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PART ONE

Introduction to Pa-kua Boxing

1

What Is Pa- kua?

She moved in circles,

and those circles moved....

—T. Roethke

“I Knew a Woman”

PHILOSOPHY AND PRACTICE

Pa-kua, pronounced “ba-gwa,” is one of the three martial arts that comprise the internal system (nei-chia) of Chinese boxing. The theory of Pa-kua, based on the Book of Changes (I Ching), is difficult, but actualized as Pa-kua chang (Pa-kua Palm), a boxing-meditational exercise, it is even more difficult. Done to cultivate the tao (the way), the circling movements of Pa-kua both manifest Heaven and Earth and order and organize yin and yang. They follow the seasons and benefit man. When practicing Pa-kua, you walk the circle as though macrocosmically walking in the universe, affecting and being affected microcosmically by the changes inside your body.

The name as well as the rationale of Pa-kua derive from the system of philosophy that gave rise to the Book of Changes—an ancient metaphysical treatise over three thousand years old but timeless in its wisdom. Originally a manual of oracles, the Book of Changes evolved into a compilation of ethical enumerations, eventually becoming such a compendium of knowledge that it was chosen as one of the Five Classics of Confucianism. It became a common source for both Confucian and Taoist philosophy. The central theme of the book, as well as of the system of boxing, is that everything is in flux. While the book’s basic idea is the continuous process of change underlying all existence, Pa-kua has absorbed these ideas and transmuted them into a system of exercise and self-defense.

Originally, the Book of Changes contained a collection of linear signs meant to be used as oracles. In the most rudimentary sense, these oracles confined themselves to the answers “yes” and “no.” Thus, “yes” was symbolized by a single unbroken yang line(——), and “no” by a single broken yin line (— —). Time brought a need for differentiation and amplification, which required additional lines. Thus, the eight trigrams (or units of three lines ) evolved, and at a later date these were further expanded to create the sixty-four hexagrams (or units of six lines ). The Chinese word for such a combination of lines is kua (diagram). This, then, is the origin of the word Pa-kua—the eight trigrams.

The eight trigrams that form the basis of the Book of Changes are as follows:

Name	Attribute	Image	Part of Body
Ch’ien, Creative	Strong	Heaven	Head, heart
K’un, Receptive	Yielding	Earth	Spleen, stomach
Chen, Arousing	Movement	Thunder	Liver, throat
K’an, Abysmal	Dangerous	Water	Kidneys, ears
Ken, Stillness	Resting	Mountain	Back, hands/feet
Sun, Gentle	Penetrating	Wind	Intestines
Li, Clinging	Brilliance	Fire	Heart, spirit
Tui, Joyous	Joyful	Lake	Lungs, chest

In turn, these trigrams are often arranged in a circle around a T’ai-chi (Great Ultimate) symbol, the familiar diagram divided into yin and yang (Fig. 1). As the two yin and yang lines combine into groups of three, they gather at the eight directions to form the eight trigrams.

1. The Pa-kua Diagram

The sixty-four hexagrams evolved from the combinations of the eight trigrams being paired with one another. The theory behind this is explained in the Book of Changes, where the trigrams are also identified with the human body.

The diagram of the eight trigrams shown in Figure 1 is based upon the philosophy of the Book of Changes. The symbology is broad enough to embrace all things in Heaven and Earth, and narrow enough to represent the workings of the human body. It forms a path that can be followed both in cultivating the tao and in studying Pa-kua boxing. It also forms the essence of Pa-kua: “If you do not understand the philosophical theory expounded by the diagram, but only perform the movements of Pa-kua,” Wang Shu-chin writes, “you will merely be doing calisthenics.”

The basic eight trigrams from the Book of Canges are correlated with the fundamental eight Pa-kua forms as follows:

1. Ch’ien, the Creative principle, is associated with strength and the image of Heaven. We learn from Nature: Heaven is great because it moves without stopping. The SINGLE CHANGE OF PALM, similarly, is continuous and smooth and promotes blood circulation. Practiced incorrectly, it can hurt the heart.

2. Li, the Clinging principle, is brilliant and is associated with fire, which adheres to whatever it burns. To do the DOUBLE CHANGE OF PALM correctly, you should be internally soft and externally hard, like a snake wriggling into its hole. If done correctly, this form will help you to feel united with the universe.

3. Chen, the Arousing principle, incites movement and vibration and is associated with thunder. When practicing HAWK SOARS UP TO HEAVEN, keep your upper body soft and lower body hard, externally quiet yet internally moving. Though still, you have the potential to move, and your enemy will be misled by your seeming lack of movement. Physically, the ch’i of your liver will be harmonized rather than agitated if you perform this form correctly.

4. K’un, the Receptive principle, is associated with yielding and with the Earth. YELLOW DRAGON ROLLS OVER stresses the unity of the upper and lower body, of the internal and the external. Practiced correctly, this form will make your body feel as light and agile as that of a fine horse.

5. K’an, the Abysmal principle, is associated with danger and with water. It indicates that in the midst of trouble you must persevere with self-confidence, which will lead to success. WHITE SNAKE STICKS OUT TONGUE stresses an appearance of softness but with a strong inner core: a strong mind and a soft hand movement. Practiced correctly, the form will help you to feel calm and centered, and will keep you from becoming dizzy.

6. Ken, the Stillness principle, represents the state of rest and is associated with mountains. When a bowl rests upside down, you cannot see what is in it. GIANT ROC SPREADS WINGS shows a tendency to be motionless. Practiced correctly, it will reduce the fire in your heart and enable your ch’i to reach the four extremities.

7. Tui, the Joyous principle, is associated with lowness and with lakes. In doing WHITE MONKEY PRESENTS A PEACH, keep your upper body soft and your middle and lower parts hard. Lower your body like a tiger squatting, prepared to pounce. Practiced correctly, this form will help your lungs to feel clear and will keep you from panting.

8. Sun, the Gentle principle, is associated with penetrating and with the wind, which can penetrate any opening. WHIRLWIND PALMS is characterized by a strong top and a soft bottom, and the body turns like a wheel. Done correctly, this form will help your ch’i penetrate every part of your body and make your movements as fast as the wind.

HISTORY AND MASTERS

The origin of Pa-kua is unknown. The first specific reference to it is 1796, when it was recorded that a boxer in Shantung named Wang Hsiang taught the art to a certain Feng Ke-shan. In 1810 Feng met a Niu Liang-ch’en, who also taught him certain aspects of the art. The traditional teaching, however, is that Tung Hai-ch’uan (1798-1879) of Hopei Province is its modern progenitor.

Tung Hai-ch’uan was a poor boy from Hopei province who, after some scrapes in Peking, journeyed to Mount Omei in Szechwan Province, where he met two Taoists, Ku Chi-tzu and Shang Tao-yuan (the surnames are standard but the given names have strong Taoist connotations, and hence are probably “religious” names), who taught him Pa-kua for eleven years. For seven years he reportedly walked around a tree until it seemed to lean toward him, at which time he became enlightened and reported his experience to the Taoists. They then had him do a figure-8 walk circling two trees, which he did for two years until it seemed that the trees began to “pursue” him. The Taoists praised him and asked if he were homesick. When he acknowledged that he was, they congratulated him on not losing his natural feelings and then taught him hand changes and weapons techniques for two years, after which he returned home to Hopei and then went to Peking, where he taught a number of students.

After becoming famous in Peking, Tung was challenged by Kuo Yun-shen (“Divine Crushing Hand”) of the Hsing-i tradition. Throughout two whole days of fighting, Kuo, feared for having killed a man with his famous “crushing” hand, could not gain any advantage. On the third day, Tung took the offensive and so completely defeated Kuo that the two became lifelong friends. They were so impressed with each other’s level of accomplishment that they signed a brotherhood pact requiring all their students to train in the other’s discipline as well. For this reason—a most unusual outcome for any fight—both Pa-kua and Hsing-i are to this day coupled and complementary.

About the time of the T’ai Ping Rebellion (1850-64), Tung is thought to have been involved in a revolt against the foreign Manchu government, after which he escaped by fleeing to Peking and became an official in the Imperial court. He did not get along with the other officials, however, and was soon thereafter transferred to the household of Prince Su, a relative of Ching-dynasty emperor T’ung Chih (r. 1862-75), to work as a servant, since no one knew of his prowess as a Pa-kua master. Prince Su employed Sha Hui-tsu, a Moslem boxer, as the Chief of the Royal Guards who protected his residence. Sha held every member of the household staff to strict and immediate obedience, and his wife, an expert with a pistol, effectively reinforced her husband’s orders. Once, at a crowded banquet, Tung served tea to the guests by lightly scaling the wall and crossing the roof to the kitchen and back. Prince Su recognized from this that Tung must have great ability in some martial art, and subsequently ordered Tung to show his art. Unable to refuse, he demonstrated Pa-kua. His sudden turns and flowing style enthralled the audience. Seeing that, Sha challenged Tung to a fight but was soundly defeated. Thereafter, Tung watched for Sha to try to get revenge. Late one night Sha crept into Tung’s bedroom, knife in hand, while his wife aimed her pistol at Tung through the window. Before they were even aware that he was moving, Tung had taken the pistol away from the wife and stood there pointing it at Sha, who thereupon fell to his knees and pounded his head on the floor seeking forgiveness. Tung not only forgave him; he accepted him as a student.

As he aged, he felt the need to pass Pa-kua on and so he retired and began to teach Pa-kua to a few select students. Although Tung gradually withered, the stories about him did not. One tells of how he once found himself surrounded by a group of thugs trying to kill him—but he not only emerged unscathed; he actually defeated the whole band of attackers. Another relates that once Tung was sitting in a chair leaning against a wall when the wall collapsed. His disciples, fearing that he has been buried alive, rushed in looking for him, and found him sitting in the same chair, leaning against another wall! A similar anecdote tells of how he was napping one autumn day and, as the air was quite chilly, his disciples picked up a sheet and quietly tried to cover him. When they put the sheet down, however, there was no one there! “What’s the matter with you?” asked Tung’s voice from where he was sitting near the window. “Why did you try to startle me?”