The Study of Taiji in the Sword (太極劍學) from the Study of Bagua Sword (八卦劍學)

太極劍學

太極者劍之形式也無極而生乾坤之母左轉之而為乾像右旋之而為坤形劍之旋轉是內中一氣之 流行也此理是一字而生這○自這○而又生Ф也這Ф當中之一竪是由靜極而生動在人謂之眞意在丹道謂之先天眞陽一氣為慧劍在形意拳中謂之先天無形之橫拳在八卦劍 中謂之太極此式初動內雖有乾坤之理外未具乾坤之象所以謂之太極劍也譬諸坐功由神氣定住再垂簾塞兌回光觀玄之時此時劍之初動是萬物之母是以此劍不必格外再用 內功之氣劍之動作規矩法則無不是內家拳術之道與丹道學之理丹書云慧劍可以消身內之魔寳劍可以辟世上之邪。

孫祿堂

"The grand polarity, as a sword posture, arises from nonpolarity and gives rise to the trigrams of Qian and Kun. Leftward circle walking corresponds to Qian. Rightward circle walking corresponds to Kun. The spinning of the sword is a continuous flow inside. To make an image of this principle: an empty circle. From an empty circle arises a divided circle. Within this divided circle, movement is generated by the extreme of stillness. People call it “truth”. Elixirists call it “innateness”. The authentic active aspect when it is continuous is the “sword of wisdom”. In Xingyi Boxing, it would be considered the innate shapelessness of the crossing technique. In Bagua Sword, it is called “grand polarity”. In this posture, at the beginning of the movement, although internally there is the theory of Qian and Kun, there is not yet such a shape externally, and so it is called the GRAND POLARITY POSTURE. It is like during seated meditation when mind enters void. This initial movement with the sword produces all that follows. Therefore with this posture it is not necessary to use another kind of internal energy. The standard for the sword movements is always the same as the ways of internal boxing arts and elixirism. The Elixir Book says: “The ‘wisdom sword’ can take away the body’s demons. The ‘precious sword’ can ward away the world’s evils."

起點先將腰塌勁頭往上頂住勁兩肩往下垂着勁舌頂上腭口似張非張似脗非脗鼻孔出氣呼吸要 自然不可着意兩足亦往上蹬勁諸處之勁皆是自然用意不要用拙力再將左手大拇指與二指中指伸直無名指與小指用力屈回稍節與中節根節直着與中指相倂五指屈伸用力 要均匀左手之式並非與他劍揑訣相同取其五指屈伸左手不必格外用力此式能助右手之劍屈伸往來變化之力亦並非一定不易之規矩有時亦可五指俱伸因劍之形式而定學 者不可膠執再將右足往裏扭直與左足成為四十五度之式兩手自中陰中陽皆與右足往裏扭時亦同時往外扭扭至兩手皆至太陰式停住兩胳膊仍靠着身子再將兩腿徐徐曲下 兩腿裏曲不可有死灣子如圖是也右手之劍亦與兩腿下曲時同時胳膊靠着右脇劍尖往着左足尖前平着伸去與左足尖前邊成一交會線手仍是太陰劍把劍尖與心口平左手亦 於劍動時手太陰着同時胳膊靠着左脇往右胳膊肘後下邊穿去手背挨着右胳膊左胳膊靠着心口兩眼望着劍尖看去將神氣定住頭頂兩肩下垂有往回縮之意皆是自然不可用 拙力方可得着中和之氣而注於丹田也。

"To begin, first get your waist to have an energy of sinking, your head to have an energy of pressing up, your shoulders to have an energy of hanging down. Your tongue touches your upper palate, your mouth is flat but not flat, pursed but not pursed. The breath is through your nose. The breathing should be natural and must not be concentrated upon. Your feet have an energy of pressing up. Everywhere the strength is natural, for you should use intention rather than awkward exertion. Then your left thumb, forefinger, and middle finger extend, while the ring finger and little finger forcefully bend inward from the middle knuckle, the section from root knuckle to middle knuckle lined up next to the middle finger. The fingers use the same degree of strength whether bending or extending. Your left hand’s posture is not really the same as the pinched swordsman’s hex of other sword sets. When your fingers bend and extend, your left hand does not need to use extra force. Its posture can assist the power of the sword’s bending and extending, coming and going, and transforming, rather than being a fixed and unchanging shape, for sometimes all five fingers can be extended, in accordance with the sword posture, and so you must not be obsessed with grasping. Then your right foot twists inward to point straight, making a forty-five degree angle with your left foot. As your right foot twists inward, your hands twist outward from their half passive positions until they are each in a full passive position, your arms still close to your body. Then your legs slowly bend downward, though it must not be a dead bend. It is like the photo. As your legs bend down, and with your right arm close to your right ribs, the sword extends with a flat blade in front of you and in line with your left toes, the hand still in its full passive position. The sword handle and sword tip are at solar plexus level. During the movement, your left hand, also still in its full passive position, is close to your left ribs and threads under and behind your right elbow, the back of the hand close to your right arm, the arm close to your solar plexus. Your gaze is toward the sword tip. Your spirit and energy stay stable. Your head presses up, but your shoulders drop down and have an intention of shrinking in. Everything should be natural and there must be no use of awkward exertion. Then you can have an energy of centered harmoniousness and concentrate it into your elixir field."

Translation by Paul Brennan of "Study of Bagua Sword" (八卦劍學) by Sūn Lùtáng (孫祿堂), to be found in the Brennan Translation blog.

A Detailed Look at the Theories of Xingyi, Bagua and Taichi (詳論形意八卦太極之原理) - Continuation and End

太極拳發明於張三丰祖師。盡人知之。惟練此拳之起點。當先求一個不偏不倚。不上不下。至簡至易之道。拳經云。抱元守一。而虛中。虛空而念化。實其腹而道心生。卽此意也。太極從無極而生。為無極之後天。萬極之先天。承上啓下。能與天地合德。日月合明。四時合序。與鬼神合其吉凶。練之到至善處。以和為體。和之中智勇生焉。極未動時。為未發之和。極已動時。為已發之中。所以拳術一道。首重中和。中和之外。無元妙也。故太極拳。要純任自然。不尚血氣。以蓄神為主。周身輕靈〔。不卽不離。勿妄勿助。內天德而外王道。〕將起點之極。逐漸推之。貫於周身。無微不至。易曰。黄中通理。正位居體。卽此意也。昔年曾聞之師云。此起點之極。與丹道中之元關相同。鄙人研究數十年。不敢云確有心得。然考其本源。實與形意八卦。其理相通。不過名稱與形式之動作不同耳。至若善養氣練神。則初無少異。譬之形意。地也。八卦天也。太極人也。天地人三才。合為一體。混然一氣。實無區分。練之久。而動靜〔自如。頭頭是道。又何形意。八卦。太極之〕有哉。至峨眉派。傳之梅花八式。志公禪師亦重氣養之功。兹不必更贅也。

孫祿堂

"Taiji Boxing was invented by Zhang Sanfeng, as everyone knows. At the beginning of practicing this art, you should first seek for the method of “neither leaning nor inclining, neither rising nor falling, acting with absolute simplicity and absolute ease”. A boxing text says [paraphrasing from the kestrel section in his own Xingyi manual]: “By embracing primal oneness, there is emptiness. With emptiness, there is transformation. Then with fullness in the abdomen, the Daoist mind is born.” It is this idea.
Taiji [“grand polarity”] comes from wuji [“nonpolarity”]. It is nonpolarity’s acquired state and the innate quality of all things, and thus the transition from nothing to everything, [again from his Xingyi manual:] “just as the sky and ground combine to make virtue, the sun and moon combine to make illumination, the four seasons combine to make the cycle of the seasons, and ghosts and spirits combine to make the foretelling of good or bad fortune.” If you practice it to a high level, harmoniousness will manifest, then from within harmoniousness, wisdom and courage will arise. Right before taking any action, there is the harmoniousness of not yet expressing. Once action is taken, there is the centeredness of having expressed.
Therefore the way of this boxing art most of all emphasizes centered harmoniousness. Without this centered harmoniousness, there would be nothing wonderful about it. Thus Taiji Boxing seeks to be purely natural and puts no value on vigor. It aims to store up spirit, making the whole body nimble, so that there is neither reaching nor separating, neither rashness nor rescuing, internally the virtue of Nature and externally the way of kings.
Right from the start, gradually work at it until a centered harmoniousness fills your whole body, reaching even to the smallest part. It says in the Book of Changes [hexagram 2 explanation]: “The gentleman takes yellow [the color associated with the center, i.e. centeredness] as his guiding principle, which corrects his behavior and affects his very being. [The beauty within this condition reaches to his extremities, making everything he does sublime.]” This is the idea.
My teacher [Hao Weizhen] once told me: “Right from the start, this art is the same as the ‘primal gateway’ of the elixirists.” I have been studying this art for several decades, but I would not dare to say that I have a true grasp of it. However, when considering its origins, it is truly interconnected with Xingyi and Bagua in terms of theory. It is only different in its movements and the names of its postures, while as for its qualities of nurturing energy and developing spirit, there is not the slightest difference.
By analogy, Xingyi is the ground, Bagua is the sky, and Taiji is mankind. The three substances of sky, ground, and mankind are merged into a single whole, mixed into a union with no meaningful distinctions. After practicing for a long time, there is fluency in both movement and stillness, and clarity as to the reasoning of the method. Ah, what a thing it is to have Xingyi, Bagua, and Taiji! As for the Emei school’s transmission of the Eight-Posture Plum Blossoms art, as well as Zen master Bai Zhi’s breathing exercises, it is not necessary to go into them here."

Translation by Paul Brennan of "A Detailed Look at the Theories of Xingyi, Bagua and Taichi" (詳論形意八卦太極之原理) by Sūn Lùtáng (孫祿堂), to be found in the Brennan Translation blog.

A Detailed Look at the Theories of Xingyi, Bagua and Taichi (詳論形意八卦太極之原理) - Continuation

八卦拳始於有淸咸同之季。直隸文海董海川先生。漫遊南省。於皖屬渝花山。得異人之傳。謂之八卦者。由無極而太極。太極生兩儀。兩儀生四象。四象生八卦。參互錯綜。拳卽運用八卦之理。何以言之。今腹為無極。臍為太極。腎為兩儀。兩臂膊與腿為四象。其生八卦者。兩臂與腿。曲之為八節。共生八八六十四卦者。兩手十指。每指三節。惟大拇係兩節。八卦共二十四節。加兩拇指四節。得二十八節。加兩足念八節。為五十六。又加兩臂兩腿之八節。為六十四節。故六十四卦，為拳之體。體為三百六十四爻。則互為其用也。每爻有每爻之意。陽極〔而陰。陰極而陽。逆中行順。順中用逆。求〕其中和。氣歸丹田。含有靜極而動。動極而靜之意。上下相通。是為內呼吸。此拳與道家工夫。相為表裏。不特此也。乾坤坎離。等卦。或為龍。或為馬。或為牛。皆取象于物。心在內。而理周於物。物在外。而理具於心。近取諸身。遠取諸物。奇正變化。運用不窮。而又剛柔相濟。虛實兼到。空而不空。不空而空。此八卦拳之妙用也。

孫祿堂

"Bagua Boxing began during the reigns of Emperors Xianfeng [1850-1861] and Tongzhi [1861-1875]. Dong Haichuan of Wenhai, Hebei, was roaming through the southern provinces. At Mt. Yuhua in Anhui he was taught by an extraordinary man an art called Bagua [“eight trigrams”], as in [from the Book of Changes, Great Treatise, part 1:] “Nonpolarity generated the grand polarity, the grand polarity generated the dual aspects, the dual aspects generated the four manifestations, and the four manifestations generated the eight trigrams.” The eight then mix together intricately. The boxing art is the theory of the utilizing of the eight trigrams. What does this mean?
The abdomen represents nonpolarity. The navel is the grand polarity. The kidneys are the dual aspects. The arms and legs are the four manifestations. They generate the eight trigrams by way of the two joints of each limb [i.e. elbow/knee, wrist/ankle]. To then multiply this eight by eight and make sixty-four: the ten fingers each have three joints, except for the thumbs, which have only two, and this totals an additional twenty-four, then adding the four joints of the thumbs brings the additional total up to twenty-eight, then adding the same [twenty-eight] joints from [all of the toes of the] feet brings the additional total up to fifty-six, then with the initial eight limb-joints this makes sixty-four joints. The sixty-four hexagrams in this way make the basis of the boxing art.
Then the three hundred sixty-four [three hundred eighty-four] lines of the hexagrams [each hexagram of course having six lines] interact to produce effects. There is an intention of every line having the potential to become the other type of line [active lines (called “nines”) able to become passive lines (called “sixes”) and vice versa]. When the active aspect reaches its peak, there is the passive. When the passive aspect reaches its peak, there is the active. Within going against, there is the action of going along, and within going along, there is the function of going against.
Seek for a state of centered harmoniousness, energy returning to your elixir field. Contained within this is the idea that when stillness reaches its peak, there is movement, and when movement reaches its peak, there is stillness. This up and down switching of states [in the way that the trigrams composing a hexagram can be flipped above and below to produce a new hexagram] is called “internal breathing”.
This boxing art is interrelated with Daoist practices not only in this way. The trigrams are also each associated with animals, for instance the dragon [associated with the Zhen trigram], horse [Qian trigram], cow [Kun trigram], and so on, all represented by animals. “The mind is internal, yet its reasoning extends to all things. Things are external, yet their principles are all there in the mind.” “For what is near, examine within the self. For what is distant, observe all things.” There is limitless alternating between direct and indirect techniques. There is also hardness and softness assisting each other so that emptiness and fullness are mutually achieved, and you can be empty but not empty, not empty and yet empty. Such are the subtleties of Bagua Boxing."

Translation by Paul Brennan of "A Detailed Look at the Theories of Xingyi, Bagua and Taichi" (詳論形意八卦太極之原理) by Sūn Lùtáng (孫祿堂), to be found in the Brennan Translation blog.

A Detailed Look at the Theories of Xingyi, Bagua and Taichi (詳論形意八卦太極之原理)

詳論形意八卦太極之原理

拳術之犖犖大者。約分三派。一少林。二武當。三峨眉。其餘門類繁多。大半不出此三派之範圍，少林始於達摩之易筋、洗髓、兩經。至有宋岳武穆。始有形意拳之名。卽易筋之作用也。謂之形意。形卽形式。意卽心意。由心之所發。而以手足形容也。其拳有五綱十二目。五綱者。金、木、水、火、土，五行也。而拳中、有劈、崩、躦、炮、横、之五拳。十二目者。卽十二形也。有龍、虎、猴、馬、鼍、鷄、鷂、鴿、燕、蛇、鷹、熊、是也。其取此十二形者。卽取性能。而又能包括一切。所謂盡人之性。則能盡物之性。何以知其然也。劈拳屬金。在人〔屬肺。崩拳屬木。在人屬肝。鑽拳屬水。在〕人屬腎。炮拳屬火。在人屬心。横拳屬土。在人屬脾。練之旣久。可以袪五臟之病。此謂居人之性也。至若龍有搜骨之法。虎有撲食之猛。猴有縱山之靈，熊有浮水之性。推之其他八形。各有其妙。此所謂居物之性也。人物之性旣居。起落進退。變化無窮。是其智也。得中和。體物不遺。是其仁也。心與意合。意與氣合。氣與力合。為內三合。肩與胯合。肘與膝合。手與足合。為外三合。內外如一。成為六合。是其勇也。三者旣備。動作運用。上下相連。手足相顧。至大至剛。養吾浩然之氣。與儒家誠中。形外之理。一以貫之。此形意拳之大槪也。

孫祿堂

"The major boxing arts are generally divided into three schools: Shaolin, Wudang, and Emei. As for the rest, there is a great variety, but more than half can be classified under these schools. Shaolin began with Damo’s two classics – Sinew Changing and Marrow Washing. Then Yue Fei in the Song Dynasty started what was called Xingyi Boxing, applying his own Bone Changing Classic and calling his art Xingyi [“form” & “intent”]. “Form” means the shape. “Intent” means the mental intention. What is expressed from the mind manifests in the hands and feet.
This boxing art has “five cores” and “twelve imitations”. The five cores are the five elements – metal, wood, water, fire, earth – which make the five boxing techniques of chopping, crashing, drilling, blasting, and crossing. The twelve imitations are the twelve animals: dragon, tiger, monkey, horse, alligator, rooster, hawk, kestrel, swallow, snake, eagle, and bear. Strive for the instincts and abilities of these twelve animals, and to be able to incorporate within yourself everything they can do. Thus it is said [in the Zhong Yong]: “Giving full expression to human nature, one is thus able to give full expression to the nature of animals.”
What should we understand to be the nature of this art? The chopping technique corresponds to metal, and in the body to the lungs. The crashing technique corresponds to wood, and in the body to the liver. The drilling technique corresponds to water, and in the body to the kidneys. The blasting technique corresponds to fire, and in the body to the heart. The crossing technique corresponds to earth, and in the body to the spleen. After practicing for a long time, it can dispel the ailments of the five organs. This is called “ingraining human nature”.
As for the animals, the dragon has the method of shrinking its body, the tiger has the fierceness of pouncing on prey, the monkey has the nimbleness of bounding up hillsides, the bear [alligator] has the quality of floating on water, and the other eight animals each have their own ingenuities. This is called “ingraining the nature of animals”.
When both human and animal natures are ingrained, then lifting and dropping, advancing and retreating, transforming without limit, will all as a result be performed with resourcefulness.
Obtaining a state of centered harmoniousness, the essence of the animal does not get discarded and yet the result is humanity.
Mind is united with the intention, the intention united with the energy, and the energy united with the power. These are the three internal unions. The shoulder is united with the hip, the elbow united with the knee, and the hand united with the foot. These are the three external unions. The internal and external unions merged together makes the six unions, and the result is courage.
Once these three things [resourcefulness, humanity, courage] are prepared, then in every action and movement, upper body and lower will be coordinated with each other, hand and foot will be aligned with each other, and you will be [from Mengzi, chapter 2a:] “nurturing your noble energy… until it is vast and strong”. It is within the Confucian concept of sincerity that can be found the key to these external shapes, the [from the Lun Yu, 15.3:] “single principle running through the whole thing”. These are the main ideas of Xingyi Boxing."

Translation by Paul Brennan of "A Detailed Look at the Theories of Xingyi, Bagua and Taichi" (詳論形意八卦太極之原理) by Sūn Lùtáng (孫祿堂), to be found in the Brennan Translation blog.

Spirit, Qi, Intention, Force, Coordinate to Become One (神氣意力，合一集中) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

神氣意力，合一集中

前面所說的精神、氣息、意識、力量等等各方面的鍛煉方法，它們並不是孤立的，而是合一集中的，不集中，動作就不能完整一氣，不合一，手腳就不能行動一致。所謂合一，就是手與腳合，肩與跨合，肘與膝合，神與意合，氣與力合，內與外合。所謂集中，就是這六合必須統一，和諧，協調，取得完整。

薑容樵

"All the preceding explanations on the spirit, energy intention and force are to be worked at the same time and should fuse with each other. They should not be practiced in isolation, they should rather be unified. If they are practiced in isolation, the movement cannot be unified, hands and feet cannot move as one. In the same way that and and feet need to coordinated, shoulders and hips need to be coordinated, elbows and knees are coordinated, the spirit and the intentioin are in harmony, the energy ant the force are in harmony, the internal and the external are coordinated. This called to focus, in other words these six coordinations unify in harmony and coordination, to obtain wholeness."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Expand, Release, Collect, Tighten; Movement and Stillness Support Other (展放收緊，動靜圓撐) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

展放收緊，動靜圓撐

展放收緊是指動作姿勢的開合而言，開的姿勢要舒展遠放，合的姿勢要內收外緊。動靜圓撐是指動中必須求靜，靜中又必須有動，動的極處就是靜的發源，靜的極處就是動的起端，這動和靜必須相互循行，又相互含蓄。

薑容樵

"'Expand, release, collect, tighten' refers to the movements of opening and closing the posture. In opening a posture one must unfold and release far, in closing a posture one’s interior must tightly restrain the exterior. 'Movement and stillness support each other' indicates that within movement there must be stillness and that within stillness there must be movement; the extremity of movement originates stillness, in the same way the extreme stillness is the origin of movement; both the mutual support of movement and stillness are necessary to a smooth performance, the mutual aspect is implicit."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Intention generates discernment, qi travels through a hundred pores (意動生慧，氣行百孔) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

意動生慧，氣行百孔

意動生慧是說八卦掌的動作如果是像前面所說的意如飄旗，又似點燈那樣有意識的運動，那麼就能在運動中培養出機警敏感的素質。氣行百孔是說如果八卦掌的深呼吸是按照前面所說的氣似雲行那樣的話，那麼所吸入的氧氣就能輸送到各個需要的地方去。

薑容樵

"'Intention generates discernment' means that the movements in Baguazhang follow the intention, as mentioned in the preceding paragraphs, as if it was a floating banner or a lantern in the dark; the movement becomes conscious, and within the movement one can cultivate the inner qualities of perception and sensitivity. 'Qi travels through a hundred pores' means that in the practice of Baguazhang deep breath, as mentioned in the the preceding paragraphs, the qi will move like a cloud; therefore, the inhaled oxygen can be delivered to every single region of the body where it is needed."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

The abdomen is the root of qi, qi moves like a cloud (腹乃氣根，氣似雲行) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

腹乃氣根，氣似雲行

前面已經說過腹是蓄氣的良好部位，在鍛煉時必須將呼吸之氣深入到腹部，但是這種深呼吸的運動是猛然一口就將氣吸入腹內呢，還是慢慢地吸入呢，氣似雲行就說明了八卦掌的深呼吸運動必須是像空中行雲那樣面慢慢地運行，不要猛然吸入，也不要猛然呼出。

薑容樵

"In preceding paragraphs, it was already discussed that the abdomen is the best place to store qi, during refinemet one must breath deeply down to the abdomen. However, it is better to breathe in slowly than abruptly and at once through the mouth to the abdoment. “Qi moves like a cloud” illustrates that Baguazhang’s deep breath movement must resemble clouds moving in the sky, with that sort of slow motion of celestial bodies, breathing in or out must not be abrupt."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Intention is like a waving banner or a lantern in the dark (意如飄旗，又似點燈) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

意如飄旗，又似點燈

古代練兵，一切的陣形變化，前進後退都必須以飄蕩的令旗和夜間燈為引導，八卦掌運動時也必須以意識引導動作，不能隨隨便便的運動。

薑容樵

"In ancient times during military drills, all the changes in the shapes of military formations, advancing and retreating had to be signaled by a swinging banner guided the troops in daytime or a lantern during the night. Likewise, during baguazhang actions the intention must guide the movement, it should not come after the movement."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Fire Above, Water below; Water is heavy, Fire is light. (火上水下，水重火輕) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

火上水下，水重火輕

心在上屬火，腎在下屬水，所謂「心火腎水」，也就是前面所說實腹暢胸的心要虛，腹要實的意義。

薑容樵

"The heart above corresponds to fire, the kidneys below correspond to water. Thus the phrase “Heart of fire, kidney of water” above says that the substantial abdomen and the empty chest are the sense of the empty heart and solid abdomen."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Stump like a Mountain; Step like Water. (樁如山嶽，步似水中) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

樁如山嶽，步似水中

樁是指靜止性的動作，八卦掌的樁步必須使之像山嶽那樣穩固，似乎任何強大的力量都推它不動似的。步是指活動性的動作，八卦掌的蹚泥步必須使之在穩健之中含著像流水那樣輕快，這樣八卦掌的步法就不是笨重的，也不是浮飄的了。

薑容樵

"“Stump like Mountains” refers to the stationary nature of the movements, Bagua’s “stump step” must resemble the stability of a mountain, if any formidable force push it, it will remain still. “Step like Water” refers to the movable nature of the movement. Within Baguazhang’s “Treading Mud Step” stability it must contain the lightness and speed of flowing water; the footwork should neither be cumbersome nor unstable."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

The Fingers are separated, the Palms are concave; swing the Arms, the Shoulders are level. (指分掌凹，擺肱平肩) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

指分掌凹，擺肱平肩

指分是將五指分開，不要並擺。掌凹是使掌心向裡涵空凹攏。擺肱是在轉行時兩臂必須極力向圓心的一面擺動，不可有向前推的動作。平肩是兩肩在轉行時或轉身換掌時都必須保持端正平舒，不要有一起一落的現象。

薑容樵

“Fingers are separated” means that the 5 fingers are apart, one muste not hold them together. “Palms are concave” means that the hollow of the palms are contained towards the inside, to draw the emptiness towards a concave form. “Swing the Arms” means that when walking the circle, both arms must at all cost be directed clearly towards the center of the circle; there should not be a forward pushing motion. “The shoulders are Level” means that in walking the circle, turning the body or changing the palms, one must maintain an upright, level, and relaxed posture; one must not have the appearance of one shoulder left behind."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

The Waist is like an Axle; the Hands are like Revolving Wheels (腰如軸立，手似輪行) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

腰如軸立，手似輪行

八卦掌在鍛煉時必須以腰部構成運動的軸心，手動必先身動，身動必先腰動，使腰帶動一切。八卦掌在換掌的時候必須使手臂的動作如車輪那樣形成圓圈，因為圓形動轉較為靈敏，又含著連環不斷的作用。

薑容樵

“During Baguazhang practice the waist constitutes the key axle of every movement: for the hands to move, the body must move first; for the body to move, the waist must move first; the use of the waist spurs all movements. In Baguazhang during the palms transformations it is necessary to apply a round shape and employ the hands and arms in revolving movements. Turning in circular movements in fairly agile and the result is to keep the chain of movements uninterrupted."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Raise levelly, Drop and Hook; Continuously Move Unhindered (起平落扣，連環縱橫) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

起平落扣，連環縱橫

起平是將腳提起時也要像足心涵空那樣平。落扣是說落步時不僅要平落，還要使腳裡扣。連環是不斷的意思，意識不斷，勁力不斷，動作不斷，從連環中生出縱橫，上下左右四面八方一氣連環。

薑容樵

“'Raise levelly' means that while liftting the leg one shall shall make the heart of the foot empty and that is level. 'Falling and hooking' means that the falling step not only must fall levelly, but also must hook inward. 'Continuous' means uninterrupted intention, unceasing awareness, constant force and continuous movement; from within continuity is generated the vertical and horizontal, the above and below, left and right, the four sides, the eight directions and the unified qi, all interconnected.."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Féng​ Zhèng​bǎo​ (馮正寳) demonstrating Bāguàzhăng (八卦掌) Training

Bend the Legs, Tread Through the Mud; the Center of the Foot is Empty (曲腿蹚泥，足心涵空) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

曲腿蹚泥，足心涵空

曲腿就是在走轉時兩腿作適度之彎曲，身體往下坐，使力量貫注兩腿。蹚泥是兩腳前進不要過高，如蹚泥之狀。足心涵空是使腳掌和腳跟同時平落地面，五指抓地，這樣腳心就涵空了。

薑容樵

“'Bend the legs' means that when stepping or rotating, both legs must be slightly bent and the body must assume a sitting down posture, enabling all the power to be concentrated in the legs. 'Tread through the mud' means that when both legs advance, they must not be too high, the feet look as if dragging in the mud. 'The center of the foot is empty' means that the sole of the foot and the heel of the foot fall flatly to the ground simultaneously, the five toes grip the ground, thus the center of the foot becomes hollow."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Twist While Walking the Circle; Stamp the Foot and Rub the Calves. (擰旋走轉，蹬腳摩脛) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

擰旋走轉，蹬腳摩脛

擰旋走轉就是說在走轉時必須是腰要擰，肘臂要擰，手掌要擰，頸項要擰，使頭手肘身擰向圓心的一面，擰成一股旋勁。蹬腳摩脛，是指在走轉時前行之腳必須輕邁，後行之腳必須蹬勁，向前進步必須貼近前腳脛骨裡側摩擦而過，不要將腳提得過高或過寬。

薑容樵

“'Twist while walking the circle' means that while walking the circle, the waist should twist, the elbows should twist, the palms should twist and the neck should twist making one’s head, arms, hands, and body twisted toward the center of the circle. This twisting turn into a spiral strength in the tighs. 'Stamp the foot, rub the calves' means that when walking the circle the step with the front foot should be stepping the front foot must be light, the the step with rear foot should be strong. As one advances, the inside of the tibias stay close together and rub as they cross each other. One should not lift the stepping foot too high or excessively wide."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Shape of a Dragon, Appearance of a Monkey; Sit like a Tiger, Overturn like an Eagle (龍形猴像，虎坐鷹翻) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

龍形猴像，虎坐鷹翻

這是指鍛煉時的身形、身法、步法的變化而言。八卦掌的運動特點之一就是走，這種滔滔不絕的圓形步，必須使之形如游龍，悠然之中含著穩重。八卦掌的運動特點之二是視，八卦掌在轉行時或轉身換掌時，兩眼總是注視著兩掌，所謂「手眼相隨」，眼是視之苗，視能顯示出運動的內在精神，這種精神必須使之像猿猴守物那樣機靈之中蘊含著警惕意味，並通過眼的注視把它表達出來。八卦掌的運動特點之三是坐，在轉行時，它的兩腿並不伸直，採用坐跨，在轉身換掌時的一頓之間又有坐樁的動作，這些蹲坐的動作和腿法，必須使之像虎踞之形，沉著有力。八卦掌的運動特點之四是翻，就是轉身的動作，在轉身時必須採取鷂鷹盤旋空中翻身降落的那種靈敏灑脫之勢。

薑容樵

"These are rules for practice concern the changes body shape, the body posture and the footwoork. The first characteristic of the Baguazhang way of move is walking, the manner of the endless circular step. It has to have the shape of a swimming dragon, keeping it leisurely and natural inside, it manifests as solid and stable. The second characteristic of the Baguazhang way of move is in the gaze. In Baguazhang, whenever one changes the step or turn the body to switch palms, both eyes always watch attentively the both palms, this is what is called “hands and eyes follow each other”, the eyes inspect the generation. The gaze can to manifest the movement of the inner vitality. This should look like the vitality of a monkey when watching an object, the sort that implies quick-witted and alert eyes and the gaze that precedes grabing it. The third characteristic of the Baguazhang way of move is sitting, at the time changing none of the hips stretch straight at all as the sitting position is employed. At the time of turning the body and changing palms one is sitted the whole movement. These sitted movements and leg methods must look like a crouching tiger, steady, firm and vigourous. The fourth characteristic of the Baguazhang way of moving is overturning, this is the movement of turning the body. Whenever turning the body, one must adopt the attitude of an eagle or hawk circling in the air preparing to descend, the sharp and ease momentum."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall

Féng​ Zhèng​bǎo​ (馮正寳) demonstrating Old Eight Palms (老八掌)

To Roll, to Drill, to Press, to Wrap; the Indirect and the Direct Generate Each Other (滾鑽爭裹，奇正相生) from The Real Theory of Baguazhang (八卦掌真理篇) by Jiāng Róngqiáo (薑容樵)

滾鑽爭裹，奇正相生

這是指鍛煉時的勁力變化而言，滾是圓形的旋臂動作，鑽是既要轉又要向前的螺旋形的旋臂動作，爭是向外撐開，裹是向裡扣抱，這四種動作在運動時都必須使肌肉收縮產生力量。僅僅是圓形的滾動，沒有向前的力量，這種勁力它裡面沒有向外和向前的勁力矛盾，力量不能保持最大，因之在鍛煉的時候，必須要滾中帶鑽，使圓形的滾轉動作成為螺旋形的動作。爭和裹也是這個意思，兩臂肘的合抱固然該使用裹力，但是裹力只有向裡收的勁，而沒有向外擴張的勁，這裡面就沒有向裡和向外的勁力矛盾產生，如果是裹裡帶爭，這裡面就有了收縮和擴張的對抗性，就有了勁力的矛盾產生。奇正兩字，是代表著兩種不同性質的事物的矛盾，奇正相生，換句話說，也就是矛盾產生了。八卦掌的一切勁力，都是由滾、鑽、爭、裹四力的相互對抗，在奇正的矛盾產生中所發揮出來的。

薑容樵

"This refers to the various types of energies encountered during one’s practice. “To roll” is a circular coiling of the arm. “To drill” Drilling is both the revolving and forward spiral form of the arm. “To press” is to open outward. “To wrap” it to embrace within. These four types of movement are necessary to contract the muscles and generate strength. If the movement is round and circular but lacks the forward strength, this kind of energy remains within and doesn’t have the outward and forward strength, it cannot be maintained to the maximum. This is why during practice it is necessary to keep rolling with drilling, this will cause the circular movement to become a spiral. “To press” and “to wrap” follow the same idea, the elbows of both arms are used to wrap around and apply a wrapping force. However, the wrapping force tends towards receiving in the interior, it doesn’t have the outward expansion force and in this case the complementarity between the tendency towards the interior and the outward force does not arise. If there are “to wrap” and “to press”, there is the antagonism between contraction and expansion and immediately the complementary forces arise. Both the indirect and the direct words represent the two complementary and distinct characteristics of things, they generate one another, in other words, that is how complementarity arises."

From the book Bāguàzhăng Practice Method (八卦掌練習法), by Jiāng Róngqiáo (薑容樵), based on the translation by Joseph Crandall