arm pointing toward B’s face and makes it easier
to escape the lock.
19 B’s right hand grabs A’s right arm and pushes

down from the elbow to release the lock.
20 A’s left hand covers B’s right hand to hold it on

A’s wrist.
21 A firmly holds B’s right hand on A’s right wrist.
22 A’s right hand stretches out and arcs up to grab

B’s right forearm.
23 With B’s wrist secured against his wrist and

his right hand now grabbing B’s forearm, A pulls
B’s forearm down, creating pain, and to break the
wrist.
24 To stop the pain and the break, B’s left hand

grabs A’s left hand.
25 B’s left hand pulls A’s left hand up and off B’s
wrist.
26 A’s left hand arcs counterclockwise under B’s

left hand and grabs it.
27 A pulls B’s left arm across his body. A will

circle his body around so he’s standing almost
side by side with B. A’s right foot will step in front
of B’s left foot. A’s right arm will curve under B’s
left arm just behind the elbow.
28 With A’s left hand firmly grasping B’s left arm

and his right arm under B’s left elbow, A now has
an effective lever and begins to push up against
the elbow while pulling down on the arm. A can
also grasp his left hand and push up with the right
arm to increase pressure.
29 B circles around in front of A, and B’s right

hand grabs A’s right arm and pulls it down to
release the lock.
30 A’s left hand grabs B’s palm to release it from

his right hand.
31 A arcs B’s right arm counterclockwise 45

degrees and A’s right hand will also grab B’s right
hand. A’s hands grasp B’s inner palm and A’s
thumbs are pressed against B’s outer palm.
32 A will step back and pull B’s hand down while

simultaneously turning it counterclockwise at a
45-degree angle.
33 B’s left hand grabs A’s right hand and pulls it

away from the wrist. A’s left hand still maintains
a hold on B’s right hand and continues to apply
pressure at a 45-degree angle.
34 While B maintains a grip on A’s right hand, A’s

hand will arc counterclockwise up 90 degrees. At
this point, B’s left palm is face up with A’s right
hand pressing in towards B’s head and A’s left
hand still applying the pressure on B’s right hand
and wrist at a 45-degree angle.
35 From this position, A, maintaining his grip in

B’s right palm, walks left toward B at a 45-degree
angle. Should B move his left hand from A, A can
then attack the left side of B’s head.
36 The routine is finished. A and B turn right and

apply the “Four Steps Go Through Forest Palm” to
then meet again with both left hands in contact.
PRACTICING BAGUA ZHANG WALKING

(八卦掌走步練法提要)
Pre-Heaven Bagua Zhang diagram (先天八卦圖)
General information
The Pre-Heaven Palms initiate at the Zhen Palace, and the Post-Heaven Palms
initiate at the Li Palace.
The Pre-Heaven Mother Palms use the circle method, and the Post-Heaven
Palms use a straight line.
Timing: One-minute circles eight times to the left, and one-minute circles eight
times to the right.
Positioning: Within the circle for “inner,” and outside the circle for “outer.”
Zhang poem
Changing the Bagua palms is the origin,
using the circle as the method the movements are round.
Within the circle inner, outside outer, the circle is the Pre-Heaven Bagua basin.
Training the inner to cultivate the essence is the instruction,
with the years and the days the training must be complete.
Adjusting the Yin Yang, unifying the Qi and blood, nourishes the body and is as
miraculous as the mountains.
Bagua Stepping Pattern (先天掌步型)
1 Internal Bai Bu (左內擺步) 2 Internal Kau Bu (右內扣步)
3 Outside Bai Bu (左外擺步) 4 Outside Kau Bu (右外扣步)
5 Outside Bai Bu (右外擺步) 6 Follow Bu (左順步)

Starting position: Wuji Palm

Starting
1. Stand at the top spot of the circumference (the Qian trigram).

2. Take a breath through the nose, stand like a tall tree reaching to the
heavens, tuck in the chin, extend the head upwards, send the Qi to the
Baihui acupressure point, and press the tongue to the top of the palate
behind the teeth.
3. Using a slow gentle breath through the nose, relax the whole body, sink the
chest, hunch the back, drop the shoulders, and lower the elbows.
4. Keep the knees slightly bent, relax the hips, drop the buttocks, lift up the
anus, and fill the stomach; the Qi is collected in the Dantian.
5. Extend the arms, opening the armpits. Open the five fingers explosively so
the center of the palm faces the Huan Tiao acupressure point in the thighs
(connect the shoulders to the elbows). The elbows should push the wrists,
which should be cocked, the fingers must be extended, and the tips of the
fingers should point straight downwards.
6. The upper body should sink into the Kua, making the abdomen expand
outwards. Bend the knees and sit into the buttocks; do not bounce high
and low but move as though in a sedan chair and the legs are in the Mud
Walking step.
Mud Walking step and requirements
1. Slightly lift the left foot, and extend it lightly outwards, like treading on
thin ice. The foot should extend as though it is a cat’s foot, lightly finding
the right position. The body should be heavy and the foot light.
2. Use the Mud Walking step to move forward; the foot needs to extend
forward while it is flat, it must be flat when it lands, and the heel must not
lift to expose the sole. Every step must be very slow. When the back foot is
extending forward, it should be like a horse pulling a cart up the mountain
with the feet attached to a heavy axle. When the foot lands, it should be
like a swallow flying across the plains, landing like a wild goose without
raising any dust.
3. When your back foot passes your front foot, pause the back foot at the
position of the front foot and let the lower abdomen collect the Qi. Use
all your strength to push forward for half a step and scrape the front foot
along the ground for half a step.
Effect of continuous walking
1. Walk eight circles to the right, turn within the circle, and walk eight circles
to the left. Repeat and keep changing directions, until you are tired.
2. Practice with full requirements: the ten fingers stretch, sweat will run
down the back, the body is full of energy (Qi).
3. This is a bear shape: the body becomes heavy but the step is light; it moves
forward and ensures nobody can block you.
Wuji Palm (無極掌)

1 2 3
4 5
The strict requirements of Mud Walking

step (趟泥步之嚴格要求)
Mud Walking as if the cow is dragging a plough in a field (行如拖犁)
Mud Walking step is Bagua Zhang’s most basic step, and is unique to Bagua Zhang.
Training in Mud Walking step is important for health and for fighting, so it is vital
for proficiency in Bagua Zhang.
Mud Walking step is used in Pre-Heaven Bagua Zhang; the Eight Big Palms
and the Post-Heaven 64 Palms have a different method of practice. Training starts
with the Five Elements Steps and the kicking stance, and then moves on to the
level rising and falling of Mud Walking step. The inside step is straight and the
outside step is hooked—one walks as though pulling a plough. The next stage is
to learn the wide step of the Eight Big Palms before finally working on the straight
step of the Post-Heaven Palms.
Mud Walking step has four requirements: wade, tread, step, center
(趟踏踩中)—of which the key is as follows.
1 Raise level and land level

For most people, the heel leaves the floor first when taking a step, and when the
foot lands, the heel lands first and is followed by the front of the foot. The Mud
Walking step of Bagua Zhang is “walking while sitting,” as though one were on a
sedan chair. It requires the foot to be level as soon as it leaves the ground and a
tightening of the muscles in the soles of the feet, making the feet move level with
the floor. And when landing, the whole foot lands at once. The heel cannot land
first and the front of the foot cannot land first. One must not lift the foot and
expose the sole. So one has to move slowly, and the steps have to be small.
After training in Mud Walking step for a long time, the form naturally takes
shape, the foot only leaves the ground a small amount, and when moving along
the ground, the whole body moves. The stepping movement becomes faster; use
the heel to land first and then the rest of the foot to land.
2 When landing, the front of the foot scrapes the ground

Before the foot lands, keep the back leg about 2cm above the ground; when the foot
lands forward, the front foot makes contact and scrapes the floor before planting
firmly. As the foot is being planted firmly, the weight is on the back foot until the
front foot is firmly on the ground. This trains the whole body to flow forward—the
belly is firm, the chest is wide, and it is as though the body is forged of steel.
3 Push out the knees when the foot lands

After the front foot lands on the ground, one has to push out the knee. Pushing
out the knee has the following benefits: maintaining the level of the body and
preventing rising and falling; maintaining the speed of the forward momentum,
preventing the front foot’s landing from providing resistance; protecting the knee
joint (as the legs are moving quickly, the foot fall stops this movement while the
body is still moving forward, and the knee joint can be easily damaged); practicing
the braking energy and increases the power of Fajin (release power).
4 Push out from the back and front steps down

When training in Mud Walking step, one has to extend the front foot using the
back foot. The back foot is the motivating force; the front leg is the spade of the
bulldozer. Mud Walking step uses the back leg to power the body, and the body
pushes through the front thigh, calves, and foot. When moving correctly, there is
an unstoppable force, and the body is unified.
Beginners should not rush to achieve Mud Walking step. The steps should
not be large, the speed should be slower, the focus should be on sitting lower, the
body should not lean back, the body should be level (preventing up-and-down
movement), and the head should not lower or lean to the front.
5 Growing roots
Mud Walking step requires the foot to land as though it were a suction cup on the
ground, and should be as stable as a tree root. Once both feet are on the ground,
they are not allowed to wobble; if you are moving, you are unable to contact the
ground and generate power. It is easy to develop the bad habit of the heel or ball of
the foot landing first, or the foot landing and then moving or adjusting position.
6 Both legs are like scissors—when extending the

feet, they are like piercing needles
The two legs are like scissors and the inner thighs should have a clamping
power. When extended, the leg should be like needles piercing all the way to the
tips of the feet.
The same number or circles should be walked to the left and to the right, as
Chinese medicine requires the body to be balanced on both sides: “The fire and
water balance each other out”; only then can the body be healthy.
THE HEALTH BENEFITS OF BAGUA

STEPPING (八卦掌走步與健康)
Bagua Zhang walking is a safe and effective aerobic activity and
is a good exercise for weight loss. It can be done at any time,
and grasping the requirements of walking can strengthen the
constitution. Gathering a group of students to walk together can
help maintain personal relationships and friendships. When
the difficulty of the activity is appropriate and the posture is
correct, this is called “Bagua Stepping,” and the required equipment is very simple
to obtain.
The legs are the foundation of the human body, the columns supporting the
weight of the body. Legs for the human are like the roots of a tree—when the
tree withers, the roots are the first to shrivel. “When a man is not yet old, the legs
age first.” When one maintains a regular stepping practice, once can train “leg
power,” strengthen the pelvis, and increase stamina. Martial artists say, “A hundred
repetitions are not as good as one session of walking.” If one accumulates at least
30 minutes of medium aerobic activity a day, and keeps each session to at least 15
minutes, this is of great benefit to health.
The benefits of Bagua stepping

1. Upper torso: Balances the vertebrae of the spine, rectifies curvature of
the spine, extending both upwards and downwards, and stretches and
straightens the spinal column; it adjusts the drooping of the arms and,
by extending the arms outwards, it lessens the hunching of the back. It
strengthens the upper and lower back muscles, and prevents slipped discs.
It can prevent neck injuries, as one lifts the head and straightens the back
when one is walking, and can rectify long hours of hunching forward in
the office.
2. Lower body: It can strengthen the power of the feet and thighs, regularly
lowering the center of gravity. The speed of the reflexes are maintained and
one is stable when one walks.
3. Whole body: The shoulders are stretched open, the frame and structure
are solid and strong, the stance is stretched, and the breathing is relaxed,
which increases the volume of the lungs.
4. Breathing: Walking for a long time can increase the lung volume, meaning
one can maintain exercise over long periods of time without resting.
5. Large steps: A long step makes one alert.
6. Balanced left and right sides: When walking the circle in a Bagua posture,
the right and left sides are balanced, so the lungs are not impacted more
on one side.
7. Aids sleep: Walking every day helps to tire the body, which will improve
sleep quality.
8. Helps circulation and increases aerobic capacity.
9. Maintains a muscular torso and helps increase confidence.
10. Burns calories and helps maintain a healthy weight.
11. Helps maintain blood pressure and blood lipids, lowers cholesterol,
maintains blood sugar levels, reduces the chance of blocked arteries,
reduces the chance of high blood pressure and diabetes, and can prevent
certain cancers.
12. Can prevent osteoporosis, strengthen the skeletal structure and bones and
joints, help maintain the levels of calcium in the bones, and prevent the
loss of calcium, keeping the bones strong.
13. Reduces stress, keeps the mind alert, maintains memory, can prevent
dementia and senility, and can maintain sharpness of the brain. Walking
at least one hour a day can delay the onset of dementia by six to eight years.
14. Encourages the nervous system to increase the production of hormones
and increases blood circulation to the brain.
15. Helps older people to exercise their body and increases flexibility and
balance.
16. Can improve the health of pregnant and post-partum women.
17. Can hasten the treatment for and recovery from cancer.
The posture, technique, and speed

Proper posture
1. The torso should be as upright as possible when

stepping.
2. Lift the head and tuck in the chin; let the shoulders drop
and the eyes look forward.
3. The hips lead the calves and the heels; usually the
movement is termed “hitting someone as though you
were walking.”
4. The hands are relaxed as though floating in the air, and
the arms are away from the armpit, moving according
to the requirements of the form.
5. Maintain the structure—expanded but with relaxed muscles.
Correct technique
1. Relax the muscles; don’t let them tighten up.

2. As the foot touches the floor, the sequence is for the heel to lead the soles
of the foot and the toes. As the two legs alternate, this moves the weight
of the body.
3. The length of the step should be small at first and move to larger steps. A
beginner can start with the step size of normal walking: approximately
0.5–0.75m, depending on the size of the individual.
4. Both hands are relaxed as though floating in the air. The arms stretch away
from the armpit and move according to the requirements of the form. Both
arms are fixed and should not sway.
5. The feet need to maintain the Bai/Kou step while moving forward and
cannot extend.
Appropriate speed
1. Walk a smaller number of circles at first, and slowly increase the number.
2. Increase the rate of breathing and heart rate naturally.

3. Adjust your breathing according to the difficulty of the exercise. When the
speed of the walking is increased, the rate of breathing increases, but one
should be able to continue to talk without effort.
4. To increase the difficulty of the exercise, increase the speed of the stepping
and size of the step. This should not impact the posture and breathing, and
the movements will need to be adjusted accordingly.
Walking plan
Walking is physical exercise that is suitable for all ages and genders. It improves
the function of the heart and lungs and improves endurance. A walking plan
should first consider the health and physical conditions of the individual. It should
include three to five practice sessions a week, with each session being longer than
30 minutes. Beginners should start with 10-minute blocks.
• Frequency of exercise: Three to five times a week, with adequate rest
afterwards.
• Intensity of exercise: Increase the rate of the stepping and the length of
the step to increase the intensity of the exercise. The target heart rate and
general feeling of hard work can be used to measure the intensity and set
the program.
• Length of exercise: The first practice should be for 30 minutes, which can
be separated into different sections; each section should be at least 10
minutes. Sections can be extended to 30 minutes.
• At first, you should start with a Wuji stance, which should be enough to
feel that the tips of the fingers are giving off heat and are swollen, with the
palms completely red. As you continue, the Qi will flow through the whole
body, leaving you feeling very heavy, with your back giving off heat and
the crown of your head covered in sweat.
• At first, the thighs will feel sore and the knees swollen; this is only due to
lack of practice. Rest a while and then continue.
• Aim for eight steps to a circle. Start by walking eight circles anticlockwise
to the left—64 steps in total—and change direction. Then walk to the right
in a clockwise direction for eight circles, making 128 steps in total.
• To practice continuously, increase the requirements: The Eight Mother

Palms have eight circles in both directions.
Walking procedure
• Warm-up
• Light loosening exercises: minimum five minutes
• Stretching exercise: minimum five minutes
– Increases body temperature
– Allows the body to transition from resting to an exercise state
– Increases range of motion for the joints
– Reduces chance of injury
Training
• Medium-to-intense stepping exercise, coupled with appropriate resistance

training: 30–40 minutes
– Increases heart and lung capacity
– Increases muscular strength and endurance
– Promotes bone health
– Improves balance
• Adjust/cool down
• Loosening exercises: minimum five minutes
• Stretching exercise: minimum five minutes
– Allows the body to transition from an active state to a resting state
– Reduces the accumulation of metabolic waste
– Allows increased blood flow to all parts of the body, returning the
body to normal
Stretching exercise
Stretching exercises can relax tense muscles, improve joint activity, calm the
nervous system, and reduce the chance of injury and risk of muscular pain.
Basic principles
• Undergo passive stretching.

• Avoid overdoing the stretch, or pulling or bouncing when stretching.
• Once stretched to maximum, hold for 10–30 seconds, while maintaining
relaxed breathing.
• Stretch from head to toe or toe to head.
• The joints and muscles on both sides of the body need to be stretched
equally, with each side done three to four times.
Resistance training
Basic principles
• Wear loose clothes and do stretches and a warm-up first.

• Do the training step by step in a safe way to improve muscular strength
and endurance.
• Each week, train a different muscle group for two or three days.
• Each session, work on the muscle group for two to four sections; do each
section for 10–15 repetitions.
• Keep the breathing smooth during practice. Breathe out when you push
and pull. Breathe in when movements return to the same position. Do not
stop breathing, as it will affect your blood circulation.
• After practice, do stretching exercises to cool down.
• During recovery periods, or after injury, joint pain, and pregnancy, please
consult expert and reliable sources.
Resistance practice is training for the muscles and is effective for increasing
muscular strength and endurance. It makes muscles firm and strengthens the
joints.
Squatting (Dun Yao)
1. Stand with the legs shoulder width apart and the hands extended in front
of the chest.
2. Take a full breath and breathe out while slowly squatting down until the
thighs are at a 45-degree angle to the ground.
3. Breathe in and push the body up to its original position.
4. Keep the torso and neck upright. Do not: lean to the front; extend your
buttocks; let the heels lift off the ground; and let the feet splay out.
5. For an intermediate exercise: Squats until the thighs are parallel with the
floor.
Important points and safety tips
• Understand the limits of your body. Ensure there are no chronic illnesses.
As each person’s body is different, you should choose a training time and
length that is suitable for your own body.
• Results come with persistence, so only with step-by-step training can you
fulfill the requirements and attain the goal of a healthy body. Those who do
not usually do physical exercise should choose a low number of repetitions
and train slowly; in time they can increase the intensity, repetitions, and
duration.
• If you are not able to fulfill the requirements due to the limitations of your
body, do not force yourself. Check with your medical practitioner before
training.
• If you feel ill during or after practice, stop training immediately and seek
medical help.
• Dress in appropriate casual clothing, shoes, and socks.
• Start with warm-ups and stretching, and cool down after training.
• Drink enough water before and during training.
• Do not train when there is an inappropriate temperature and humidity:
extreme heat and cold are not suitable for training.
• Try not to train in an area with strong air conditioning.
• Train in a safe place.
THE HEALTH ASPECT OF THE EIGHT MOTHER PALMS

1 Fierce Tiger Descends the Hill—Back (Mountain)
• Press hands down, hold Dantian, and curve back
• Qi flows downwards, legs are stable
• Cures illnesses of the lower basin, gastroptosis
• Good for knee, joint, neck, back, and waist pain
2 White Monkey Presents the Peach—Lungs (Metal)

• Forearms push up, shoulders stretch, and back is
rounded
• Can resist strikes
• Cures frozen shoulder and back pain
• Qi assembles in lungs, improves the immunity of the
lungs
3 Huge Roc Spreads Wings—Hips (Wind)

• Open back, stretched chest, sunken trunk
• Qi flows from Ren Mai to arms to fingertips
• Heals pneumonia, pulmonary tuberculosis,
inflammation of the respiratory system, and flu
4 Lion Opens Mouth—Head (Heaven)

• Head turns, and hands are up
• Qi shoots up from Di Mai to front of the hands
• Cures headaches and frozen shoulder
5 Push Window to Glance at the Moon—Heart (Fire)

• Heals the heart, palpitations and Qi weakness, lack of
appetite, nervous breakdown, and heart disease
6 Holding the Moon to the Chest—Liver (Thunder)

• Liver is at the right hip, hands rotate and hold
• Strengthens liver, cures diseases of liver and spleen
7 Point to Heaven and Pierce to Ground—Kidneys (Water)

• Waist moves up and down like snake
• Stretches kidneys
• Heals deficiencies of the kidney and dizziness,
incontinence, and constipation
8 Black Bear Stretches Arms—Stomach (Earth)

• Rotate hands inwards; pushes sick Qi out
• Dantian turns internally
• Qi flows from Dantian to the inner hand
• Heals small intestine, addresses diarrhea and vomiting
HEALTH IS ACCUMULATED
Drawing of the tree for Bagua Zhang (八卦掌藝樹圖)
This drawing was passed down by Dong Hai Chuan, the founder of Bagua Zhang.
Students are taught to circle around a tree: the tree starts as a young trunk and grows
upwards, the student practices changing palms every day, his power increases
daily, and his body becomes stronger. The tree is also growing daily and becoming
larger, the leaves are abundant, and alongside the tree the student increases in
power and knowledge. A hundred years develops the man and prepares the next
generation of disciples.
This shows us that there are no short cuts and quick methods, and no one-step
roads to success. We must have patience, and it is the same for our health. It needs
perseverance, hard work, and a plan before one can be strong in body and mind.
There are many excuses to be lazy, and these lead to many diseases. If one is to seek
health, one must rid oneself of disease before working on health to avoid enduring
suffering and a longer road. The drawing has deep meaning.
Dong Hai Chuan also passed down a “Health Song”:
Exercise rids us of a hundred diseases.
If the body is weak, learn to change palms.
The Snake Form and the Shun Shen Palm reduce the internal heat.
Dragon Form: Piercing Hand Palm adjusts the triple burner.
Returning and Tiger Form ease the liver and lung.
Swallow and Gai Palm firm the kidneys and the hips.
Turning the body and Fan Bei increase the power.
Twisting the body and deep Horse Stance help the spleen and stomach.
Shaking the body and Piercing Palm strengthen the ligaments and bones.
Stopping the body and Ban Kou remove the hundred illnesses.
The five toils and seven injuries are eased by the Black Dragon Swings Tail.
A strong body trains the palms to a higher level.
Chapter 5
EIGHT BIG PALMS
SINGLE PALM CHANGE
Single Palm Change posture, by CS Tang
Single Palm Change is the most important signature of Bagua Zhang. All branches
and styles of Bagua Zhang have this posture—they might differ in some parts but
the concept is the same.
People would observe a practitioner’s Single Palm Change to find out whether
they had a deep knowledge of Bagua Zhang. Practitioners should train in this
palm daily, and once you walk the circle, show how you keep all requirements of
this palm.
Different palm shapes

1 Ox Tongue Palm
This is mainly practiced by the Yim Fu school. The palm shape mainly comes
from Master Yim who trained Shaolin Lohan Quen. When the fingers are closed
together, they can easily be used for striking.
341
2 Dragon Claw Palm

This is practiced by the Cheng Ting Hua school. The palm shape comes from
Chinese wrestling. The splitting of the palm is called “explosion stretches.” The
function is to grasp and strike. There are pushing out and upward styles and fully
stretched styles where the tiger mouth opens like a full moon.
2 3 4
Single Palm Change
William focuses on the center when walking

E ight Big Palms 343
This palm is trained using weights, small wrist rings, and large weight rings.
1 2
(Demonstrated by William Steinberg.)
(Demonstrated by Alex Medana.)

Note: The index finger should bend back towards the eyebrow, and the root of the
palm should push upward, sink, and press the elbow. The arms stay in a triangle
to strengthen the skeleton (二拍勾眉).
Single Palm Change movement sequence

1 2 3 4
Ready posture Turn the left Right hand Change the palm by
palm up points back raising it up and then
pressing it down
5 6 7
The shoulder stretches the arm forward completely and sinks the elbow
Two ways to change palms

1 The lower palm passes through the elbow of the other arm.
1 2
3 4
2 The lower palm passes under and touches the other arm, as if it is going through
a sleeve (穿袖掌).
1 2
3 4
The lower palm acts as protection.

Three different Single Palm Change stretches

1 Full stretches
The left hand fully stretches forwards and the right hand protects the waist.
2 Half stretches
The left hand sinks the elbow and the right hand points to the left elbow.
3 Protecting stretches
The left hand sinks the elbow and pushes up, and the right hand points to the left
side of the waist.
Stepping in Single Palm Change
1 Internal Bai Bu 2 Internal Kau Bu
3 External Bai Bu 4 External Kau Bu
5 External Kau Bu at T-step 6 Horse Stance step
7 Internal Bai Bu
The postures of the masters in Single Palm Change
1 2 3
Master Ho Ho Choy
How Master Ho performed the Single Palm Change

Master CS Tang Master Niu Sheng Master Sebastian González

Xian (牛勝先) at his Jing studio in
Barcelona, Spain
BAGUA ZHANG XIAN TIEN EIGHT BIG PALMS
換掌【先天八大掌】 Main forms: changing forms (換掌)

首尾掌 Eight Big Palms (八大掌):
頭勢。換掌 1. Snake Form: Follow Shape Palm
1. 單換掌－兩儀換掌：內換 2. Tiger Form: Return and Strike the Tiger Palm
掌、外換掌 3. Dragon Form: Piercing Hand Palm
2. 雙換掌身勢。八大掌 4. Swallow Form: Overturns Covering the Hands
3. 四形簡名: Palm
4. 1 蛇形順式掌順身掌 5. Turn Around Body Over the Back Palm
5. 2 回身打虎掌回身掌 6. Twist the Body and Pat the Horse Palm
6. 3 龍形穿手掌鑽身掌 7. Turn Over Body and Rear Insert Palm
7. 4 燕翻蓋手掌翻身掌 8. Stop Body, Parry, and Hook Palm
8. 四身 Beginning and ending palms:
9. 5 轉身反背掌轉身掌 1. Single Palm Change
10. 6 擰身探馬掌探身掌 2. Double Palm Change
11. 7 翻身背插掌背身掌 3. Five Dragons Palm
12. 8 停身搬扣掌擰身掌 a. Black Dragon Swings Tail
13. 尾勢。五龍掌 b. Green Dragon Stretches Claw
14. 1：烏龍擺尾掌 c. Yellow Dragon Turns Body
15. 2：白龍分水掌 d. White Dragon Splits the Water
16. 3：青龍探爪掌 e. Red Dragon Clings to Pole
17. 4：黃龍現身掌 Black Dragon Swings Tail Through the Forest set
18. 5：赤龍纏柱掌
19. 烏龍擺尾穿林掌
Master Ho Ho Choy’s Single Palm Change and Double Palm Change
Master Ho Ho Choy’s one to four Big Palms
Master Ho Ho Choy’s five to eight Big Palms

Single Palm Change (Internal Change Palm)

Single Palm Change (External Change Palm)
1a Snake Form: Follow Shape Palm (single side)

1b Snake Form: Follow Shape Palm (double side)

2 Tiger Form: Return and Strike the Tiger Palm

3 Dragon Form: Piercing Hand Palm

4 Swallow Form: Overturns Covering the Hands Palm

When practicing this form, remember to do a warm-up first; this tells your body
to stretch and muscle of the waist to twist.
5 Turn Around Body Over the Back Palm

6 Twist the Body and Pat the Horse Palm

7 Turn Over Body and Rear Insert Palm

8 Stop Body, Parry, and Hook Palm

Double Palm Change

Five Dragons Palm

Five Dragons Palm, illustrated by Wang Dong Quan,

a senior student of Master Ho Ho Choy
BAGUA ZHANG FIVE DRAGONS PALM LINKING FORM
Ho Ho Choy demonstrating Five Dragons Ho Ho Choy’s writing about the

Palm at his rooftop studio, 1971 definition of Five Dragons Palm
Five Dragons Palm is a symbol and signature of Gao style Bagua Zhang. You will
not find this in other styles.
This palm is composed of five different sets of turning palm movements. It also
involves the Five Elements, five directions, and color of the dragon.
Five Dragons Palm consists of:
1. Black Dragon Swings Tail
2. Green Dragon Stretches Claw
3. Yellow Dragon Turns Body
4. White Dragon Splits the Water
5. Red Dragon Clings to Pole.
It also comes with a linking form and is illustrated below.
Black Dragon Swings Tail Through the Forest Set

Only a closed-door student would learn all the palms. Gao Yi Shing, the master,
also taught different versions to closed-door disciples. They were told not to
show them to the public or even to other students. Because of this, these students
thought that they were taught the true palm and that all others were false.
Normal students were only taught the first palm: the Black Dragon Swings Tail
Palm. This is mentioned in his earlier manuscript: that by applying this palm, you
can link up with all other palms and be able to attack enemies in all directions.
The following diagrams illustrate the movements of the Five Dragons Palm
Linking Form.
This linking form consists of five sections. It begins with the Starting Palm and
Five Elements Palm, Black Dragon Swings Tail, Purple Swallow Goes Through the
Forest, then Double Dragon Playing in Water, and ends with Brush the Grass to
Search for Snake.
First section: Starting Palm
Five Elements Palm

Second section: Black Dragon Swings Tail

Then repeat the right side.
Third section: Purple Swallow Goes Through the Forest

For the Back Penetrating Palm here, one should turn in four directions and each
time pass through the center, then follow with a Turn Back Palm.
Fourth section: Double Dragon Playing in Water

E ight Big Pa l m s 383
A jumping movement before the Horse Stance
Repeat the right side of this section, until we come back to left Single Palm Change.
Fifth section: Ending—Brush the Grass to Search for Snake

PENETRATING CHANGE PALM (穿化掌)

EIGHT BIG PALM LINKING FORM 1
This form, called Chuan Hua Zhang, or Penetrating Change Palm, is a sequential
series of Eight Big Palms. It is a form to train how one palm is followed by the
others, performing at the left side only and with just the left side of the palm. If
there is enough time, one can practice it in the same sequence but with both sides
of the palm. It is a performing Taolu or set pattern of movements that you would
use in competition or demonstration.
The sequence of the Penetrating Change Palm

1. Beginning
2. Single Palm Change: Inside change
3. Five Dragons Palm:
a. Black Dragon Swings Tail
b. Green Dragon Stretches Claw
c. Yellow Dragon Turns Body
d. White Dragon Splits the Water
e. Red Dragon Clings to Pole
Main forms: changing forms (換掌) Eight Big Palms (八大掌)


10. Single Palm Change: Outside change
11. Ending
1 Beginning of the Single Palm Change

1 2 3
4 5 6
Start to walk the circle, gradually stretch the arm, and finish this Five Element
Zhang in ten steps or two circles.
7 8 9
E ight B ig Pa l m s 387
10
Pause at the left Single Palm Change posture, and start to change to the right-side
Single Palm Change.
2 Single Palm Change (right side)

11 12 13
14 15 16
Pause at the right Single Palm Change posture.

3 Five Dragons Palm

17 18 19
20 21 22
23 24 25
26 27
Pause at the Single Palm Change posture.
4 Snake Form: Follow Shape Palm

28 29 30

31 32 33

34 35 36
37 38 39
40

41 42 43
44 45 46
47 48 49

50 51 52
53

54 55 56
57 58 59
60 61

62 63 64
65 66 67
68 69 70
71 72

Turn right and right Bui Bu, step the left leg forward, and make a Horse Stance.
73 74 75
76 77 78
79 80
12 Double Palm Change

81 82 83
84 85 86
87 88
13 Single Palm Change: Outside change

89 90
14 Ending: Return to Universe

91 92 93
The names of this form in Chinese A manuscript by Master Ho Ho Choy

DRAGON STYLE PALM (龍形掌) EIGHT

BIG PALM LINKING FORM 2
This form, called Long Xing Zhang or Dragon Style Palm, is a random series of
Eight Big Palms plus movements of the animal palms. It is a form to train how
one palm links with the other palms. If you know the individual palms well, you
can practice the movements of the palms in a different sequence. This may be
suggested by the teacher or created by him.
This is one of the attractions of Bagua Zhang: it is a creative martial art and
you can organize your own form. It would be a performing Taolu or set pattern of
movements that you would use in competition or demonstration.
The sequence of the Dragon Style Palm

1. Beginning
2. Bear Squats and Tiger Sits
3. Golden Leopard Rushes to Mountain
4. Phoenix Pointing to the Sun
5. Dragon Turns Back
6. Smart Snake Spits Tongue
7. Golden Monkey Hangs Seal
8. Cross Push and Brush
9. Follow the Water and Push the Boat
10. Chicken Leg Contracts Body
11. Hawk Flies Through Forest
12. Golden Oriole Grasps Bird
13. Swallow Skims Over Water
14. Hold the Horse to Turn Back
15. Amble and Raise Dress
16. Single Palm Change: Right-side outside change

25. Five Dragons Palm
26. Single Palm Change: Outside change
27. Ending
1 Beginning of the Single Palm Change

1 2 3
4 5 6
Start to walk the circle, gradually stretch the arm, and finish this Five Element
Zhang in ten steps or two circles.
7 8 9
10
Pause at the left Single Palm Change posture, and start to turn left for the animal
palms.
2 Bear Squats and Tiger Sits

11 12
3 Golden Leopard Rushes to Mountain
13
4 Phoenix Pointing to the Sun
14
5 Dragon Turns Back
15
6 Smart Snake Spits Tongue
16
7 Golden Monkey Hangs Seal

17 18
8 Cross Push and Brush
19
9 Follow the Water and Push the Boat
20
10 Chicken Leg Contracts Body
21
11 Hawk Flies Through Forest
22
12 Golden Oriole Grasps Bird
23
13 Swallow Skims Over Water

24 25
14 Hold the Horse to Turn Back

26 27
15 Amble and Raise Dress

28 29 30
31
16 Single Palm Change: Right-side outside change

32 33
17 Snake Form: Follow Shape Palm

34 35 36
37

38 39 40
41

42 43 44

45 46

47 48 49

50 51

52 53 54
55

56 57 58
59
25 Five Dragons Palm

60 61 62
63 64 65
26 Single Palm Change: Outside change

66 67
27 Ending
68 69
APPLICATION OF THE EIGHT BIG PALM LINKING FORM

The following shows the application of the first part of the Dragon Style Bagua
Zhang Linking Form, which involves the application of animal form movement.
1 Single Palm Change

A B
2 Bear Squats and Tiger Sits

1
3 Golden Leopard Rushes to Mountain

2
4 Phoenix Pointing to the Sun

3
5 Dragon Turns Back

4
6 Smart Snake Spits Tongue

5
7 Golden Monkey Hangs Seal

6 7
8 Cross Push and Brush

8
9 Follow the Water and Push the Boat

9
10 Chicken Leg Contracts Body

10
11 Hawk Flies Through Forest

11
12 Golden Oriole Grasps Bird

12
13 Swallow Skims Over Water

13
14 Hold the Horse to Turn Back

14 15
15 Amble and Raise Dress

16
16 Single Palm Change

17 18 19
20
(Demonstrated by Samuel Cheng and Andre Sigwalt; photos by CS Tang.)

APPLICATION OF XIAN TIEN ZHANG:

EIGHT BIG PALM (先天八大掌) CIRCLE METHOD
1 Snake Form: Follow Shape Palm (蛇形順式掌順身掌)
1 2
3 4
5 6
7 8
9 10
11 12
13 14
15 16
2 Tiger Form: Return and Strike the Tiger

Palm (回身打虎掌回身掌)
1 2
3 4
5 6
3 Dragon Form: Piercing Hand Palm (龍形穿手掌鑽身掌)

1 2
3 4
4 Swallow Form: Overturns Covering the

Hands Palm (燕翻蓋手掌翻身掌)
1 2
3 4
5 6
7 8
5 Turn Around Body Over the Back Palm (轉身反背掌轉身掌)

1 2
3 4
5 6
7 8
9
6 Twist the Body and Pat the Horse Palm (擰身探馬掌探身掌)
1 2
3 4
5 6
7 8
9 10
11 12
13 14
7 Turn Over Body and Rear Insert Palm (翻身背插掌背身掌)

1 2
3 4
5 6
7 8
9 10
11 12
8 Stop Body, Parry, and Hook Palm (停身搬扣掌擰身掌)

1 2
3 4
5 6
7
More detail on the application of the Eight Big Palms

(Demonstrated by CS Tang and Blanca.)
Sixth palm application

Seventh palm application

Eighth palm application

XIAN TIEN ZHANG EIGHT BIG PALM

PRACTICING METHOD (先天八大掌練法)
Snake Palm, Double side (蛇形順式掌順身掌)
1 2 3
4 5 6
7 8 9
10 11 12
13 14 15
16 17 18
19 20 21
22 23 24
25
APPLIED BAGUA ZHANG

Snake Palm, Double side
(Demonstrated by CS Tang (left) and Fred (right).)
Techniques: Neck lock throw, arm locks, kick block throws, and hold up legs throw.
1 2 3
4 5 6
7 8 9
10 11 12
13 14 15
16 17 18
19 20 21
22 23 24
25 26 27
28 29 30
31
Snake Palm Variation 1

(Demonstrated by CS Tang (left) and Eric (right).)
Techniques: up strike, kick, elbow, block throws, and hold up legs throw.
1 2 3
4 5 6
7 8 9
10 11 12
13 14 15
Snake Palm Variation 2

(Demonstrated by CS Tang (left) and William Steinberg (right).)
Techniques: neck lock, applying Lion Smashes Eyebrow, and high kick to neck.
Usual neck lock with Lion Smashes Eyebrow

1 2
3 4
5 6
Right hand also comes over to lock the head and apply choking
7 8
Right hand raises at his back and holds his mandible to break his neck
9 10
A high kick to the throat or to his groin could be used

11 12
Twist the Body and Pat the Horse Palm (擰身探馬掌探身掌)
1 2 3
4 5 6
7 8 9
10 11 12
13 14 15
16 17 18
19 20 21
22 23 24
25 26 27
28 29 30
31 32
Turn Over Body and Rear Insert Palm (翻身背插掌背身掌)

1 2 3
4 5 6
7 8 9
10 11 12
13 14 15
16 17 18
19 20 21
22 23 24
25 26
APPLICATION OF DOUBLE PALM CHANGE
B=man in the black T-shirt, who is attacking, and W=man in the white T-shirt,
who is defending.
1 B grasps W’s hand

1 2
2 W escapes the grasp and attacks B’s face

3 4
3 B pushes W’s elbow, W turns left

5 6
4 W attacks B’s lower half

7 8
5 W uses Two Root Palm to attack B

9 10
6 B attacks W with brush knee

11 12
7 W holds his right hand away, and then pushes

his right shoulder and kicks his left leg
13 14
8 Using a turn and throw technique to fell an enemy to

the side that does not have the support of the legs
15 16
17 18
19 20
EIGHT BIG PALM LINKING DRILL FORM (鄧昌成。霍東成演式)

(Demonstrated by CS Tang and TS Fok.)
This is a two-man form with a fixed and pre-arranged sequence of Eight Big
Palms. It is trained inside the circle and should be practiced slowly and carefully
to improve training flexibility and awareness. Both participants should be relaxed.
The instruction should be followed to avoid hurting the back when turning under
pressure.
1 2 3
Both hands contacted (1) Snake Form

and ready for movements
4 5 6
7 8 9
10 11 12
13 14 15
16 17 18
(2) Tiger Form

19 20 21
22 23 24
25 26 27
(3) Dragon Form
28 29 30
31 32 33
34 35 36
37 38 39
40 41 42
43 44 45
(4) Swallow Form
46 47 48
49 50 51
(5) Turn Around Body

Over the Back Palm
52 53 54
55 56 57
(6) Twist the Body and

Pat the Horse Palm
58 59 60
61 62 63
64 65 66
67 68 69
70 71 72
(7) Turn Over Body

and Rear Insert Palm
73 74 75
76 77 78
79 80 81
82 83 84
85 86 87
88 89 90
(8) Stop body, Parry,

and Hook Palm
91 92 93
94 95 96
97 98 99
100 101 102

103 104 105
106 107 108
109 110 111
112 113 114

115 116 117
118 119 120
121 122 123
124 125 126

127 128
End
Chapter 6
BAGUA NEI GONG
BAGUA NEI GONG TURN WAIST PALM (八卦轉掌內功)

These exercises are to improve the power of the waist and the twisting of the body.
They will ensure you can apply explosive power when turning your waist.
Requirements
1. Have a closed stance, like riding a horse with the knees kept closed tight.
2. The feet should stand in a triangle shape.
3. The head should be straight. The eyes should be open and the gaze straight.
4. The shoulders and elbows should be sinking.
5. Round your shoulders and back.
6. Sink the Qi to the Dantian.
Training procedure
1. There are ten postures. Each posture starts with standing still. Hold
a round posture and sink the body. Keep the knees close together. Use
reverse breathing.
2. Each posture starts with standing still for five minutes, then twisting the
body and turning left. Do it very slowly, keep the lower part of the hips
stable, and do not turn back.
3. Hold each posture and turn to the left side first and then turn to the right
side. This counts as one time. Do each posture in this way. For each section
of these left and right turns, count to ten.
461
Beginning palm (起式掌)
First palm
Second palm
Bagua N ei G ong 463
Third palm
Fourth palm
Fifth palm
Sixth palm
Seventh palm
Eighth palm
Ninth palm: Single palm turning
Tenth palm: Turn and push palm

Static Stance of Eight Mother Palms (定式樁八掌)

1 2 3
4 5 6
7 8 9
10
High Kicks training (點腿)

1. Keep training the left and right turns of each palm so that the muscle can
be used for slow turning and fast movements.
2. For each palm, keep standing for ten minutes; this gets one used to
stretches and keeping the knees tight.
Training to keep the knees tight (夾馬樁要穩固，不動如山)

Heavy and tight footwork require training in a tight knee stance.
1 Holding a book 2 Knees pressed together 3 Tight enough that the

book cannot be pulled out
4 Tight enough that the 5 Tight enough that the 6 Tight enough that the
knees cannot be torn apart knees cannot be pushed apart knees cannot be split apart
The body feels as if it has melted, but the bones are holding
it strong as if they are steel (身如銅鑄，肩架撐抱如鋼)
1 Cannot push 2 Cannot lift or push 3 Cannot press down 4 Cannot pull
the neck
Internal Nei Gong training of the Heart Transmission

of How to Reach Dao (至道心傳之坐功)
1 Single knee-crossing 2 Sitting with fingers 3 Hold the Qi and

posture and holding pinching (捏指坐) concentrate (抱元守一)
hands in a Taiji symbol
(單盤手抱太極)
4 Push down (下按) 5 Hold at the middle (中抱) 6 Push up (托天門)

7 Sitting with single 8 Sitting with single

palm held up (單托) palm held up and body
twisted (擰托)
SECRET MANUSCRIPT—THE HEART TRANSMISSION OF

HOW TO REACH DAO: THE SECRET WAY TO NEI GONG
If the trainer can follow the procedure and steps to practice the breathing and
focusing from this manuscript, the Qi will break through the three gates and strike
through the meridian of the Directing Vessel (Ren Mai) (任脈) and Governing
Vessel (Du Mai) (督脈). Finally, the body will be kept healthy forever, and the Qi
will be very strong and can be applied in martial arts for fighting.
TEACHING MOTHER PALMS AND BIG

PALMS IN TAIWAN IN 2018
Static Stance
A group turning circles

Our Yang Xin Studio group arranged a Gao Bagua Zhang

workshop at Hong Kong University, 2018

Xiantian Bagua Zhang Gao Style Bagua Zhang - Circle Form

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XIANTIAN

The Mysterious Power of Xingyi Quan

A Comprehensive Guide to Daoist Nei Gong

Chinese Shamanic Tiger Qigong

Copyright © C S Tang 2021

Warning: The doing of an unauthorised act in relation to a copyright work may

Library of Congress Cataloging in Publication Data

British Library Cataloguing in Publication Data

ISBN 978 1 84819 359 8

Printed and bound in the Great Britain

Caveat and Disclaimer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

INTRODUCTION TO THE AUTHOR:

THE WAY OF MY BAGUA ZHANG (我之八卦掌成長之路)

CS Tang in a spear performance when he was young

Fine art and Bagua Zhang and Xing Yi Quan1

The start of my Bagua Zhang journey

Master Liang Zi Pang Master Liang Zi Pang teaching

Master Liang Zi Pang teaching in Hong Kong

Yau Pang Xi, who taught Liang Zi Pang Yi Quan

Yau Pang Xi before going Yau Pang Xi and his wife

Bagua Zhang and Xing Yi Mixed Form by Sun Dit

The Bagua Zhang of Lee Ying Ang

Unfortunately, Mr. Lee passed away in Guatemala at a relatively young age.

Lee Ying Ang’s Xing Yi Quan

Hong Kong Gao style Bagua Zhang of Ho Ho Choy

I asked Master Ho what styles he learned, what he remembered, and what he

Master Ho Ho Choy performing the Studio at Hennessy

Senior students with The rooftop on which

Taiwan Gao Bagua Zhang with Master Zhang Zhun Feng

I also managed to get a hand-copied manuscript by Gao Feng Ming in Beijing,

Master Zhang Zhun Feng and CS Tang in Taiwan

American Gao Bagua Zhang

Dr. Wu’s Single Palm Dr. Wu (right), Master Wang Yin

Master Chu Gui Ting

Master Yu Yi Yin and KC Wong

Yin Tien Xiong Jiang Rong Qiao

OTHER BAGUA ZHANG STYLES

Wang Jin Xing (second from right) in Tianjin Master Ho Ho Choy, CS

Zhang Siu Dong style Bagua Zhang

Grandmaster Wu Shi Ying Mr. Hans-Kurt Schafer (徐濠功), a German who

Fu style Bagua Zhang in Guangzhou

Master Fu Zhen Song and his famous Bagua saber

Sun Bao Gang’s Single Palm Change

Master Fu Tie Long (傅鐵龍)

Fu Tie Long Fu Tie Long (left) and his brother

Master Zhai Yung Ji

Zhai Yung Ji in Guangzhou, 2001

Tao Yu at his 98th birthday party, 2018

Master Fu Zhen Song Master Fu Yong Hui

Lim Zhao Zhen

Peng Zhao Kuang of Si style Bagua Zhang Lim Zhao Zhen

Peng Zhao Kuang, 1950 Peng Zhao Kuang, 1980

Peng Zhao Kuang’s hobbies

Sun style (孫式) Bagua Zhang

Sun Lu Tang, 1929 Sun Lu Tang, 1929 Wu Bo Xiang in

Geng style (耿式) Bagua Zhang

Master Geng De Hai

Gong style Bagua Zhang

Master Wang Han Zhi (third from right)

Wang Han Zhi (third from right) in Xian, 1986;

Hung Gwun’s (孔軍) Anti-Eight Palms (反八卦)

Hung Gwun (fourth from left) at a conference in Hong Kong

Iv Zi Jiang’s Bagua Zhang (呂紫劍)

The richness of Liu Jing Ru’s treasures—Cheng