About Bagua Zhang

According from several literature that I read.

Bagua ch'uan (Giles-Wade) is also known as pa kua zhang (pinyin), Pa Kwa, 八卦掌, direct translation: Eight Trigram Fist aw well as Youshen Bagua (roving eight-trigram), Longxing Bagua (dragon-shaped), Xingyi Bagua (Shape-Mind), Yinyang Bapan Zhang (Postive-negative eight plate palm).

This style is widely known with it's rounding around opponent moving/walk.

Ba Gua Zhang is a Chinese "internal" martial art. The word, Ba Gua, means Eight trigrams in English. The trigrams refers to the written symbols that is composed of eight whole and broken lines. Those symbols are found in the ancient Chinese text of divination, the Book of Changes (I Ching). Practitioners of this style use the concepts from the I Ching as a theoretical basis and memory aid for their training. In the Yi Ching(The Book Of Changes), there is Tai-Chi (The Grand Terminus, which generated the two forms (Yin and Yang). These two forms generated four symbols. These four symbols transformed and generated the Eight Trigrams(Ba-gua or Pak-kua). This logic is applied to the practice of this style. From the initial philosophy of Ba gua, the practioner generates the sixty-four techniques of the style. The word Zhang means palm and relates to the preference of this styles for open hand (palm) techniques.

This style is one of the most popular martial arts style in China today. Ba Gua Zhang has a long an illustrious history. Like other Chinese martial art styles, its true origin has been clouded by myths and legend. Historically, this style is popular in Heibei Province of China. Within the last century, many Ba Gua Zhang stylists identify Dong Haichuan (circa 1800's) of Wenan County as the leading exponent or even the originator of modern Ba Gua Zhang. Dong Haichuan's students definitely contributed to the popularization of this style through out the world and many of the recognized styles of Ba Gua Zhang can be traced back to the students of Dong Haichuan. 

Styles

The major styles of Ba Gua are named after the Chinese family name of the noted practitioner that popularized the system: Cheng Style: Cheng Tinghua (程廷華) Fu Style: Fu Zhensong (傅振嵩) Gao Style: Gao Yisheng (高義盛) Gong Style: Gong Baotian (宫宝田) Jiang Style: Jiang Rongqiao (姜容樵) Liang Style: Liang Zhenpu (梁振蒲) Liu Style: Liu Baozhen (劉寶珍) Shi Style: Shi Jidong (史計棟) Sun Style: Sun Lutang (孫祿堂) Yin Style: Yin Fu (尹福) Yin Yang Style (Tian Style): Tian Hui 田廻 There are also mixed styles such as Xingyi-Bagua which are composite systems.

Prehistory

Bagua theory is based on a long history that spans thousands of years. The legendary Chinese emperor Fu His (2852-2738 B.C) is credited with the discovery of methods of divination using the symbols of the I (Yi) Ching. The methods and techniques were passed down as an oral tradition until the twelfth century BC. Chou Wen (~ 1143 BC), a I Ching scholar, re-interpreted the names of the gua (trigrams) and collected writings on the I Ching. His younger son, Chou Tan, known as the Duke of Chau, completed the work of his father by assigning meanings to the individual lines that made up the gua and completed the modern version of the book in 1110 BC. Chinese mythology attributes the longevity of the Chou Dynasty (1150-249 B.C) wise government derived from study of this book.

The importance of the I Ching is reaffirm when Confucius(551-479 B.C) recorded in his Analects, "If some years were added to my life, I would give fifty to the study of the Yi-Ching, and might then escape from falling into great errors." Through Confucius, the I Ching was honored as a Classic, and was required reading for scholars and government exams. The I Ching is also closely identified with Taoist practice because of its use in divination. This book is considered to be as important as the other Taoist text such as the Tao Te Ching and the writings of Chuang Tze. The Taoist then merged the philosophy of the I Ching with exercises and moving meditations to form the precursor of Bagua Zhang. However, the exact natures of those practices were not recorded. Historically, one of the first references to a form of Bagua Zhang relates that two Taoist priests (Bi Yun and Jin Yun) practice and taught this art. They lived on Mount Ermei in Sichuan Province during the late Ming Dynasty and early Qing Dynasty.

Others attribute the teachers of Dong Hai Chong to be Pi Cheng Xia (Bi Chengxia) and he passed on this knowledge to others including Song Yi Ren who later taught Gao Yi Sheng. Tian Hou-Jie claims to be one of the students of the two Taoist priests and the Tian family continued the tradition of Yin-Yang BaGua Zhang. In 1958, Tian Hui published a book Yin-Yang BaGua Zhang which describes the history and practice of this style.    

Dong Hai Chang (1798-1882)

Dong Hai Chang (Tung Hai-Chuan) is the acknowledged founder of the style. A native of Zhujiawa, south of Wenan County in Heibei Province. When he was young, he studied the erlangquan (Erlang - hero from chinese legends) of Shaolin School. He was poverty-stricken but chivalrous, and he drifted from place to place. Legend suggests that during his travels through China, he studied with a Taoist, Bi Chengxia, in Mt. Jiuhua in the southern part of Anhui Province, one of China's five sacred mountains. Later Dong learned other skills from Guo Yuanj'l, nicknamed the "Iron Stick Taoist." After several years of study, he created a new style "Turning Palms" and use his techniques to defeat many famous martial artists. Dong Serving the princeDong travelled to Beijing in 1875. He was employed in the house of Prince Shan Qi's during the reign of the Emperor Guang Xu . One legend described how Prince Shan Qi became aware of the remarkable abilities of Dong. In this story, Shan Qi was a great lover of wushu. The prince was famous for holding parties where he invited the greatest martial arts in the country to demonstrate their skills. During one of those events, a servant with a large tray of tea couldn't get through to the prince because of the large crowd. In order to help, Dong took the tray with the tea and got to the prince by running on the wall which was over everyone's head. The prince immediately recognized the Dong's unique skills and quickly promoted Dong. Another version of the discovery of Dong also occur during a party hosted by the Prince. In this story, Prince Shan Qi asked his bodyguard Sha Huihui to demonstrate his martial arts skills. Sha was a strong man and his breath taking performance drew prolonged applause from the audience. During the heat of the moment, he issued an open challenge to those present. No one dared to accept the challenge. At that moment it happened that Dong Haichuan was serving food and drinks to the guests. He heard the challenger but hesitated over whether he should answer it. When he saw no one come forward, he volunteered to take on Sha Huihui. After a few bouts, he made a sweeping, forceful movement with his palms and flung Sha to the ground a dozen feet away. Everyone was struck dumb by his prowess. The prince was so impressed that he later made Dong head of his bodyguards. Dong became one of the prominent martial artists in the court and from that time on he began to teach baguazhang in Beijing and the surrounding areas. He taught many students in Beijing and all his students were known for their quality and skills. Dong Haichuan died in 1882 at the age of 84. He was buried beside the Red Bridge outside Beijing's Dongzhi Gate. On his graph was an epitaph written by his followers and a list of his students. This tomb was damaged during the cultural revolution. In 1980, the tomb was renovated and moved to Wan'an Cemetery. 
 

Li Ching Yeun and Nine Dragon Bagua 

 

There many stories describing the orgins of Nine Dragon Bagua. In one version, the founder was a Tibetan monk, Lama, Zurdwang (1530 -1620) from Quamdo Tibet. He travelled extensively throughout China seeking wisdom and knowledge about Taoist methods and boxing methods. He stayed in the Ermei mountain for five years and earned the name, Dao Long Ren (Way of the Dragon). After his long period of study, he became to be a tutor to the Li Family of Dafu, Sichuan Province. He taught the family his complete system, Daoqiquan (Tao Ch'i Ch'üan - way of chi fist). The Li family established a great reputation as body guards using this system. Other stories involve Li Ching-Yuen. He was born 1678 AD in Chyi Jiang Hsien, Szechwan province. He eventually moved to Kai Hsien, Chen Jia Charng's family field. Li was a noted herbalist and Daoist master who learned his techniques in the Ermei mountains. Li lived an extremely interesting life. He was reported to have outlived more than 23 wives and took part in government affairs. Chinese Records indicate that at the age of 71, Li was a tactical advisor Yeuh Jong-Chyi's army. In 1927, Li was reported to be living with General Yang Sen in Wan Hsien, Sichuan province. When he finally died, news paper report that he was more than 197 years old. 

 

Yin Yang Bagua 

 

There are two different styles of Yin Yang Bagua. One is promoted by Tian Hou Jie and the other by Li Zhengqing. Tian Hou-Jie (Tian Ruhong) was a native of Shandong Province but moved to Hebei province in the late Ming Dynasty. Once while on tour in Sichuan Province, Tian saw some criminal activity and tried to exact justice. Two Daoist priests (Pi Yun and Jing Yun) rescued him when he was having problems and from that point on he acknowledge them as his wushu tutors and followed them for the next 12 years. At the beginning of the Qing Dynasty Tian returned home but resented the autocracy of the local authorities and left again. He took a youngster named Tian Xuan with him and taught him his style of Yin Yang Bagua Zhang. Years later Tian Xuan returned to his home fillage in Shandong Province and taught the style to other Tian family members. Until recently the style was only taught in this village to these family members. Li Zhengqing (1830-1900) was born in Henan Province but he traveled to Hebei Province to learn improve his existing Bagua Zhang technique. He established a new style, Yin Yang (Positive - Negative) Bagua Zhang. After returning home in 1870, he continued to teach this style to his villagers. In 1937 a follower of his, Ren Zhicheng, wrote a book entitled "Yin Yang Bagua Zhang" which is still studied today.

Gao Style Bagua

In the 1900's, Gao Yi Sheng, a noted Bagua practitioner and a student of Cheng Tin Hua, meet a Taoist Song Yi Ren. Song claimed to be a student of Pi Cheng Xia, the teacher of Dong Hai Chuan. He taught Gao the post heaven techniques of Bagua Zhang.

Philosophy

In chinese, "I" means change and "Ching" means book. The I Ching together means 'The Book Of Changes' and is one of the five Classics for Chinese Scholars. Just as Shaolin Kungfu is based on Zen Buddhism, T'ai chi on Taoism, the foundation of Bagua is related to the Kua (Trigrams) of the I Ching. The Bagua (Eight Trigram) consists of eight combinations of three whole and broken lines used in divination. 

History of the I Ching

Fu Hsi (2852-2738 BC), the legendary rule of China, was created with the creation of the Trigram as well as the inventor of fishing, trapping, cooking, the calendar, angular measurement and writing. During the Hsia Dynasty, the trigrams of Fu Hsi were combined into the sixty-four hexagrams, and brief divination texts were added. This became one of the first books, called the Lieu Shan, or Manifestation of Change in the Mountains, and was consulted with the yarrow oracle (Yarrow was considered to be a sacred plant beause it grow only in sacred places). A new form of the divination text renamed the Kuei Tsang, or Flow and Return to Womb and Tomb, was used during the Shang Dynasty. King Wen (1184-1135 B), also known as Ji Chang the marquis of Western Bo and the founder of the Chou Dynasty was another important contributor int he evolution of the I Ching. While in prision, he wrote new divination texts for the hexagrams of the Kuei Tsang, and arranged them in their present order. This work is known as the Pem Ching and consists of the Kua (hexagrams) and Thuan (Judgements). Later, King Wen's son, King Wu and his brother Tan, modified Pem Ching by adding the Hsiao (Lines). This completed the version of the I Ching as it survives to the present day. The I Ching has became a valuable method for Chinese philosophers to explain their thoughts and theories. Confucius was quoted as saying: 'If many years were added to my life, I would give 50 to the study of the Zhou Yi and might thereby manage to avoid great mistakes." In Chinese society, it is often eblive that those who sought to establish themselves never failed to rely on the guidance of the I Ching. Chinese histories provided the following examples of those that take advantage of the I Ching: Li Jing, a famous general who helped establish the Tang Dynasty. Zuge Liang, a great strategist of the 3 Kingdoms period. Zhang Liang, a famous strategist who played a key role in the founding of the Han Dynasty. Ziang Ziya, a strategist who helped establish the Zhou Dynasty.

Description of the Bagua (Eight Trigrams)

B agua can be described as follows: 1. I Ching is predicted by using 6 coins (usually) to get the arrangement of one of the 64 arrangements. In each of these there are 2 types of answer which is positive & negative (‘yin’ & ‘yang’ or the tho opposites). Then it can be divided into 6 more different types of interpretation depending the situation. 2. The interaction of the Yin and Yang gives rise to all changes. Yin and yang are not merely opposite states but can be complementary in nature. This is called the unity of opposites. 3. Only when one understands the relationship between opposites of the hexagrams will one see the original meanings. Because of this, many people misinterprets the hexagram due to their lack of thorough understanding. If one thinks only of gain and ignores the possibility of failure, he will run into trouble. If one thinks only of living and ignores risks to life, regret will be too late. If one knows only how to move forward and not backward, he will reach a dead end. Sorrow and happiness, poverty and wealth, Yin and Yang will transform from one into the other under certain conditions.

Relationship between Bagua and the Practice of Martial Arts

At the simplest level, Bagua Palms makes use of the geometric frame work of the I Ching as a memory aid for the complex movements, attack and defenses of this style. For example, most styles of Bagua have 64 different techniques (Palms). 

Bagua Training Overview

Bagua Zhang training requires dexterity and agility. The motion of Bagua practice is described as walking in mud, with foot steps changing like running water The emphasis is on continuous, linked palm and body movements. The idea is to perform the techniques as a series of endless overlapping circles. The body turns around from the waist during walking, roving, and turning, rising and falling. Always, the palm techniques change with the movement of the body. When the upper body protrudes, the lower parts of the body squats back to keep balance. When the arms are sent out, the feet are drawn back. Bagua forms are extremely graceful and have been described as moving like a dragon amongst the clouds; squatting like a tiger; alert as a tiger; and roving like an eagle. A basic curriculum for Bagua are as follows:

1. Solo practice - walking the circle

2. Solo practice - walking around objects (trees, sticks, etc.)

3. Applications

4. Weapons - sword, sabre, cudgel, etc.

5. Sanshou - free sparring

About Choy Lee Fut

Cai Li Fo (Mandarin) or Choy Li Fut (Cantonese), is a system of Chinese martial arts founded in 1836 by Chan Heung. Choy Li Fut was named to honor the Buddhist monk Choy Fook (Cai Fu) who taught him Choy Gar, Li Yau-San who taught him Li Gar, and his uncle Chan Yuen-Wu who taught him Fut Gar, to honor the Buddha after which the art was named.
The system combines the martial arts techniques from various Northern and Southern Chinese kung-fu systems; the powerful arm and hand techniques from the Shaolin animal forms from the South, combined with the extended, circular movements, twisting body, and agile footwork that characterizes Northern China's martial arts. It is considered an external style, combining soft and hard techniques as well as incorporating a wide range of weapons as part of its curriculum. Choy Li Fut is an effective self defense system particularly noted for defense against multiple attackers. It contains a wide variety of techniques, including long and short range punches, kicks, sweeps and take downs, pressure point attacks, joint locks, and grappling.

History

Chan Heung, also known as Din Ying, Daht Ting, Chen Xiangong, and Chen Xiang, was born on August 23, 1806, in King Mui (Ging Mui), a village in the San Woi (Xin Hui) district of China's Guangdong province.
Chan Heung's uncle Chan Yuen-Wu, a boxer from the Shaolin temple in Fujian, began teaching him the Fut Gar style of Chinese martial arts when he was seven years old. When Chan Heung was fifteen, Chan Yuen-Wu took him to Li Yau-San, Chan Yuen-Wu's senior classmate from the Shaolin temple.
Under Li Yau-San's instruction, Chan Heung spent the next four years learning the Li Gar style. Impressed with Chan Heung's martial arts abilities, Li Yau-San suggested that he train with a Shaolin monk called Choy Fook to learn Choy Gar, a Northern Shaolin style of wushu, as well as Chinese medicine and other Shaolin techniques.
According to legend, the monk Jee Sin Sim See is said to have been one of the legendary Five Elders (along with Ng Mui, Fung Doe Duk, Miu Hin and Bak Mei) who survived the destruction of the Shaolin Temple sometime during the late Qing Dynasty.
The founders of the five major family styles of Southern Chinese martial arts; Hung Gar, Choy Gar, Mok Gar, Li Gar and Lau Gar, were respectively, Hung Hei-Gun, Choy Gau Yee, Mok Da Si (Mok Ching-Kiu), Li Yau-San, and Lau Sam-Ngan; and all are said to have been students of Jee Sin Sim See. Choy Fook had learned his martial arts from Choy Gau Yee, the founder of Choy Gar.
Choy Fook lived as a recluse on Lau Fu mountain and no longer wished to teach martial arts. Chan Heung set out to Lau Fu mountain to find him. When Choy Fook was at the Shaolin temple, he had been seriously burned and his head had healed with scars. This gave him the nickname "Monk with the Wounded Head". Using that description, Chan Heung eventually located the monk and handed him a letter of recommendation from Li Yau-San. However, Chan Heung was disappointed when Choy Fook turned him down. After much begging Choy Fook agreed to take the young man as a student but only to study Buddhism.
One morning, when Chan Heung was practicing his martial arts, Choy Fook pointed to a heavy rock and told him to kick it into the air. Chan Heung exerted all of his strength as his foot crashed against the rock, sending it twelve feet away. Instead of being complimented, Choy Fook placed his own foot under the heavy rock and effortlessly propelled it through the air. Chan Heung was awestruck by this demonstration. Again he begged Choy Fook to teach him his martial arts. This time the monk agreed, and for nine years Choy Fook taught Chan Heung both the way of Buddhism and the way of martial arts.
When he was twenty-eight, Chan Heung left Choy Fook and returned to King Mui village in 1834, where he revised and refined all that he had learned. In 1835 Choy Fook gave Chan Heung advice in the form of a special poem known as a double couplet:
The dragon and tiger met as the wind and the cloud.
My disciple, you must take good care of your future.
To revive the arts of Shaolin,
Don't let the future generations forget about this teaching.
In 1836 he formally established the Choy Li Fut system, named to honor the Buddhist monk Choy Fook who taught him Choy Gar, Li Yau-San who taught him Li Gar, and his uncle Chan Yuen-Woo who taught him Fut Gar, to honor the Buddha from which the art was named.

Techniques

Chan Heung revised and refined all that he had learned from his teachers and with his disciples, established standardized hand and leg techniques.
Choy Li Fut's hand techniques contain 10 elements: Kum slapping or pressing palm deflection, Na shooting arm bridge, Gwa back fist, So sweeping, Chop yin/yang knuckle strike, Pow upward power shot, Jong small upward power shot, Chaw claw, Bin swinging power shot, Pei chopping, and Lui Yin yin/yang fist. Choy Li Fut's leg techniques contain 6 elements: Chan bracing, Ding nailing, Liu Tat kicking, So sweeping, Jet blocking, Au hooking, and Dan springing. There are 8 techniques of how the hand and leg techniques are applied. They are Yin negative, Yang positive, Kong hard, Yau soft, Hui false, Shi real, Tou stealing, and Lau sneaking.
The stances of Choy Li Fut are similar in height to other martial arts styles such as Hung Gar, but not as high as those of wing chun. This allows the practitioner to move quickly during combat without sacrificing stability and power generation. What is unique to the Choy Li Fut style is sometimes termed "whipping", where the practitioner's upper torso twists to generate more power in executing hand and arm techniques. In other martial art styles, the upper body is less dynamic, placing more emphasis in stability and generation of static power. Other differences include how your stance should be while facing your opponent. In the Hung Gar and wing chun styles, practitioners hold their torso perpendicular to an opponent, to allow the full use of both arms. In contrast, Choy Li Fut holds the torso at an angle to the opponent to reduce the target area exposed to him, and allows the practitioner more reach. Front stances in Choy Li Fut have the front bent leg angled in to protect the groin, while other martial arts systems, have the front bent leg facing forward.
During revolutionary battles between anti-Qing and government forces (1850–1877), whoever belonged to the Choy Li Fut system would identify themselves by crying out "yak" when striking with the palm, "wak" when thrusting with a tiger claw hand, "ha" when striking with the fist, "hok" when using a crane beak strike, and "dik" when kicking. These sounds are unique to the Choy Li Fut system.
Chan Heung recorded his discoveries and knowledge onto paper for his future students to follow and eventually recorded over 250 forms and techniques.

Forms

The Choy Li Fut system has over 250 various single person, multiple person, weapon, and training apparatus forms, e.g. the Ching jong, the Sui Sau Jong, and the Ma Jong. Because Chan Heung was a student of three highly skilled Shaolin masters, each teacher had many traditional forms. Chan Heung also developed many training and fighting forms from his own experience and years of training. There are even specialized forms for various students who had different physical shapes and abilities. These forms have been recorded into scripts which have been handed down to his closed-door students.
Initially, Ng Lun Ma (Five Wheel Stance Form ) and Ng Lun Chui (Five Wheel Striking Form ) were created as the basic training forms that beginners must master to learn the basic foundation of stances, movement, and hand techniques. Present day schools and branches may use different teaching and training forms as well as their own curriculum and methodologies to teach Choy Li Fut. Because of the massive number of forms in the Choy Li Fut system as a whole, it is not required to learn every form to complete training in Choy Li Fut. As the Choy Li Fut system spread, different schools and branches added other martial arts masters to their curriculum, adding new forms or modifying some form techniques. This dissemination and evolution of Choy Li Fut resulted in the variations of forms and practices we see between schools and branches.

Weapons

Having both Northern and Southern Chinese influences gives Choy Li Fut a wide variety of weapons in its arsenal. Originally, there were 40 weapons in the system of Choy Li Fut. After many years of teaching, some past masters added different forms and other weapons into the system. Now there are 53 traditional weapons.
One weapon that is exclusive to Choy Li Fut is the Nine Dragon Trident created by the founder, Chan Heung. This weapon was designed to shred any part of the opponent with which it might come into contact. The many hooks and blades can seize an opponent's weapon and, with one twist, rip it from his hands. The Nine-Dragon Trident (Gau Lung Dai Chah) is known as the "King" of all weapons.

References

_{http://en.wikipedia.org/wiki/Choy_Li_Fut}

About Fujian White Crane

White Crane Boxing is a Southern Chinese martial art which originated in Fujian province and is now practiced throughout the world. According to oral traditions, the creation of this style is attributed to Fang Qiniang, a female martial artist. The characteristics of this style are deep rooted stances, intricate hand techniques and fighting mostly at close range as if to imitate a pecking bird. The flying crane style however has a greater amount of long range techniques although it too does prefer close quarters hand oriented combat, which simulates the flapping of the wings. Some white crane styles also use a great variety of traditional weapons whereas others have discontinued practice with ancient weaponry.
Fujian White Crane is an imitative-style of Shaolin Boxing based on the characteristics of the Taiwanese Crane. An entire system of fighting was developed based on the observations of their movement, fighting abilities and spirit. There are only four other animals of Shaolin Boxing, which include the Tiger, Leopard, Snake and Dragon.

If you're from karate, maybe you ever meet some kata such as Sanchin, Tensho, Rokkishu, Seisan, Suparinpai, Sandarui, etc. It's believed that the root of that kata's are from Fujian White Crane. 

History

The Ancestral Crane master Dr. Yang (Jwing-Ming Yang), dates the creation of Fujian White Crane to c. 1700.
According to the traditions of the Lee family branch of Flying Crane, Fang Qiniang was born in the mid-18th century.
According to its traditions, the lineage of the Ong Gong Shr Wushuguan in the town of Yongchun in the prefecture of Quanzhou in Fujian Province was established when Fang Qiniang taught its founders during the reign of the Ming emperor Jiazheng. However, there was no Ming emperor Ji?zhèng; there was a Ming emperor Ji?jìng, who ruled from 1521 to 1566.
Li Wenmao, a historically verifiable opera performer and leader in the 1854–1855 Red Turban Rebellion in Foshan, is said to have practiced the Yongchun style of White Crane.

References

_{http://en.wikipedia.org/wiki/Fujian_White_Crane}

About ChangQuan

Changquan (literally "Long Fist") refers to a family of external (as opposed to internal) martial arts (kung fu) styles from northern China.

History

The core of Changquan / Long Fist was developed in the 10th century by Zhao Kuangyin, founding Emperor of the Song Dynasty (960–1279). His style was called Taizu Changquan, which means "the Long Fist style of Emperor Taizu." In semi-legendary "classic" writings transmitted by Taijiquan's Yang family, their martial art is referred to by the name Changquan in one of the received texts. These texts can only be reliably dated to the second half of the 19th century. The Long fist of contemporary wushu draws on Chaquan, "flower fist" Huaquan, Pao Chui, and "red fist" (Hongquan) these arts originate in part from the muslim Hui peoples.

Techniques

The forms of the Long Fist style emphasize fully extended kicks and striking techniques, and by appearance would be considered a long-range fighting system. In some Long Fist styles the motto is that "the best defense is a strong offense," in which case the practitioner launches a pre-emptive attack so aggressive that the opponent doesn't have the opportunity to attack. Long Fist uses large, extended, circular movements to improve overall body mobility in the muscles, tendons, and joints. Advanced Long Fist techniques include qin na joint-locking techniques and shuai jiao throws and takedowns.
The Long Fist style is considered to contain a good balance of hand and foot techniques, but in particular it is renowned for its impressive acrobatic kicks. In demonstration events, Long Fist techniques are most popular and memorable for their whirling, running, leaping, and acrobatics. Chanquan moves are difficult to perform, requiring great flexibility and athleticism comparable to that of gymnastics.
Long Fist's arsenal of kicks covers everything from a basic front toe-kick to a jumping back-kick, from a low sweep to a tornado-kick. Specifically, typical moves in modern Changquan include: xuanfengjiao ("whirlwind kick"), xuanzi ("butterfly jump"), cekongfan ("side somersault"), and tengkongfeijiao ("flying jump kick").

Forms

Lian Bu Quan - Consecutive Linking Step Fist
Gong Li Quan or Power Fist Form
Tan Tui or Springing Legs
Yi Lu Mai Fu or First Road of Ambush
Er Lu Mai Fu or Second Road of Ambush
20 Methods Fighting Form or Er Shi Er Fa Chuan
Duan Da Quan - Fighting In Close Quarters Boxing/Short Hit Boxing
Hua Quan - First Set Of China Fist Yi Lu Xi Yue
Hua Quan 2 - Second Set Of China Fist Er Lu Xi Yue
Hua Quan 3 - Third Set Of China Fist San Lu Xi Yue
Hua Quan 4 - Fourth Set Of China Fist Si Lu Xi Yue
Hua Quan 2 2 Man - Second Set Of China Fist Two Man Fighting Set Er Lu Xi Yue
Hua Quan 4 2 Man - Fourth Set Of China Fist Two Man Fighting Set Si Lu Xi Yue

Weapons

Long Staff
Broadsword (Dao)
Double Edge Sword
Spear
Chain/Nine Section Whip
Dragon Phoenix Sword
Umbrella
Straight Sword (Jian)
Double Sword
Double Broadsword
Pudao
Meteor Hammer

References

_{http://en.wikipedia.org/wiki/Changquan}

About Bajiquan

If you ever read manga Kenji by Ryuuchi Masuda, or play Akira Yuki from Virtua Fighter game (I though, now there is many game character besides virtua fighter, that using this style) you must be know about this style. :)
this style is widely known about it is explosive, short-range power and is famous for its elbow strikes.

The Traditional Chinese spelling of this style is: 八極拳, pinyin spelling: Bājíquán, literally "eight extremes fist", Japanese: 八極拳, Japanese Romaji: hakkyokuken. 
Direct translation: Eight Extremes Fist, is a much respected traditional Chinese boxing schools. Another name for this style is kaimen baji quan (開門八極拳; open-door eight extremes boxing), The word "kaimen" ("opening the door") is used because the sense of technique is six methods of opening ("liu da kai" - "six big openings"), intended for break down the defense ("the doors") of enemy. This style is also referred to as "Yueshan baji quan" ("Yueshan's Fist of Eight Limits"). The word "Yueshan" refers to Yueshan temple of Jiaozuo county of Henan province (a place of origin attributed to this style). In the past, "bajiquan" was also known as "bazi quan" ("Fist of Targets"), "bazi quan" ("Fist of Hieroglyph `Eight'") and "bazi quan" (巴子拳 or 鈀子拳; "rake fist"). 
During the Qing dynasty, bajiquan was popular in Cang county of Hebei (Chinese: 河北; pinyin: Héběi; Wade-Giles: Ho-pei; Postal map spelling: Hopeh) province and in the neighboring counties of Yanshan (沧州市), Nanpi (沧州市) and Ningjin (邢台市). 

History

Baji quan was originally called bazi quan or "rake fist" due to the fact that the fist, held loosely and slightly open, are used to strike downwards in a rake-like fashion. The name was considered to be rather crude in its native tongue, so it was changed to baji quan. The term baji comes from the Daoist classic, the Yijing (I-Ching), and signifies an "extension of all directions". In this case, it means "including everything" or "the universe."
The first recorded baji quan teacher was Wu Zhong (1712-1802). Famous teachers that promoted the style included Wu Xiufeng and Li Shuwen (1864-1934). 
The latter was from Cangzhou, Hebei, and earned himself the nickname "God of Spear Li". A Peking opera Wu Shen (martial male character) by training, he was also an expert fighter. His most famous quote is, "I do not know what it's like to hit a man twice." (Because he just need one strike to kill or defeat his enemy, incredible isn't?). 
Li Shuwen's students included Huo Dian Ge (bodyguard to Pu Yi, the last Emperor of China), Li Chenwu (bodyguard to Mao Zedong), and Liu Yun Qiao (secret agent for the nationalist Kuomintang and instructor of the bodyguards of Chiang Kai Shek). Baji quan has since acquired a reputation as the "bodyguard style". Ma Feng Tu and Ma Yin Tu introduced baji into the Central Guoshu Institute (Nanjing Guoshu Guan) where it is required for all students.
Baji quan shares roots with another Hebei martial art, Piguazhang. It is said that Wu Zhong, the oldest traceable master in the baji lineage, taught both arts together as an integrated fighting system. They eventually split apart, only to be recombined by Li Shuwen in the late 18th to early 19th century. As a testament to the complementary nature of these two styles, there is a proverb that goes: "When pigua is added to baji, gods and demons will all be terrified. When baji is added to pigua, heroes will sigh knowing they are no match against it".
Today there are several families of baji quan, including Han, Huo, Li, Wu and the Wu-Tan branch from master Liu Yunqiao. There are some differences in the training between the variants, but the core is the same. The lineage holder of Wu family baji quan in China is Wu Lian Zhi. Through more than 50 years of training, he collected material and records which were passed down from generation to generation.

Philosophy

Baji is a term used in the ancient Taoist book, 'Huainanzi' (淮南子, Book of the Prince of Huai Nan by Liu An c. 140 BC). The book states that between the Heavens and the Earth there are nine 'Jio' (regions) and eight 'Ji' (spaces); beyond the eight 'Ji' there are eight 'Yan' (stretching or extensions into the far distance); beyond the eight 'Yan' there are eight 'Hong' (breadth or limits). Baji was said to be something which spreads and extends out to infinity. Also, in the "Huainanzi", it says: "Big roads stretch far, reach eight limits". These concept is then applied to the practice and training of this style. For example, the use of force is explosive pushing outwards in all directions. Example of this philosophy can be illustrated in the horse stance and the bow and arrow stance. Baji practitioner take advantage of both the force of gravity (重力) and torque (旋力) to generate the applied force of sinking jing (沉坠劲) and crossing jing (十字劲). 

Practice

Baji tries to train the student to be efficient in close quarter combat. The stance training and stepping exercises develops quick and continuous attacks. The movements are laconic using both long and short body movements that starts sharp and concise and often finish with an elbow and at the same time keeping the lower part of body stable. Baji Quan training occurs in several stages:

1. Stance training
2. Stepping
   
3. Forms
   
4. Applications
   
5. Two man forms
   
6. Weapons

Baji Stances

Baji stances are low and wide compare to Shaolin stances. Stationary training focus on four stances: horse stance (弓步,mabu), the bow and arrow stance (马步), half horse stance (半马步) and the empty stance (虚步). The horse stance is slightly wider to allow more movement in delivering a front punch. The bow and arrow stance (马步) is similar to the Shaolin stance with 60 percent of the weight on the front leg but the power issuing from the back leg during the change from horse stance to bow and arrow stance. In the half horse stance, the weight distribution (60%) is shifted to the back leg. In the empty stance, almost all the weight (90%) is distributed on the back leg. Stance training focus initially the weight distribution but are later training will incorporate hand techniques and their potential applications. For example, from horse stance the student can practice the various palm and elbow techniques.

Baji Stepping

Baji stepping can be described as moving like a bear with the spirit of the tiger. During stepping training, the practitioner learn how to shift their center of gravity quickly and effectively while covering distance and executing a technique.  The following couplet captures the essence of this training:

取熊虎之形于神
以八极之意御气

which is translated as :

Merging the forms of the Bear and the Tiger into the Spirit
Harnessing the Eight Extreme forces of the Earth as Energy

Bear step ( 熊步 ) requires the student to slowly walks in a low crouch. The body weight should always be on the front leg. The spine should be straight and the up body relaxed in a natural manner. This is known as the "Bear" stance because as you move to sway your hands lightly as you move and try to capture the image of a bear. The movement can also be performed by stepping diagonally. The practitioner moves from side to side but maintains the same weight distribution and body posture as in the bear posture.

Tiger Arm ( 虎膀 ) requires the practitioner to execute a punch with both hands stretched out while lunging forward. The technique requires the power to issue from the twisting of the hip and the stretching of the shoulder rather than the arm. During practice, both arms should remain relaxed and slightly bend at all times. Additional stepping techniques require the student to switch between the basic stances while moving. For example, from bear stepping to bow and arrow stance while executing a punch. 

Baji Forms

In practicing the various forms, the general rule is to "keep the body straight and use spine as an axis". Each form incorporates movements that involves the shoulders, back, elbows, pelvis. All the Sets are short but rich and try to teach the students to understand the combat principles of

• da (hit), shuai (throw arm like wheep),
  
• na (grasp, catch) and
•  tui (push).
  

Each of the forms and application builds on the following concepts:

• Ai (push through)
  
• Bang (arm lean)
  
• Beng (collapse)
  
• Chuo (thrust in)
  
• Chuankunjing (force of winding round and tie)
  
• Han (shake) * Ji (hit,hand quick push)
  
• Jian (shouldering) * Kao (lean on),
• Kua (hip twist) for colliding.
  
• Kwa (push using body weight)
• Tu (break through)
  
• Xi (kneeing)
  
• Zhou (elbowing)
• Zhuangkaojing (force of pushing and leaning)
  

In addition, there are also grappling, wrestling and chi kung techniques and therefore Baji is considered to be a complete style.

In traditional training, there forms for Baji are

Ba Ji Xiao Jia (Ba Ji Short Form)

This form is consider to the the fundamental form.  This form requires the student to be stable and firm in his stance while training their grappling and striking abilities. According to oral instructions:

"The 10 toes grab the earth, the head firmly supports heaven: arms like holding a baby, elbows like a mountain peak."

This means to sink both shoulders, hollow the chest is "swallowed", raised the back, round the the knees and crotch and straighten the the coccyx.  There is also focus on the six harmonies and the three internal harmonies. 

• Liuzhoutou ("6 ends of elbows")
  
• Jin Gang Ba Shi (gold-steal eight forms) is the basic routine
  
• Dai Ba Ji(Ba Ji Long form)trains footwork to be quick and easily maneuverable. While at the same time learns about how a hard step could increase power of a move dramatically. This would allow the practitioner to learn how to draw power from the whole body into one technique. The main offensive moves used in this routine is predominantly wrestling ones.
  
• Baji duijie is a two-man sparring routine which explains application of some of the techniques
  
• Liudakai ("6 big openings" or "making 6 holes") - means ding (thrust by elbow or knee), bao (embrace), dan (carry on the pole or yoke), ti (hold, carry), kua (step over) and chan (wind round)
  
• Badaizhou ("8 big methods") are advanced forms that contains more specialized techniques pertaining to this style.
  
• Yingshouquan ("fist of answering hands", contains 48 big blocks and 64 hand methods)
  
• Gonggong baji ("bajiquan of steel working")
  
• Baji shuanggui ("2 ruts of bajiquan")
  

Weapon sets includes:

• yezhan dao ("broadsword of night fighting")
  
•  ti liu piaoyao dao ("carring the broadsword of fluttering willow")
  
• liuhe daqiang ("big spear of six coordinations")
  
• liuhe huaqiang ("blossom spear of six coordinations")
  
• lianhuan jian ("continuous sword")
  
• jiugong chunyan jian ("sword og nine palaces of pure yang")
• danzhi gou ("sole hook")
  
• baji jian ("sword of baji")
  

2-men weapon sets includes:

• duizha daliuheqiang ("mutual thrusts by big spears of six coordinations")
• yezhan jiumen shisan daodian ("thrusts of 13 broadswords of 9 gates of night fighting").

Until now, I still want to learn this style even it is just one or two elbow techniques. >_<
I hope someday, there is a miracle that will bring me to learn this style. :( 
(because it is hard to find Bajiquan Sifu in my country).  

Differences Between Soft Styles and Hard Styles in Kungfu

We already know that Chinese Martial Arts (Kungfu) are can divided into 2 styles: Internal and External. But, what the meaning of internal and external styles? Sometimes people said that internal styles are soft and external styles are hard. But, what about Xingyi (Hsing I)? it's hard isn't? but Xingyi's already categorized as internal style. And people also usually considering internal kungfu will always soft even in real fight and external kungfu are always hard even in all condition.

Now, I will try to explain about differences between external and internal styles in this post as clear as I can (of course, please check me if I am wrong). :)
According to all literature and references which I read, The various chinese martial arts are divided into external and internal. While the external styles emphasize training techbiques and building up the physical body through some martial Qigong training, the internal styles emphasize the build up of Qi in the body. in fact, all styles both internal and external, have martial Qigong training. The external styles train the physical body and hard Qigong first, and gradually become soft and train soft Qigong; while the internal styles train soft Qigong first, and later apply the Qi built up to the physical techniques. It is said that: "The external styles are from hard to soft and the internal styles are from soft to hard, the ways are different but the final goal is the same." It is also said: "External styles are from external to internal, while internal styles are from internal to external. Though the approaches are different, the final goal is the same." Again, it is said: "External styles first Li (muscular strength) and then Qi, while internal internal styles first Qi and later Li."

This writing should have given you a rough idea of how to distinguish external and internal styles. and give you some idea about hard and soft in kungfu. It is said: "the internal styles are soft as a whip, the soft-hard styles (half external and half internal) are like rattan, and the external styles are like staff".
   

My First Post

Hi, this is my first post in this blog (like some helloworld post.^^').
I am interested with martial arts, especially with Tradititional Martial Arts. I am not studying all martial arts that I'll post or write in this blog. So, if there is something wrong in my post, just feel free to let me know about it and please give me the correction too.
I'll be glad to thank you. :)

And btw, I am not good enough in english. Please check me if there is a wrong or weird english in my post. >_<

Thank you.