Bolang Jin Wave Power

Discussion on the three big Chinese internals, Yiquan, Bajiquan, Piguazhang and other similar styles.

Re: Bolang Jin Wave Power

Postby D_Glenn on Sat Mar 30, 2013 3:12 pm

In Chinese Chess ( 象棋 Xiangqi) there are 7 pieces: the General (將 Jiang), Advisors, Elephants, Horses, Chariots, Cannons, and Soldiers.

In a checkmate the General flies across the board to capture the other player's General, a move called 飛將 Fei Jiang (Flying General).

Elephants (象 Xiang) have a limited movement and can only move if they're unobstructed, called having an open field (田 Tian) to move in. When the movement of the Elephant is blocked it's called 'Obstructing the Elephant's Eyes' (象眼塞 Xiang Yan Sai).

When one is so focused on the Checkmate/ Endgame (飛將 Fei Jiang) they don't see the power of Elephant's movements, or it's inability to move. Which became 'When one is focused on the Fly in their face, they can't see the Elephant in the field.'

In the Chinese Martial Arts it means when you're only looking at the end product (the movement of the hands and feet) you don't see the powerful movements of the body that make the end movements of the hands and feet possible. Or you're so focused on the flashy movement of the hands you don't see the root of the hand's power - the body. Or the English translation - Not seeing what's right in front of your eyes. or Hidden in plain sight.




Here's some more examples of 'Bolang Jin'. It needs to be developed in every strike and in our style of Baguazhang every strike is practiced while drilling the movements standing stationary and through various stepping drills:



In the Single-Action/ Movement Drills the end of one movement and beginning of the next is always the same, so the next level is to work on combining the three basic strikes into all their possible combinations where, like in an actual fight, the end and beginning of a movement is never really going to be quite the same so one has to practice the whole body to be able to move fluidly from any strike into any other strike and issue power (Fa Li) using 'Bolang Jin' in any strike, at any moment.



.
Last edited by D_Glenn on Sat Mar 30, 2013 10:40 pm, edited 2 times in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Re: Bolang Jin Wave Power

Postby NoSword on Sat Apr 13, 2013 10:00 pm

D_Glenn:

Can you say anything about the very wide stances used by Master He in this clip? What is their function from the perspective of your system?

Thanks,

Andrew
Your identity is the enemy
User avatar
NoSword
Wuji
 
Posts: 1268
Joined: Sat Jul 04, 2009 9:41 am

Re: Bolang Jin Wave Power

Postby D_Glenn on Sun Apr 14, 2013 8:44 am

^ It's following Qi Jiguang's rule - Using 100% in practice so that in actual combat you can access at least 50% of what you've trained.

It's also for developing Bagua's legs as they're crucial for stepping in deep on the opponent and one needs to develop a stable base (稳 Wen). This is also something that Qi Jiguang mentions, per Sun Tzu - (Strike the head then the tail responds; strike the tail and the head responds ; so in order to be effective strike both the head and the tail.) In Baguazhang the legs are 7 parts; the hands are 3 parts meaning that the legs and hands are almost always striking together but even if the hands aren't the legs and stepping are, and affecting the opponent. Or rather, since the ultimate goal is the head, it's crucial to keep control of the opponent's tail or their ability to step and/or kick, plus a good hard fall or trip also works towards the end goal.

At first the wide stance seems awkward and you have to constantly remind yourself to keep it wide (relative to your own height) but when you go to apply it you can see the benefits derived from the practice.

(Note that he doesn't like to be called "Master". If people feel the need to call him by a title then 'Laoshi' is good.)


.
Last edited by D_Glenn on Sun Apr 14, 2013 10:26 am, edited 2 times in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Re: Bolang Jin Wave Power

Postby D_Glenn on Mon Apr 22, 2013 11:11 am

波浪劲·翻浪劲”体用功法精义解

作者:马国兴

或问曰:心意拳和形意拳,都强调攻防较技之施招用手、施手用招的“波浪劲”和“翻浪劲”的用法。但是,什么是“波浪劲”、“翻浪劲”的法式呢?在攻防较技中施手用招、施招用手中“波浪劲”和“翻浪劲”确实有什么优势吗?这是为什么?“波浪劲”和“翻浪劲”功夫容易修炼成功吗?这些问题敬请您老不吝赐教!

答曰:是的!心意拳和形意拳都是遵从“意气君来骨肉臣”的内家拳法宗旨修炼、至用的拳种,这一点从拳谱中就可以明确的看得出来。

懂劲:

意拳是内功拳之一种,其气沉丹田,着意蓄发内劲,不论横,竖、斜、缠、松、悍、合、坚等劲,均得成为周身一体之整劲,富有弹力之抖绝打击,对方即会腾空跌出,达到学以致用之目的。否则,徒具优美之姿势和理解应用之方法,但敌人不为所动,而失去攻防艺术的价值,这就是不懂劲之缘故。

从这段懂劲的认识之论述中就可以清楚的看出来了,心意拳、形意拳都是极为重视内劲修炼、运用方法的。而“波浪劲、翻浪劲”只不过是内劲运用中的两种方法的名称而已。

“波浪劲、翻浪劲”名称的来源及运用方法

为什么名曰:“波浪劲、翻浪劲”呢?

因为古拳谱《易筋经·贯气诀·点气论》中有:

似梦地着惊,似悟道忽省,似皮肤无意然火星,似寒侵骨髓打战悚,想情景,疾快猛,原来是真气泓浓。震雷迅发,离火焰烘,洪水波涌。欲学不悟个中窍,丢却别寻哪得醒?

文中的“洪水波涌”之说法,就蕴含着“波浪劲、翻浪劲”修炼和至用的方法。犹如海水波浪向海边撞击的方向,称之为“波浪劲”;海水撞击海岸反向大海方向形成的回浪,称之为“翻浪劲”。

以身中劲势的用法为例,内劲由会阴起向后背运动的劲势名之曰“波浪劲”,乃从“打人全凭盖势取”的意思而得名;内劲由会阴起向前胸运动的劲势名之曰“翻浪劲”,乃从“探马势顺势揭掀”的意思而得名。

其实,就“波浪劲、翻浪劲”的得名因由的方法中,已经清楚的说明了“波浪劲、翻浪劲”的基本运用方法了。例如:崩拳、劈拳运用“波浪劲”,炮拳、钻拳运用“翻浪劲”,效果最佳。

“波浪劲、翻浪劲”的修炼方法

“波浪劲、翻浪劲”都是由内功养生之道的“子午周天”法中内气“腹背周天”运行法修炼演化出来的内劲功夫。下面具体介绍“子午周天”功法和“腹背周天”功法的具体操作方法:


子午周天法

【功法步骤】

1、站、坐、卧的姿势皆可以,必须全身放松,平心静气,息气凝神。



{Understanding the Underlying Methods and the Required Training Practices of Bolang Jin (Crashing Wave Power) & Fanlang Jin (Returning Wave Power)

{By: Ma Guoxing

{Some questions people might ask: Xin-Yi Quan and Xingyiquan both emphasize the skills of attack and defense using the arms and hands. In order to have skill in the arms it requires the use of "Bolang Jin" (BLJ) & "Fanlang Jin" (FLJ). But what is BLJ, FLJ and how do they work? Inside attacking and defending is the usage of the hands and arms. Inside the usage of the hands and arms is BLJ and FLJ. So what is the advantage and why are they used? Do BLJ and FLJ require Daoist Cultivation practices to be good?

{Answer: Yes!

{Xin-Yi Quan and Xingyiquan both follow the idea that "Intent (Yi) and 'Qi' are the lords while the bones and flesh are their servants." and the key to Internal Family Boxing is Daoist Cultivation practices and from the Cultivation practices one will gain better fighting skills. This is pointed out in the handed down 'Quan Pu' that once this is understood than real skill will arrive.

{To understand power: Intention (Yi) expressed outward in fighting, needs to be the same as it's happening inside the body. 'Qi' is sunk down to 'Dantian'. Movement/ Action begins as the Intent (Yi) Stores-up (蓄 xù) then Issues (發 fā) internal power (内劲 nèijìn). It doesn't matter if it's Horizontal, Vertical, Slanted, Winding, Relaxed, Ferocious, Harmonizing, or a Strong type of power as they're all equal when it comes to the whole-body, integrated as-one, power. It's Elastic, Trembling, and Short when it strikes. The other person will rise up and fall when it goes out. To obtain this one has to study diligently and apply it regularly. If not then the student will only have graceful movements, maybe a decent understanding of it, but is still not be able to affect the opponent, then they lose the true value of the martial art and have an incomplete understanding of the way power is used.} [In other words, in the beginning these practices need to be raw, violent, and powerful and won't look graceful or clean so that one can first find the raw mechanical skill in their own body, and then later, when it does look skillful and crisp, there is actual power that makes it a martial art.]

{The second part to understanding power: Xin-Yi Quan and Xingyiquan both put great emphasis on the Internal Cultivation of Power and that there is a clear method to achieve it. BLJ and FLJ are really nothing more than a way to bring Internal Power out/ put it to use and both cultivate and grow the internal power of the body but are only just a given name to describe the process.

{As they're really only a name given to discern the methods, [Which has been the whole point of this thread BTW] Then why do we call them: "BLJ and FLJ"?

{Because in the Ancient Boxing textbook "The Yi Jin Jing; Secrets of Moving Qi; and Theory of Qi Points" there is: [...several esoteric things I'm just gonna skip over...,] and returning back to one's original state where 'True Energy' (Zhen Qi) pools and concentrates. When the 'Zhen Trigram's' Thunder quickly Issues (發 fā), then the 'Li Trigram's' Fire blazes and heats, causing the Water to Surge Upward (洪水波涌 Hongshui Bo Yong). So the ancients in their quest to understand everything about the human body asked, since this is a natural function, how can we intentionally awaken it?

{In the classic writings of China, "洪水波涌 Hongshui Bo Yong", is another way to describe what happens in "BLJ and FLJ" and the Daoist Cultivation practices that go along with the methods. Since it's similar to the way the ocean waves crash and collide into the beach and as it's coming out from the body of water we call this method "BLJ"; After the wave has crashed into the coastline, is retreating back out to the sea, and forming the shape that makes a 'Returning Wave' (Hui Lang) we call this direction of 'returning to the body of water' the method of "FLJ".

{When using the middle of the body to generate Power and force - where the power comes up from the perineum (Huiyin Point) and around the back of the spine, we call this "BLJ",which is also called "Striking the enemy from over the top and putting a lid over their power", which isn't really the actual application, just a name; When power comes up from the perineum (Huiyin Point) and around the front of the chest, we call this "FLJ" and is also called "The Knight moves with the opponent's force and flips up the lid, exposing their insides", which again isn't really an application but just a name.

{In actuality "BLJ and FLJ" are just names for the methods of using the middle of the body [the torso] and only have meaning if one already has a basic understanding of their physical functions and usage as the names themselves don't really contain the instructions.

{Some examples: Beng Quan and Pi Quan can use "BLJ". Pao Quan and Zuan Quan can use "FLJ" to obtain optimal delivery of power.

{"BLJ and FLJ" use Internal Cultivation practices and both "BLJ and FLJ" follow Internal Health Practices (neigong) and follow the Daoist concepts of "Ziwu Zhou Tian" The Method of Gathering Internal Energy in the Middle and "Fu Bei Zhou Tian" The Moving Method of Cultivating , Moving, and Arriving at the true skill of internal power (Nei Jin Gong Fu). Below I will introduce the cultivation methods of these Practices (Neigong) and describe the steps in order to practice and utilized the Daoist concepts of "Ziwu Zhou Tian" and "Fu Bei Zhou Tian".

{"Ziwu Zhou Tian" Method -

{【功法步骤】 Steps of Progression

{1, Standing, Sitting, or Lying down Postures can all be used, but it's important that the whole body is relaxed, the mind is quiet, the energy is calm. Attention is put on the breath and energy.}

[The rest of the following text is about Cultivation Practices but is better described in my other thread 'Song Dynasty theory' as this is just another way to describe what I've already translated there.]

2、双眼目视正前稍下方,凝神注视瞬间,将眼神收回睛中,垂帘闭目,此时以心意观注在双睛中眼神处;用心意以眼神内视自己的心脏,将心脏视为一团气;就用心意将此团气搬到膻中穴的胸中处,而眼神一直观住在此团气的移动之始终,瞬间未有离之;再用心意将此团气下放到少腹丹田处方好,而眼神一直观住在此团气的移动之始终,瞬间未有离之。此正是:“虚胸实少腹”的“坎离相交、阴阳合和、水火相济”之“炼精化气”的法式。乃一切内功心法的内炼之预备式。


3、眼神内观注以沉入丹田的内气,心意使此内气沉到会阴穴,由会阴穴向后入尾闾穴在至命门穴经大椎到百会穴;由百会穴向前运行到印堂穴,再有印堂穴向下沿鼻中表面至人中穴,一股内气由人中穴向内运行由舌尖接引使内气顺舍系到咽喉再到膻中穴;一股内气分左右两股沿嘴角会聚承浆穴向下至咽喉再到膻中穴,内气继续向下运行至神阙穴,在由神阙穴至会阴穴,是为一周。如法而运行内气行81周,即可收功了。内气在任督二脉运行的直径3cm。如果在会阴处稍微停顿一下,再继续运行,名曰:“活子时”;如果在百会穴处稍微停顿一下,再继续运行,名曰:“活午时”。这可以控制一下内气运行的速度,以免神意跟不上达不到修炼的目的。


4、收功,眼神内观注视着会阴穴处的内气,意念使内气升到丹田中,眼神内视观注丹田中的内气,运用心意将此气幻化成一乒乓大小的气球,运用心意活动揉化着此气球,此气球越揉越小,越小越亮。经十来次的心意活动之揉化,此气球小如黍米粒般大小而又贼亮贼亮的耀眼之亮点。此时,以心意活动将此亮点往下一放,眼神内视不见此亮点了,是为藏好了,是为“服食”,以备下次练功时启用。


将亮点藏好了,抬起双手小臂,两手掌心面轻轻前后相搓,同时心中和悦欢喜,脸面眉开眼笑(注意:不要睁眼,不要张开嘴巴),要笑得极为轻松自然开心时就用双手轻轻上下搓搓脸面,随用双手的搓着脸面随即睁开双眼,随即轻轻的从头开始依次活动全身直至移动步履,恢复常人状态,此为一次的练功完毕。


功法分析

又名:任督周天法,任者,任脉,奇经八脉之一,总司任诸阴之谓也;督者,督脉,奇经八脉之一,总司督诸阳之谓也。虽然真气在任督二脉的所在部位运行,非任督二脉之气也!由于真元之气具有“大药”之名,当然具有“大药”的“驱邪补正”的功能作用和相应的效果。所以,每天修炼此功法,自然具有调节改善、强化任督二脉功能作用的能力,而达到强身健体的功能效果,乃是自然而然的事情了。


如欲修炼内劲功夫,则可相应的改为“内气腹背周天”法式,命题论述如下:

内气“腹背周天”运行法

1、站、坐、卧的姿势皆可以,必须全身放松,平心静气,息气凝神。


2、双眼目视正前稍下方,凝神注视瞬间,将眼神收回睛中,垂帘闭目,此时以心意观注在双睛中眼神处;用心意以眼神内视自己的心脏,将心脏视为一团气;就用心意将此团气搬到膻中穴的胸中处,而眼神一直观住在此团气的移动之始终,瞬间未有离之;再用心意将此团气下放到少腹丹田处方好,而眼神一直观住在此团气的移动之始终,瞬间未有离之。此正是:“虚胸实少腹”的“坎离相交、阴阳合和、水火相济”之“炼精化气”的法式。乃一切内功心法的内炼之预备式。


3、眼神内观注以沉入丹田的内气,心意使此内气沉到会阴穴,由会阴穴向后入尾闾内成片状气流样形态在向后内后臀、腰、背腔壁向上运行至大椎穴咽喉龙、双肩内腔壁向前胸腹内腔壁下行至会阴,此为一周。如此循环往复的修炼,此为“波浪劲”的法式,为乾阳顺行;内气成片状气流样从会阴穴向前少腹、大腹、前胸内腔壁运行至喉咙、向后过双肩内腔壁,沿后背、腰、臀内腔壁下行至会阴,此为一周。如此循环往复的修炼,此为“翻浪劲”的法式,为坤阴逆行。

如法而运行内气各32周,即可收功了。内气在腹背内腔壁运行的厚度 3厘米-10厘米;宽度乃左右前胸腹与后腰背的阴阳交界处为度。如果每一周在会阴处稍微停顿一下,再继续顺逆运行,名曰:“活子时”;而在喉咙处不用停留。这样就可以控制一下内气顺逆运行的速度,以免神意跟不上达不到预期修炼的目的。


4、收功,眼神内观注视着会阴穴处的内气,意念使内气从会阴处升到丹田中,眼神内视观注丹田中的内气,运用心意将此气幻化成一乒乓大小的气球,运用心意活动揉化着此气球,此气球越揉越小,越小越亮。经十来次的心意活动之揉化,此气球小如黍米粒般大小而又贼亮贼亮的耀眼之亮点。此时,以心意活动将此亮点往下一放,眼神内视不见此亮点了,是为藏好了,是为“服食”,以备下次练功时启用。

将亮点藏好了,抬起双手小臂,两手掌心面轻轻前后相搓,同时心中和悦欢喜,脸面眉开眼笑(注意:不要睁眼,不要张开嘴巴),要笑得极为轻松自然开心时就用双手轻轻上下搓搓脸面,随用双手的搓着脸面随即睁开双眼,随即轻轻的从头开始依次活动全身直至移动步履,恢复常人状态,此为一次的练功完毕。



.
Last edited by D_Glenn on Mon Apr 22, 2013 4:13 pm, edited 1 time in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Re: Bolang Jin Wave Power

Postby D_Glenn on Fri Apr 26, 2013 2:28 pm

We can never really know the actual history and the links between the different lineages of Chinese Martial Arts. We can make deductions about the sources but even that is difficult because it relies on finding similar practices and teachings, which because they were martial and for fighting, that it made sense to keep information close to one's heart so you're enemies wouldn't know it, and the material was kept to oral instructions, usually not written down, and the different styles sometimes used their own terminology to describe the same things. So while we can see a very similar end result of the physical practices in the various Chinese martial arts, (as the human body only functions in so many ways), but we only have a few similar connection through the written materials with the other (fairly new; late 1800s) martial styles that had come from the same, older root martial systems.

So, essentially, Baguazhang's only link to other, older martial systems is through Dong Haichuan and we can look at how he took concepts from many different Chinese martial arts and fused them into one cohesive system and because it's based around and upon the Daoist Cultivation practices, which use the Eight Trigrams to describe the cultivation practices, he named his new art after the Eight Trigrams and developed a curriculum that follows the Bagua and uses it to explain many different aspects of his whole martial system.

3、眼神内观注以沉入丹田的内气,心意使此内气沉到会阴穴,由会阴穴向后入尾闾内成片状气流样形态在向后内后臀、腰、背腔壁向上运行至大椎穴咽喉龙、双肩内腔壁向前胸腹内腔壁下行至会阴,此为一周。如此循环往复的修炼,此为“波浪劲”的法式,为乾阳顺行;内气成片状气流样从会阴穴向前少腹、大腹、前胸内腔壁运行至喉咙、向后过双肩内腔壁,沿后背、腰、臀内腔壁下行至会阴,此为一周。如此循环往复的修炼,此为“翻浪劲”的法式,为坤阴逆行。

{The normal cycle of the Daoist internal practices, and in the martial art, we sink energy to the perineum, bring it through the 'Tailbone gate' up through the 'middle gate', up the spine to the 'upper gate', then back down the front, returning to the perineum and dantian. This is the 'Bolang Jin' route and is also called the '乾阳顺行' Qian [Trigram] Yang, 'Moving With'.

The opposite route, going up the front of the abdomen, chest, throat, coming down the spine, etc. is 'Fanlang Jin' and is also called the '坤阴逆行' Kun [Trigram] Yin, 'Moving Against'.}


The structure of Baguazhang's martial system follows the Post-Heaven Bagua Symbol, and a student starts with the 乾卦 Qián Trigram ☰ which consists of simple to complex methods and techniques to strike, throw, grapple, submit, and some basic leg-attacking methods. It's strategies and tactics are also simple to more complex and the 'changes' are more mechanically/ method-based, rather than conceptual/ internally-based. All of it's varied techniques make use of 'Bolang Jin' in combination with the waist to add power to an attack.

The 坤卦 Kūn Trigram ☷ contains all the techniques, strategies, tactics, and 'changes' that make use of 'Fanlang Jin' but it doesn't really contain techniques of it's own as it's just using a 'reversal' of the techniques found in the other Trigram systems and uses 'Fanlang Jin' in combination with the waist to 'remove' (卸 Xie) the power in the opponent's attack. Because it requires a high development of internal cultivation in order to safely do 'Fanlang Jin', the changes and subsequent affect on the opponent is also of a more internal nature; more of a subtle feeling or a concept-based method to change and transform the opponent's attack, which can be immediately followed by an overt attack. Where the Qian Trigram uses continuous, overt attacks to force the opponent to try and change, adapt, transform to your attacks.

Since the Qian Trigram relies on the more natural 'Bolang Jin' the fighting/ martial and cultivation practices can be trained and developed at the same time. Where the Kun Trigram would need several years of daily cultivation practices before doing any of it's techniques.

Baguazhang consists of basic, intermediate, and advanced tactics but the practice(s) to achieve these different skills are essentially the same, as Baguazhang's 'Circle Walking'/ Zhuan Zhang (Turning Palms) is both a basic and advanced, lifelong practice. Plus, it also kills two birds with one stone/ one arrow, two eagles (一箭雙鵰) as it's developing the fighting skills and internal cultivation at the same time (when done properly).



.
Last edited by D_Glenn on Fri Apr 26, 2013 3:37 pm, edited 1 time in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Re: Bolang Jin Wave Power

Postby D_Glenn on Thu May 02, 2013 8:54 am

From the above text:
因为古拳谱《易筋经·贯气诀·点气论》中有:
似梦地着惊,似悟道忽省,似皮肤无意然火星,似寒侵骨髓打战悚,想情景,疾快猛,原来是真气泓浓。震雷迅发,离火焰烘,洪水波涌。欲学不悟个中窍,丢却别寻哪得醒?

{Because in the Ancient Boxing textbook "The Yi Jin Jing; Secrets of Moving Qi; and Theory of Qi Points" there is: [...several esoteric terms I'm just gonna skip over...,] and returning back to one's original state where 'True Energy' pools and concentrates. When the 'Zhen Trigram's' Thunder quickly Issues (發 fā), then the 'Li Trigram's' Fire blazes and heats, causing the Water to Surge Upward (洪水波涌 Hongshui Bo Yong). So the ancients in their quest to understand everything about the human body asked, since this is a natural function, how can we intentionally awaken it?}

震雷迅发(發)

{[When the] Zhen [Trigram's] Thunder (Lei) quickly issues (Fa).}

Is likely where the word 发(發) 'Fa' (issuing) enters into the vernacular of the Chinese Martial Arts.

The 震卦 'Zhen Gua' ☳ ; symbolizing thunder (雷声(聲) Léi​shēng); and the sound of thunder issuing (发(發) Fa) makes a loud crack and startles people to move; so the Zhen Trigram also represents initial movement or starting/ beginning to move and in 'Bolang Jin' and 'Fanlang Jin' this movement starts with the movement of the tailbone/ sacrum. This initial movement of the tailbone is called 發 'Fa' (issuing).

The sound, like that of thunder (雷声 Léi​shēng), that accompanies the fully developed movements of the tailbone, dantian, and spine when one is 發 'Fa' (Issuing) / 波浪勁 'Bo Lang Jin' (Crashing/ Breaking Wave Power) / FLJ is a very distinct and noticeable sound to an outside observer. Of course when actually fighting the sound is of little importance. When learning to use 'Bolang Jin', the learning process is so long that you gradually become accustomed to the sound and are not even aware of it but at a certain point you can use the sound of it, when practicing, to be an indicator of it's smoothness or Crispness (脆 cuì).

While learning to use 波浪劲 'Bolang Jin' / 發 'Fa' (Issuing) the first quality to work on is to have it be done without warning, from cold (kicking cold) called 冷 'Lěng' (cold), which means done in an instant, from relatively any position of your body and with just a thought. It's easy to want to do it in quick succession at this stage but it's important to do it once then pause and try to do it again. Working on speed and quickness at this stage will only impede the process.

After you have a good grasp of doing it from 冷 'Lěng' then you can work on developing 脆 Cuì (crisp; crunchy; like a clear and loud voice) where the "Thunder sound" is kind of like fresh celery stalk and the short, abrupt, and crisp snapping sound it makes when it's broken in half. Where an overripe celery is limp and just bends in the middle and gradually tears apart but doesn't really make a sound. You should work on making the parts of your torso and body compact, efficient. Where in the 1st stage in order to begin to learn it you need to be relaxed to allow it to come about, in order to feel and listen to what your own body is teaching you. Where now at this stage you want to tighten everything back up while still allowing the force to get from tailbone, dantian, up the spine and out to the hand. It's not really recommended to focus on the sound as it's the feeling that's more important but when you become aware of how to replicate the same feeling over and over then you can use the quality of the sound as an indicator.

The final stage is to work on speed as up until this point you shouldn't be worried about how fast you can move your tailbone, body, or arm, and the arms can only move as fast as the torso/dantian and everything needs to be synced up and moving together. You will also need to work on and develop 'Leng' and 'Cui' in every different strike that you intend to use by drilling the individual strikes and techniques while using 波浪劲 'Bolang Jin' but you will find that some strikes are easier do it in than others, so you will have all your different arsenal of strikes and throws reaching the final stage at different moments in time. In this stage is where you start to work on executing the movement fast, or at a real-time speed (快 Kuài) for use in fighting. After you have at least a few strikes that you can 發力 'Fa Li' (Issue Force) in, using 波浪劲 'Bolang Jin' at full speed, smoothly, and without warning, then you can begin to incorporate them into your regular arsenal of fighting techniques and movements that make use of the body's normal/ natural 衝擊力 Chōng​jī​lì (Impact Force).


.
Last edited by D_Glenn on Thu May 02, 2013 9:03 am, edited 2 times in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Re: Bolang Jin Wave Power

Postby D_Glenn on Mon Jul 01, 2013 10:24 am

neijia_boxer wrote:D_Glenn-

hey how is it going? right, when Park taught the technique it was done "big and exaggerated" in the warm-up phase much like the way the guy is going in the video. later is becomes smaller and refined and even unperceivable in the fighting forms as to not waste movement and telegraph intent. What I see Mike Patterson doing is the small movement. He kindly goes to slow motion for the viewer. This is no different than the way I was taught the "Tien gong" in Gao style baguazhang. the movements can be done long and extended to train the body to stretch and develop strength and power, and then refined to much smaller refined movement for combat.

i guess i am less familiar with the terms and differences in the tucked/untucked versions of spinal wave power. I just have done dragon back, single palm with the dragon back, double palm strike with dragon back type exercises.

Matt

I just realized that with all the other side-tangents going on that I never got back to you on this.

We don't use the term "Dragon Back" but I've seen the still photos in Park's book and many of his students have attended our seminars and some have asked "Oh, you know how to do the Dragon Back?", and I had to answer that I don't really know what they're talking about but I believe it's the same thing. And seeing it now, for the first time, the actual video footage of Park's Dragon Back exercise and based on what Steve wrote I'd say it's even closer to what we do.

The Chinese Dragon has the body/ spine of a Snake and I believe Lu Shuitian is, in some manner or another, in the Yin Fu lineage, and what Park does is in many ways similar to our Zhen Trigram Dragon System so that's my guess for where the name comes from. Also the Dragon uses Double palms/ hands striking outward - where both arms employing the same attacking method. It's more of a bold and brazen outgoing attack but can be an effective tactic which goes along with the Dragon's overall aggressive manner and fighting strategy, and it is one of the simpler ways to go about learning the 'Bolang Jin' method of using the torso: because both arms are doing the same thing and the waist isn't needing to turn side-to-side so there's less things moving around that one needs to think about and can focus on just the movements of their spine.

But really 'Bolang Jin' is in everything - used in every animal system, incorporated into every movement/ technique/ attack because, as I've already mentioned, it's how one adds a 發 'Fa' (issuing/ emitting) into the movement. So rather than just focusing on a few basic skills we just start learning it by practicing it in an assortment of striking techniques, beginning with striking drills done while in stationary 'horse'-type stance, (like in the Dragon Back video), but with more variety of techniques so that one's spine and waist doesn't get too used to moving in just one way.

(Chen Xiaowang had mentioned to me that even though it: (發 'Fa' (issuing)/'Bolang Jin') is only done in some movements during the 'Yi Lu' form, and in even more movements in the 'Er Lu' / 'Paochui' form, that one still needs to learn to use it in nearly every movement of all the forms by the drilling the single movements and then drilling small segments of the forms, on their own time.)

The movement needs to be big, overt, and obvious, in the beginning, in order to actually learn and engrain the bio-mechanical movements of the spine. It's not large movements just for sake of being obvious or looking powerful, it's just done that way in order to learn it.

It's really rare to see any film footage of someone who's still in the process of learning it and is willing to have the clumsy movements filmed.

Throughout the gradual process of learning and engraining the movement of the torso, hips, shoulders, the movement becomes increasingly smaller, refined, more compact and efficient but this refinement cannot be forced along as it takes time and diligent practice. So while there are a few good video examples of Chinese martial artist's who have already learned how to do it and are properly demonstrating 'Fa Li'/ 'Fajin', the problem is that the actual movements of their spine are so refined and hidden by clothing that the 發 'Fa' is only noticeable as it comes up through their upper back, around the shoulders and out into their arms and it's hard to tell if it's real or not unless you yourself also knows the underlying bio-mechanics of what's going on.

Also, as mentioned, it's difficult to find any videos of people who are only part way in the process, so therefore any video showing genuine 發 'Fa' (issuing) is likely going to be employing the smaller, refined movements.

On the other side of the coin however is actually finding and getting to see video of someone who knows it and is willing to show it done while using large, overt movements and they should be respected for the instructional material they show and not be looked down upon, i.e. - "it's no good, it's too big, it should never be done that way, etc.".

(Then there are a ton of videos of people who only claim to know it (because genuine 發 'Fa' is ultimately a small refined movement), but can't do it and further distort what it actually is. The result is even larger numbers of people who then think they can learn it by only imitating the small subtle movements of the upper back, shoulders, and arms, who are also then at the crux of the problem (in terms of genuine skills successfully being passed down to the next generation), as nobody is even moving their spines at all.)

The above, combined with the generalized secrecy of the Chinese, and especially of their martial arts, is why, if one wants to really learn the skill, one has to literally steal the skill from their teachers - through visual observation and having the ability to discern what you see then trying to replicate the movements within your own body. There really aren't any spoken words or written instructions that can accurately describe what's happening or the gradual and long process that's undertaken to learn how to do it. And, as I and other Chinese martial artist have written, while there are names attached to, or rather given to the movements, the names themselves don't really have anything to do with the movement itself, they're more just labels to identify and distinguish them.

So, I guess my point is that I wasn't even taught the names. I learned it solely through observation and then trying to mimic the movements. There are times during the long process, and well along on the path to discovery, where you say to yourself "There's no way this will ever work." and want to quit. But, in my case, thanks to just a few encouraging words from my teacher: "You're on the right track. It's an extremely difficult movement and skill, I know, because I also went through it, but there's really no instructions I can give that will help you except to say 'Just keep practicing'." I stuck with it.

The 'Bolang Jin' / 'Fa' is, I think, such a difficult skill to learn that it can be too easy for people to just give up on learning it properly but I'm hoping with the right words and knowing that there is an actual peak to the learning curve - so that once you've trudged your way up and come over the top of that peak it's all a downhill easy ride and your own body can then, in a sense, begin to teach itself, where everything just starts coming together (all the pieces of the puzzle falling into place), and the 'Body-Method-Dependent' abilities in some of these Chinese Martial Art styles will start to come alive again because so many of their applications are directly dependent upon this usage of the spine and waist.



.
Last edited by D_Glenn on Mon Jul 01, 2013 4:36 pm, edited 5 times in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Re: Bolang Jin Wave Power

Postby D_Glenn on Fri Sep 27, 2013 10:14 pm

~

腰脊为第一之主宰,猴头为第 二之主宰.心地为第三之主宰;丹田为第一之宾辅.掌指为第二之宾 辅.足掌为第三之宾辅。

{The Waist and the Spine are the 1st governor; the Neck and movement of the head is the 2nd governor; the opening and closing of the foot and ability to step and walk, without having to look down is the 3rd governor. The assistant to the 1st governor is the lower Dantian. The assistant to the 2nd governor is the palm and fingers of the hands. The assistant to the 3rd governor is the soles of the feet.}

1- The Waist (腰 Yao) is like the axle of a wheel (車軸 chē​zhóu). The Spine (脊 Ji) is like the trans-axle that connects the separate sets of wheels, and it transforms power from the waist up to the shoulders and arms. The 丹田 Dantian, being moved by the waist and the tucking and untucking of the tailbone of the spine (but, once developed it also has the capability of moving on it's own), and it's these movements that can assist and add to the power of the waist and spine via 'Bolang Jin' / Fajin/ Fali. The tucking under of the tailbone opens Mingmen point (the Gate of Life) and allows the power to move from the true Dantian (in the center (Zhong) of the body), out through Mingmen (the back point of the Dantian), and into the Chong Mai (Thrusting Vessel) inside the spinal column.

2- 猴头(頭) Hóu​tóu (Monkey Head) is a fruit and is another way to say 喉頭 'hóu​tóu (Throat/ Larnyx) because men have an Adam's Apple/ Monkey's Head Fruit in their throat. And the Chinese text says 猴頭 Hóu​tóu (Monkey's Head) is the 2nd Governor, but this is just a shortened label for a whole host of requirements and structured movements:

The crown of our head is normally pointing at an angle towards the back. Bringing the crown of the head (Baihui point) to the very top uppermost point, stretches up and lengthens the vertebrae of the neck and meanwhile tucking the chin down protects the throat/ Adam's apple but, more importantly, this closes-off Da Chui Point which is located below the cervical vertebrae in the spine, in between the two shoulders, and this point being closed off diverts power coming up the spine (from Bolang Jin) out to Neiguan Point (when striking with the forearms) or Laogong point in the palms for hitting with the hands. The movement of the arms and shape of the hands and fingers also assist this diverting of power with either more power going into one arm or the other, or even equal power like in some of the Double Palm strikes but more importantly aid and assist in preventing the power from going up into your own head and instead goes into the strike or throw. The shape of the hands (drawing-in and extending-out through Laogong point) can also then assist in bringing everything back to the Dantian immediately after the strike or throw is executed.

3- 心地 Xīn​dì (Lower Mind/ Mind-Ground) is our mind's ability to step, walk, and maneuver around without having to look down at the ground. Every time your foot lands on the ground the five toes should grasp the ground, leaving the 2 pads and heel of the foot on the ground but the arch is slightly lifted which draws up the Yongquan Point (Bubbling Well) and establishes a better root with 地心 Dì​xīn (the Earth's core). Timing the 'Bolang Jin' (power from the Dantian and spine) going out to the hands requires the foot to land on the ground as strike of the arm/ hand is landing so that there is an equalization or maximization of power being directed out to the hands and backed up with a root to the ground. So, therefore, the soles of the feet (drawing-in and extending-down of 'Yongquan' Point/ our Root to the ground is assisting our 心地 Xīn​dì (Lower Mind). Although what is more important is how this works when kicking an opponent and the opponent becomes like the ground and the soles of the feet/ opening and closing of Yongquan point is then used to divert more power, coming from the Dantian, out into the kicking foot, rather than going up into the arms.


.
Last edited by D_Glenn on Sat Sep 28, 2013 1:50 pm, edited 1 time in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Re: Bolang Jin Wave Power

Postby D_Glenn on Wed Sep 03, 2014 9:01 am

Now that the A.T.S. has put about 30 hours worth of Xie Peiqi's and He Jinbao's Baguazhang videos on youtube, there is now hours of video clips where HJB is demonstrating the torso method (shen fa) of 'Bolang Jin' (Crashing Wave Force aka Surging Energy).

Here's a good clip of the Gen Trigram Bear System's Carrying (Dai) Throwing Method. The Gen trigram is known for using a short (duan), inch force (cun jin) because Gen also means Blunt.



The martial art videos of the Lion, Phoenix, Bear, and Dragon were all filmed from 1996-2002.

http://www.youtube.com/user/traditionalstudies/videos?desktop_uri=%2Fuser%2Ftraditionalstudies%2Fvideos

[click on Playlists to find them]




.
Last edited by D_Glenn on Wed Sep 03, 2014 9:11 am, edited 3 times in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Re: Bolang Jin Wave Power

Postby D_Glenn on Sun Feb 22, 2015 12:02 pm

Some more details on the 'Torso Method' (Shenfa)- 波浪勁 Bo Lang Jin (Crashing/ Breaking Wave Power) or 浪头劲 Langtou Jin (Wave Power), which to sum up the point of this thread, is just a name, and doesn't really describe the actions or movement that is happening.

So in Chinese Internal Martial arts there is the saying 含胸拔背 'Han xiong ba bei' but should actually be 涵胸拔背 (same pronunciation but different character) and basically this just means to relax your chest and back, and to not 挺胸 Ting Xiong (Stick-out/ Puff up your chest like a soldier standing At Attention). If you imagine a really large, say 30 foot diameter circle in front of you, then your chest should follow the curve (or arc section of that circle). Where in 挺胸 Ting Xiong the circle would be behind you.

So when you 涵胸拔背 'Han xiong ba bei' (relax your chest and back so that they follow a curve to the front), then this large circle or curve, is your 开[開] Kai (Open) position; and your 合[閤] Hé (closed) postion is a really small diameter circle, like say a basketball.

So when we talk about 'Concaving' or Rounding, Curving the Chest to the front (虚胸 Xu Xiong/涵胸 Han Xiong) it's done through a combination of the Shoulder Girdle, the Clavicle Bones (鎖骨 Suogu), the Sternoclavicular Articulation of the Clavicle and Sternum (胸骨 Xiong Gu Chest Bone) and the ribs. And the key is that it's about the 胸骨 Xiong Gu (Chest Bone/ Sternum) and the cartilage that connects the Sternum to the Clavicle and the Rib Bones. This is called the 'Chest Bow' but it's like a Crossbow, being that it's on a horizontal plane. This movement is rather small, subtle as the movement from 开[開] Kai (Open) to 合[閤] Hé (closed) is not very big or noticeable, considering that your still striving to keep the curve towards the front.

The other Bow of the torso is the Lumbar (腰背 Yaobei lit. Waist's Back) or Back of the Waist (腰 Yao), and it's movement is also relatively small and short movement and not noticeable from the outside. The movement of this bow is done via the movement of the Sacrum (骶骨 Digu) but in the Classic Chinese texts they refer to either the Tailbone/ Coccyx (尾骨 Weigu) or more commonly as 臀 Tun (Buttocks Latin- Clunis; aka Sit Bones), and Rolling Under the Buttocks (溜臀 Liu Tun or 收臀 Shou Tun). Which is done in combination with the Lumbar Vertebrae and the space between L2 and L3 (命門 Mingmen point) is opened up. So the 开[開] Kai (Open) to 合[閤] Hé (closed) of the 'Back Bow' is also very small, as were only moving the sacrum from a natural/ neutral position where it's just Hanging (提臀 Ti Tun) to Tucking/ Rolling it under (as if you were sitting down on a sofa - 溜臀 Liu Tun).

So how does one learn these small, subtle movements of the torso?

-Well, we can describe really large movements that use the whole back and chest in a really exaggerated manner, but that's not the way I learned it, and writing out those exaggerated descriptions can backfire in myriad ways, that's ultimately not fruitful, as unless you were face to face with the person being taught and could really narrow down and physically point out what is the meaning of the words, and figure out their understanding of terms, and then further expand on the explanations.

- Or one could take still pictures and also video tape the large exaggerated movements like Park Bok Nam did? I also didn't learn that way, and I feel it may be useful to practice that for a couple weeks, at most, but as ultimately the movement is small then the large movements may not aid one in addressing the major sticking point, both mentally and physically, which is around the L1 and T11 vertebrae and it's where the Two Bows of the torso really need to find harmony/ work together (和 He). (Important point: once Harmony (和 He) is found between these two parts of the torso, they're not then fused together, they're still individual. Like a singing choir of people that can sing in harmony or by themselves in the solo leads. This independent usage of the Chest Bow is called 含力 Han Li (like a Hugging, Squeezing power), and this is where the confusion lies between 含胸 Han Xiong and 涵胸 Han Xiong.)

- Or, another option is the way I learned, and is, more or less, to have video of someone who is doing the small, refined movements as they're normally done, and getting to see the true expression of the power when it goes out to the rest of the body. And it definitely helps when you can see and feel it firsthand and then be able to use the video as a memory aid, so it's questionable if video alone will suffice. But all of that yet with the the bare minimum of verbal or written instruction. I've written out way more of the texts, descriptions, and instruction then I was ever given and I apologize for that now, in hindsight, but I strongly urge people to not give too much weight to my words.
言教不如身教 yán​jiào​bù​rú​shēn​jià (Explaining in words is not as good as teaching by example (idiom).)


Even though this is about small, subtle movements, they are difficult to learn and do, but can generate a lot of power if practiced correctly. The Bow analogy doesn't really fit here because it can make people envision a big, drawing back motion of the string, where really this is more like a firecracker exploding, a lot of power condensed into a small space. And also unlike a Bow and Arrow that has to be drawn back and fired, these movements can immediately fire from the sprung position. So only initially, in the beginning of the learning process, do you think about Storing (蓄 xù) and Releasing (發 fā). So why do we use the Bow analogy in the first place? Because it's about the way you just have to relax your fingers and let go of the string and the power is released:

Wuyizidi wrote:Traditionally people talk about 5 bows - 5 parts of the body that are capable of bending, compressing to store energy, and straightening to release it: arms, legs, spine. If we want to get more detailed, there are many more bows - far more than seven. The "5 bows" concept is widely discussed in Taiji Classics, by Chen Changxing, Wu Yuxiang, Li Yiyu (Wu Yuxiang's nephew), and Chen Xin. The most famous and detailed being Wu Yuxiang's essays.

From Taiji Quan Jie (jie - explanation):

蓄劲如张弓, 发劲如放箭.

Translation:
Xu jin - storing energy is like opening of a bow, fa jin - releasing energy is like letting go of the arrow.

Explanation:
Here a good analogy is given to describe how to store and release energy. Again, this is done very differently in Taiji Quan. In most other styles, especially external schools, when people store energy, the overall feeling is that of relaxation. When they release energy, the overall feeling is that of tension. But in Taiji Quan, it's the opposite. So the release of energy in Taiji Quan follows the model of archery.



These movements will be clumsy and awkward at first. That's why you don't see it much, or even talked about in China: 藏拙 Cáng​zhuó (avoiding doing something that one is clumsy at to save face).

Also it's a completely different way of moving and it's required to 一改故辙 yī​gǎi​gù​zhé (complete change from the old rut (idiom); dramatic change of direction / a volte-face / to change old practices).


.
Last edited by D_Glenn on Sun Feb 22, 2015 2:46 pm, edited 3 times in total.
User avatar
D_Glenn
Great Old One
 
Posts: 5262
Joined: Fri May 16, 2008 4:04 pm
Location: Denver Colorado

Previous

Return to Xingyiquan - Baguazhang - Taijiquan

Who is online

Users browsing this forum: No registered users and 1 guest