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Song of the Downward Sinking Palm Xia Chen Zhang Ge Jue Empty the chest and pull up the upper back and sink the lower back, Twist the hip, close the knees and grasp the ground tightly. Slacken (loosen) the shoulder and stretch the elbow for downward-sinking palm, Inhale in lifting, e hale in e tending like chicken form. Kong Xiang Ba Bei Xia Ta Yao, Niu Kua He Xi Zhua Di Lao. Song Jian Cheng Zhou Xia Chen Zhang, Ti Xi Shen Hu Si Ji Xing.

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2. Song of the Moon Embracing Palm Bao Yue Zhang Ge Jue Embrace the moon in two hands like holding a baby, !old in the chest and erect the upper back like tightening a rope. Slacken (loosen) the shoulder and drop the elbow for a fle ible wrist, In a form like ape-monkey picking the fruit. Shuang Shou Bao Yue Ru Peng Ying, Han Xiong Ba Bei Si Kun Sheng. Song Jian Zhui Zhou Ti Liu Wan, Hao Si Yuan Hou Zhai Guo Xing

3. Song of the Lion Rolling Ball Palm Shi Zi Gun Qiu Zhang Ge Jue "ion grasps and rolls the ball and twist the waist, Two palms combine to stretch forward, (e tend) body. #e$ol$e leftward rotate rightward to change back and forth, %ather prestige, erect (firm) the neck and look at the palm heart. Shi Zi Gun Ziu Ba Yao Ning, Shuang Zhang He Dui Tan Shen Xing. Zuo Xuan You Zhuan Lai Hui Huan, Shou Yan Ting Jing Kan Zhang Xin

4. Song of the

ea!en olding Palm

&alk forward by upholding hea$en in two hands, Slacken (loosen) the shoulder and drop the elbow, the arm like a bow. 'i$e fingers separate penetrate forcefully, !u (ou round and palm heart (center) empty. Shuang Shou Tuo Tian Wang Qian Xing Song Jian Zhui Zhou Gong Ru Gong. Wu Zhi Ge Fen Xu Guan Li. Hu Kou Yuan Kai Zhang Xin Kong.

". Song #f $he Do%ble &lat P%'hing Palm Zhang Ge Jue Two hands push flat push protecting (guarding) front of chest, Tighten the back, elbow stri$es (stretches) to go toward the front. "ift knee, stretch leg to walk in the form of a crane, Slacken (loosen) and button the shoulder with palm heart empty. Shuang Shou Ping Tui Dang Qian Xiong, Jin Bei Zheng Zhou Wang Qian Xing. Ti Xi Shen Tui Zou He Xing, Song Jian Kou Zhi Zhang Xin Kong.

(. Song of the

ea!en Pointing and )ro%nd Drawing Palm

Zhi Tian Hua Di Zhang Ge Jue )oint to the hea$en and draw on the ground stri$e (stretch) upward and downward, %o forward with one yin and one yang. Slacken (loosen) the lower back and sit on the hip (kua) to lift knee and leg. Inside straight outside hook, rub (sweep) the ground to go forward. Zhi Tian Hua Di Shang Xia Zheng, Yi Yin Yi Yang Wang Qian Xing. Song Yao Zuo Kua Ti Xi Tui, Li Zhi Wai Kou Ca Di Xing.

*. Song of the +in +ang &i'h Palm Yin Yang Yue Zhang Ge Jue *ne front one back yin yang palms, 'ront sink back tread strength will stri$e (e tend). Taut back empty chest +i sink down, Stride step, empty solid should be distinct. Yi QianYi Hou Yin Yang Zhang, Qian Ta Hou Deng Li Yao Zheng. Jin Bei Kong Xiong Qi Jia Chen, ai Bu Xu ShiYao Fen eng.

,. Song of the Mill'tone P%'hing Palm Tui Mo Zhang Ge Jue )ile the back elbow first and protect the heart with the elbow, The hand in turning o$er and sinking e tends ahead (forward). 'ollowing the front elbow for an embracing combining force, &ith both the front hand and back hand in united spirit. Hou Zhou Xian Die Zhou Yan Xin, Shou Zhai Fan Ta Wang Qian Shen. Gen Dao Qian Zhou He Bao Li, Qian Hou Liang Shou Yi Tuan Shen.

Origin of Ba Gua Nei Gong


The primary internal e ercise in ,a %ua -hang (Eight .iagram )alm) is to walk in a circle holding fi ed postures. This practice is known as Ding Shi Ba Gua Zhang. It is belie$ed that .ong !ai /huan, the founder of ,a %ua -hang, synthesi0ed the best of $arious martial styles in order to create ,a %ua. !owe$er the key element of this new style was the practice of walking in a circle while holding $arious postures that energi0e and strengthen the body while calming the mind and refining and purifying the spirit. It is belie$ed that .ong studied with the .ragon %ate school of .aoism which practiced a form of .aoist circle walking meditation whose purpose was to open and harmoni0e the meridians of the body in order to promote health and focus and +uiet the mind. .aoist practitioners used this practice, called 1#otating in the &orship of !ea$en,2 not for martial purposes, but to refine +i and spirit through e ternal mo$ement in order to reali0e internal stillness or emptiness (ie3 the .ao). )urportedly .ong saw that this circle walking had $alue not only as a meditation and health e ercise, but also as the foundation of an effecti$e method of martial arts [1] 4s a result the following statement is attributed to .ong !ai /huan3 $raining in martial art' cea'ele''l- i' inferior to walking the circle. /n Ba )%a 0hang circle walking 1ractice i' the font of all training.

Circle Walking Nei Gong


.ing Shi ,a %ua -hang (the 5ei %ong practice associated with the martial art ,a %ua -hang) is uni+ue as it combines the benefits of walking with the internal mo$ements and deep abdominal breathing of 5ei %ong and 6i %ong practices, and the rela ed and calm mind-intention associated with meditation and the rela ation response. )ractitioners like -hao .a 7uan and his teacher "i -i 8ing feel that ,a %ua is the ultimate 5ei %ong e ercise because it is the culmination of a tradition of .ao 7in (guiding, pulling and leading +i e ercises), Tu 5a (breathing e ercises), 5ei %ong (internal E ercises), 8artial arts, .aoist meditation and .aoist alchemical practices, and other 7ang Sheng ("ife 5ourishing) practices that date back at least as far as the early !an dynasty. ,ecause of the late de$elopment of ,a %ua -hang as a martial art (the founder, .ong !ai /huan, li$ed from 9:9; to 9::<), it draws on all of these traditions and according to some e perts incorporated the best methods from these $arious traditions into its techni+ues and training methods. ,oth -hao .a 7uan and his teacher "i -i 8ing feel that the /ircle walking practice of .ing Shi ,a %ua -hang conforms more completely with the intrinsic mo$ement of the uni$erse and the natural world than other forms of e ercise. To paraphrase "i -i 8ing3 The !o"e!en#$ o% #he &e'e$#ia' (o)ie$ in #he uni"e*$e &on#ain (o#h *o#a#ion an) &i*&u'a#ion. The hu!an (o)+ i$ !i&*o&o$! o% #he uni"e*$e , a $!a'' hea"en'+ &i*&'e. The #heo*+ o% Ba Gua )*a-$ u.on #hi$ o($e*"a#ion o% #he hea"en'+ (o)ie$ (+ u$ing *o#a#ion an) &i*&u'a#ion #h*ough i#$ -a'king an) #u*ning .*a&#i&e. Thi$ .*a&#i&e ha*!oni/e$ #he .*a&#i#ione* -i#h #he na#u*a' !o"e!en# o% 0i o% #he uni"e*$e. Ba Gua1$ .*a&#i&e o% -a'king an) *o#a#ing #he*e%o*e &on%o*!$ #o #he na#u*a' .*in&i.'e o% #he -o*') a*oun) u$. B+ -a'king #he &i*&'e an) *o#a#ing #he (o)+, 0i i$ a*ou$e) an) &i*&u'a#e$ in$i)e #he (o)+. Thi$ in #u*n $#*eng#hen$ #he (o)+, i!.*o"e$ &i*&u'a#ion an) *e$i$#an&e #o )i$ea$e, an) i!.*o"e$ #he %un&#ioning o% #he *e$.i*a#o*+ an) )ige$#i"e $+$#e!$. 2))i#iona''+ i#

.*o)u&e$ a uni%ie) $#*eng#h #ha# $#e!$ %*o! #he a*ou$a' o% #he 0i. Thi$ $#*eng#h &an #hen (e e!.'o+e) in #he !a*#ia' a*#$. [11] &alking the circle as a ,a %ua 5ei %ong practice is not simply walking. It combines the benefits of walking with 6i %ong, meditation. It also de$elops a refined strength that can be employed in martial arts and other physical acti$ities. 4s the body turns, and rotates, the muscles, fascia and energy pathways of the body (the meridians) are stimulated by spiraling actions that engage the whole body. The deep abdominal breathing combines with the body alignments to connect the lower body to the waist and upper limbs so that the whole body can be sensed. Inside the mind is +uiet and obser$ant and outside there is mo$ement and rotation. This creates a refined strength combined with internal rela ation, akin to the natural and rela ed strength of a cat. )erhaps this is why ,a %ua practitioners place such a premium on walking. "i -i 8ing summari0ed the importance of walking and in particular ,a %ua /ircle &alking 5ei %ong by simply saying3 %ndred' of e2erci'e' are not a' good a' 'im1l- walking. 3alking i' the ma'ter of h%ndred' of e2erci'e'.

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