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    525 views8 pages

    Liuhebafa Chuan - The 4th Internal Art - English Version

    Uploaded by

    k0k0_lizu

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF or read online from Scribd
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    Liuhebafa Chuan, Xingyi Chuan, Bagua Zhang, and Sen eee eee Chinese. Internal, Arts..In. China.and. abroad. these eC ee Peete er eM ec ae a Cnr ake ue ee uae ra) was in search of, and when he found that through an exchange with Liuhebafe’s Wu Yi Hui he personally sent ee eel Re Ae CR about Liuhebafa Chuan, we have found an orthodox eee cae anne ey 80}, an indoor-disciple of the Hua Yue Xi Yi Men {Liuhebafa) system whois currently offering instruction Pees In collaboration with the: Liuhebafa Internal Arts ee ue ena Pree Tice cy Se mnonne KEG ‘essiinai LIUHEBAFA ‘Master Wang Xiang Zhai and Liuhebafa Chuan A master of exemplary skill and wisdom of martial ats, Wang Xiang Zhai, the creator of i Chuan (Dacheng Chuan), proclaimed in 1928: “Ihave traveled across the country in martial research, engaging over a thousand people in combat. There have merely 2.5 people | could not defeat, namely Jie Tie Fu from Hunan, Fang Yi Zhuang from Fujian, and Wu ¥i Hui from Shanghai” He was defeated in his matches with Jie Tie Fu (He Chuan, Xinyi Chuan) and Wa Yi Hui (Liuhebafa Chuan), and drew evenly with Fang Yi Zhuang (He Chuan), thus 2.5 people. As Wang Xiang Zhai was one to learn from his experiences it has been surmised based on this account that he may have created his style based not only on the Xingyi Chuan which he learned from Guo Yun Shen, but also the posture and way of power-issuing of He Chuan (Grane Fist), and the Zhan Zhuang (Stillness Meditation) and Shi Li (Testing Force) of Liuhebafa Chuan. Nong 19805 Cena trtt Anger, Fontow tom hee toegRengane nevi Wang Xiang Zhai was close friends with Wu Yi Hui and exchanged Zhang ng Cu Gling fa owten tele Gefen tanngOve Ta ith him on many occasions, which led many to believe that what Cham fe ss eames Ming! tem tha a ing. gen an Jary feng ive md Wang experienced of Liuhebafa Chuan’s unique way of motion and its echeng or tn Ying on original Wei Tuo Gong (internal mechanism meditation) may have indeed played a strong role in what became Yi Chuan. Whatever the truth may be, Liuhebafa Chuan and Yi Chuan lie at opposite ends of the internal spectrum in theory and practice. Since is introduction to the publi | ition, and come to take a position along with Xingyi Chuan, Bagua Zhang, and Taiji Chuan, also eo known as the "Three Internal Arts’ to become known as the Fourth Internal Art It has a greatly extensive number of techniques, and contains the fluidity of Taji Chuan, the power issuing of Kingyi Chuan, and the variable footwork of Bagua Zhang. Containing the strengths of the Three Internal Arts and by its appearance this style is mistakenly said to have been formed from a fusion of the others, however nothing could be further from the truth. Though containing the essences ofthese 3 styles, Livhebafa Chuan stands alone asan internal art containing its own unique core principles and methods that are not found elsewhere. the style of Liuhebafa Chuan has gained acceptance and recog- (a Vichuans oon Wang ang atten Before becoming known in the world during China's republic era the history of Liuhebafa Chuan is xcoraed ih 7H 78 fvesan somewhat unclear and quite dificult to accurately assume, The current system though, when ever it ‘ni diy he's hr top Sac, Came into existence, has an extremely logical construction consisting of a vast amount of material, ‘tow Ge ns hh with each particular practice focusing on an individual aspect of internal development. The wellknown practices of Liuhebafa Chuan ate Kian Tian San Pan Shi Er Shi (Pre-heaven 3 Divisions 12, Spirits), Zhu Ji (Discovering the Foundations), and Lu Hong Ba Shi (8 Essences of Lu Hong's Fist *Xian Tian San Pan Shi Er Shi (Pre-heaven 3 Divisions 12 Spirits) is comprised of 12 short dills repeated continuously on both sides, with the attributes and requirements of each spirit differing, and somewhat resembling that of the*12 Animals of Xingyi Chuan” in training concept. The 12 Spirits are: Dragon, Phoenix, Tiger, Crane, Leopard, Ape, Bear, Goose, Snake, Hawk, Roc, and Kylin, *Zhu i (Discovering the Foundations) has an appearance that on the surface is similar to TaijiChuan, lowing likea stream with soft and slow continuous movements. And.. it's long! With a total of 66 movements, among all the forms found in Chinese Martial Arts it is tillan unbelievably long form, with no repeating movements like Taiji Chuan does, ana when performed ata slow serious pace can take over 40 minutes to complete, The movements of Zhu Ji are elusiveto the first glance, however ifthe content and its meanings are understood only then can one see the depth of its refinement. Pre-heav ivisions 12 Spi “Dragon at War” Liha Chane Don 2 pis snrin eat Xing 2 Arab a sot ects psn contin ont ‘etait nthe Orage att ean coma 43° HIDEN Budo & Bujuesw Lu Hong Ba Shi (8 Essences of Lu Hong's Fist) in contrast to Zhu Ji traditionally performed faster and with more combative intent (a opposed to internal development intent), and is sectioned for raining and focus into 8 separate sequences. This unique practice caught the eye of, Wu Yi Hur's disciple Yin Tian Xiong, 2 seasoned fighter who chose to solely devote himself to and specialize in this rare style, What follows in the transmittion are the rare indoor forms called Long Hu Zhan (Dragon and Tiger Fighting), Zhe Long Yuo (Coiled Dragon Swimming), and Zhe Long Chuan (Coiled Dragon Fist). There are 3 types of weapons in the system: Xin Yi Gun (Heart of Intent Staff), Lu Hua Dao (Dew Mist Broadsword), and Yu Chuan Jian Jade River Straightsword). And for internal training: San Pan Tui ‘Shu (3 Divisions Push Hands}, Wei Tuo Gong (Internal Mechanism Meditation), Yi Jie Hun Yuan Gong (Definitave Primary Force), Xian Tian Zhou (Pre-heaven Meditation), and Tai Yang Gong (Solar eeeneeer Meditation), Though as these traditional practices are reserved exclusively for indoor students they seldom reach the publics eye. SrcirinmenieowetesmSwen Lihebafa Chuan’s idea and transmittion The actual name of the style is "Hua Yue Xi Yi Men’, where as"Liu He Ba Fa"is merely a description of, the principles involved. The founder Chen Xi¥i was a Taoist known for his advanced theories on philosophical Taoism, Buddhismand Confucianism during China's Song Dynasty. The name Hua Yue XiYi Men comes from the name Xi Yithat the Song Emperor bestowed to Chen.*Xi"is what cannot be heard; “Vis what cannot be seen. ‘Another name Liuhebafa Chuan is referred to is “Water Boxing’ This comes from waters nature to alter its state to become ice (solid state), water liquid state), and steam (gaseous state). Hua Yue Xi Yi Men's "water principle" is based on these 3 characteristics giving birth to structured strength (solid) and ceaseless flow (liquid), both components being contained within emptiness (gas) Generally the name "Liuhebafa" comes from the essential derived from the 6 Harmonies and 8 Methods theory of Hua Yue XiYi Men. Among this, the directional force is expressed by the Outer 8 Methods, which according to "Yin Yang 5 Elements Theory": forward/backward is wood, upward/downward is water, left/right is earth, straight Is ire, and circular is metal. This can be trained borrowing the 5 Element Fists of Xingyi Chuan, which yields Beng = forward/backward, Zuan = upward/downward, Heng = left/right, Pao = straight, and Pi = circular, Doing so begins with Xingyi Chuan's"Trinity Posture’ Open the legstoa hip-width pasition with weight distributed evenly on the feet, and without moving from that position train while rooting in the stance. Training Xingyi’s 5 Element Fists lke so in order (beng,zuan, heng, pao, pi)is the most efficient and correct way to comprehend and develop the Outer 8 Methods. To thoroughly understand and develop Liuhebafa's Outer 8 The composition of Liuhebafa Chuan Methods, persistent training like 6 Harmonies and 8 Methods this in these 5 movements of Xingyi produces an expression of | Inner Six Harmonies martial mening, 1 Body and Mind combine 2.Mind and intent combine Generations after chen xi ¥i, | 3lntent and Chicombine Livhebafa Chuan was shown to | 4.Chiand Spirit combine the world by Wu Yi Hui (1887- | 5.Spiitand Movement combine 1958). Wu was from Tieling and | 6. Movement and Emptines combine belonged to a scholerly family of i" government officials. He learned | Outer Six Harmonies Tiunebsfa Chuan from Yan Guo | 1» Shoulders track the hips moving in harmony she we pum es cama Xing, then from Chen Guang bi, | 2-Elbows rack the knees moving in harmony Mutalateconcivens\kcony and last from Chen He Lu and | 3Wriststrack the ankles moving in harmony inking aniucedon st tained a deep knowledge in the | 4-Shoulders elbows, and wrists move in harmony : martial and literary ats. 5. Hips, knees, and ankles move in harmony 6.Cervical, thoracic, and lumbar spine move in harmony In 1936, Wu was invited to take up 2 position in the Central Martial Arts Academy that was estab- lished in Nanjing, and became the at Dean of Studies. It was here that Liuhebafa Chuan received great exposure under his representa- tion. To preserve the authentic image of Liuhebafa Chuan for future generations, there were ‘over 200 photos taken of Wu demonstrating the postures from se oy penontaom toma wacnea the form Zhu JiChuan, which have ‘have ralteopine naz crentines, become quite precious material Inner Eight Methods 1. Chi- Use intention to move the chi 2. Bone - Structured strength exists within 3. Shape - Use body mechanics to focus intent and purpose 4.Follow - React and adapt according tothe situation 5. Rise - Press the head upto activate the “intemal mechanism” 6. Return - Create a counter-

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