day 287: hsing-yi in concept

concepts:

• qi-gong
• 6 harmonies: external/internal harmonies
• 5-element cycles
• pi, zhwan, bung, pao, heng
• footwork
  
• hsing-yi v. tai chi v. bagua
  

lessons:

• hsing-yi

this past Saturday roughly followed the same pattern as the previous Saturday (June 26). it was July 4 weekend, so turnout was a little ragged, but we still have a decent-sized group considering that it was a long holiday. i skipped kyudo again, since i had other plans set up for the day.

hsing-yi

taking up the same order from last week, we began with qi-gong. Sifu told us before that this is a pretty standard thing in hsing-yi, and that it asks practitioners to always spend a good portion of training in qi-gong meditation--particularly the standing pose, with arms out embracing an imaginary ball. Sifu reminded us that the point was to help develop sensitivity to our dantian and center of gravity, and that requires developing an awareness of our breathing, our mind, our body, our senses, and our surroundings in relation to our dantian and center. the ultimate aim is to eventually maintain this sensitivity without conscious effort, so it is inherent to anything we do.

after this, we proceeded to work through the 4 lines we've learned to date, repeating the same process as last Saturday of reciting each of the 8 principles and what they mean in connection to each posture in each line. this is a workout, since it requires we maintain posture for the time duration required to cover each of the 8 principles. Sifu said this was the point in hsing-yi, not only to develop sensitivity to the proper form of each movement but also to help condition the body to the requirements of each movement.

once we'd finished the review of the 4 lines, Sifu stopped to provide us with more of the theory behind hsing-yi. he began by returning to a prior topic of 6 harmonies. we'd learned the 6 harmonies as being hands-feet, elbows-knees, and shoulders-hips. this time, however, Sifu said this was only 1 side of 6-harmony theory. he said that 6 harmonies does not refer only to body coordination, but also the mental, with there being 3 external harmonies (for the body) and 3 internal harmonies (for the mind). the alliance of hands-feet, elbows-knees, and shoulder-hips actually only represents 6 body components in 3 relationships which constitute the 3 external harmonies. the 3 internal harmonies involve 6 mental components of disposition (or heart), intent, qi, and power, with the 3 relationships being shin (disposition/heart)-yi (intent), yi (intent)-qi (energy), and qi (energy)-li (power). Sifu commented that hsing-yi considers these 6 harmonies to be crucial in terms of fighting ability.

from there, Sifu added more detail regarding 5-element theory. much the the 5-element theory we've learned previously (particularly with qi-gong) followed the production cycle, which follows the sequence of metal-water-wood-fire-earth. in hsing-yi, however, there is also the use of the destruction cycle, which follows the sequence of metal-wood-earth-water-fire. the 5 lines follow a progression corresponding to the production cycle (i.e., line 1 is metal, line 2 is water, etc.), but later on there are parts of hsing-yi that follow a progression related to the destruction cycle.

this correspondence in progression is not superficial, since it also indicates the nature of the power projection the practitioner is supposed to employ in each line. for the 5 lines we're learning, Sifu introduced the following connections to 5-element production cycle and power projection:

• line 1 : metal : pi (movement like an axe chop)
• line 2 : water : zhwan (movement like water drilling into an object)
• line 3 : wood : bung (movement like an arrow piercing through a target)
• line 4 : fire: pao (movement like an explosion)
• line 5 : earth : heng (movement that is horizontal)
  

with this in mind, Sifu had us return to the lines, doing a quick review of lines 1-4, and then going on to work through line 5. this time, he also stressed that we be mindful of where we're supposed to be in relation to an imaginary opponent in each line, with our footwork following the necessary trajectory. for lines 1-3 this means a linear route forward and back, while for lines 4 & 5 this means a zig-zag pattern.

we went on to a cautionary note from last week's discussion. before, Sifu had noted the reason hsing-yi was considered an internal style even though so many of its movement look so forceful. this time, he expanded on those comments by placing them in relation to other northern style TCMA. he stressed that all TCMA, as well as all martial arts, have elements of both yin and yang movements, in that they all use techniques that are hard, explosive, and forceful, as well as soft, non-explosive, and light. he demonstrated some techniques in baji, which is typically used as an exemplar of an external style, and showed how even in baji there are still components of yin and yang. he proceeded to do the same with chang quan (long fist), and then also in hsing-yi, tai chi, and bagua.

because of this, Sifu said that the distinction of internal v. external styles (if we really insist on it) is in the direction upon the movements in styles are directed. he reminded us of his points from previous weeks regarding the attention of hsing-yi on the center, and the constant focus on bringing things into your own center. he said the other internal styles (like tai chi and bagua) also do this, although using different philosophies. he observed that you can break the internal styles based on the nature of movements they use to approach an opponent's gates, which i'll summarize as follows:

• hsing-yi : "catch the tiger" (movements have strong contact with the opponent) : chop the door (movements open the opponent's gate by chopping them aside using narrow arcs drawing into the center)
• tai chi : "catching the fish" (movements have light contact with the opponent) : use the key (movements open the opponent's gate by using misdirection into the center to guide the opponent's guard aside)
• bagua : "donkey pushing the grinding stone" (movements of the body, so that there is no contact with the opponent) : go through the window (movements to avoid the guarded gate and locate an open one)
  

as a point of reference, Sifu once again compared this to baji as an external style, and showed how in baji the movements have strong contact by the chopping motion involves a wide arc designed to go into the ground so as to produce more power from the reaction force from the earth.

Sifu said you can see these philosophies play out regardless of the orientation relative to the opponent, with the concepts being the same regardless of the choice of approaching the opponent's dragon gate (their back side), tiger gate (their front side), and snake gate (their leading side that faces you).

we finished at this point, with some staying a little longer to review. i had other plans for the day, and so skipped on the post-class lunch.