Summer 2009 45
T
he Bajiquan referred to above is an integrated concept,
which represents both a martial arts style (liupai _) and
a school (menpai |_), and should not be understood to
stand for a form of boxing alone. Just like Taijiquan, we should not
understand Baji as merely designating a form of empty-handed
martial arts: when we say Taiji or Baji, we commonly refer to
the entire system of martial arts subsumed under that name,
which beside boxing techniques also include other weapon forms
and practices such as Taijiqiang __ (Taiji spear) and Taijijian
__ (Taiji double-edged sword). Indeed, one of Bajis most
salient characteristics is its intimate link to Liuhe daqiang, which
complements and is in many ways inseparable from Bajiquan. This
is the reason why when my late father wrote the Bajiquan Three
Character Stanzas, he clearly set forth Liuhe daqiangs position in
the Baji system in the opening stanzas, stating that the Baji master
Wu Zhong was known as king of the spear in Zhuangke village in
Qingyun county, which tacitly conveys the inseparable relationship
between quan (_ boxing) and qiang (_ spear) within the Baji
system.
Liuhe qiang represents the mainstream spear form in China since
the Ming Dynasty. Diverse spear forms have been practiced from
the Ming period onwards, but if we look carefully into their origins
we will discover that they invariably stemmed from Liuhe. In a
word, Liuhe constitutes the core of spear techniques in China.
Amongst the rest of the spear forms, some of them are branches
that grew from its trunk, others are localized techniques known
only within a limited geographical area, while yet others are spear
techniques that have lost all applied functions and are useful only
on the stage. In any case, the historical genesis of Liuhe qiang is
fundamentally clear, and in spite of the complexities involved in
its dissemination and inheritance in the Ming and Qing Dynasties,
enough evidence survives to guide a devoted inquirer through this
entangled web of relationships. Naturally, this is a specialist issue
and does not concern us in the present paper.
Nevertheless, it is
worthwhile to consider the following questions:-
When did Bajiquan become so closely bound up with Liuhe qiang?
And how did the two come to form such an inseparable alliance?
The first Bajiquan master in the Cangzhou area was Wu Zhong,
who was famous for his mastery of the spear and bore the
epithet divine spear Wu Zhong (shengqiang Wu Zhong __
_). From Wu down all subsequent Baji masters liked to advertise
their expertise with the spear and were commonly known as the
divine spears. In particular, Luo Tuans Baji branch in Cangzhou
boasted consecutively such luminaries as divine spear Zhang
Keming, divine spear Li Dazhong, divine spear Zhang Jinxing,
and the celebrated divine spear Li Shuwen. Similarly, my father
Ma Fengtu, shishu _
2
Han Huacheng, and uncle Ma Yingtu all
set much store by their skills with the spear, and were wellknown
2
Shi shu is an honorific title for a person who studied with the same teacher of ones master.
Figure with a great spear; part of Mianzhou tu by Li Gonglin of
Song Dynasty
Bajiquan (Eight Cardinal Boxing) and Liuhe daqiang (Six Harmony Spear)
A rare photograph of Bajiquan practice in the late Qing period; picture of
Qiang Rei
in contemporary circles for their expertise in this weapon. Thus in
a certain way Bajiquans renown was won with the point of the
spear and not with the thrust of the elbow. In olden days, when
Baji masters held a contest with martial artists of other schools, they
commonly fought with a spear rather than engaged in unarmed
combat, which they perceived as a lowly, plebeian art. In this way
those who dabble in Bajiquan are necessarily conversant with Liuhe
daqiang. As to Baji practitioners who do not know the use of the
spear, or those who have not been taught its proper techniques,
who incessantly make violent leaps and sudden thrusts [with their
elbows] (_1 benghan tuji) are in reality shallow in their
understanding who have given up the ends to pursue the means.
To return to our main subject, if indeed the great spear occupied
such an exalted position in the Baji system, when did the fusion
between Liuhe daqiang and Baji occur? During his life my late
father often talked about this problem and offered a number of
hypotheses, although he was unable to come to any conclusion
due to a lack of reliable historical sources. According to accounts
he heard in his native village in his youth, Wu Zhong learned the
principles of Liuhe from a certain Mr. Zhang from Yueshang. Before
this encounter Wu Zhong already knew the use of the spear, but
did not understand the principles of Liuhe spear, particularly the
combined combat methods of advance and retreat (_[__
jintui hezhan zhi fa). After he received the teaching from Zhang,
he devoted his efforts to studying and mastering Liuhe spear.
Eventually, while visiting Beijing and Tianjin he managed to defeat
a number of well known spear masters, and earned the nickname
divine spear. Thus, my late father points out very clearly in the
Three Character Stanzas that when Mr. Zhang from Yueshang
taught Wu Zhong Baji, his teachings included the principles of Liuhe
daqiang, and Wu Zhong treated Master Zhang with exemplary
reverence and courtesy, and afterwards set up in Zhuangke village,
in Qingyun county, a paradigm school for teaching Baji and Liuhe.
In fact, with a little care we will also discover that the ancient terms
liuhe (six harmonies) and baji (eight cardinals) have a clear and
discernible relationship, especially when they appear in the same
Ma Mingda practising Bajiquan
Summer 2009 47
martial arts school. Indeed, the founder who originally conferred
the name Baji on his school of martial arts must have first
considered its resonance with Liuhe, as the latter term appeared
much earlier in martial arts nomenclature and was already well-
established by that time. In this way, by conceptually fusing
Baji and Liuhe and ascertaining their complementary character,
he successfully elevated an established and well recognized
technical term to a higher philosophical plane. The denomination
of Bajiquan was an instance of this transformation, as were the
subsequent Taiji, Xingyi, Tongbei, and Bagua. This phenomenon
represents a significant stage in the development of
classical Chinese martial arts, where a high degree
of rationalization occurred. In this connection, I need to point out
that the six harmony (liuhe) in spear techniques originally meant
six combinations of combat, which refer to six combinations in
training that systematically integrate different techniques into
fixed routines. To counterpoise liuhe with baji connotes a sense of
interdependence between the two terms, and is indeed a touch of
genius.
_
On the other hand, the popular interpretation of liuhe
current in martial arts circles as a combination of hands, elbows,
shoulders, feet, knees, and hips is rather strained and probably
only arose in recent times, which has deviated from the original
sense of liuhe in Ming Dynasty spear use.
M
oreover, the fusion of Baji and Liuhe extends beyond the
conceptual domain to the technical level. In many ways,
the two have an interdependent and complementary
character. Simply put, to practise Bajiquan, to study the methods
of generating force (_ jingdao) in Baji, and to receive the special
zhuang kaojing (_) training in Bajiquan, etc., are most ben-
eficial to spear practice, to generating the type of power closest to
spear use, which may directly assist in understanding the applica-
tion of spear techniques and their adaptations in certain antago-
nistic situations. In this respect my late father once advanced the
remark that from Baji liuhe, its power transmits directly without
obstacles, and was fond to use the adage zhulian pihe ()]_
literally, united pearls and merged jade) to describe the twos
Make violent leaps and sudden thrusts - calligraphy by Ma Mingda
Illustrated figures in the martial arts text Shaolin Staff Techniques
The Bajiquan referred to above is an
integrated concept, which represents
both a martial arts style (liupai) and
a school (menpai) [...] when we say
Taiji or Baji, we commonly refer
to the entire system of martial arts
subsumed under that name.
relationship. He also liked to cite Confucius teaching, without
learning poetry, one lacks the words for language,
_
to stress Bajis
importance for spear practice, saying that without knowledge of
Baji one lacks the foundation for spear practice, and that if one
does not study the use of the spear after mastering Baji he is akin
to riding on an empty saddle and pretending to be on a horse. In
addition, my father often said that between the end of Qing and
the beginning of the Republic of China era, he met Li Shuwen on
three occasions in Beijing and Tianjin, and in their conversations Li
only spoke about spear and never raised a word about boxing, even
though he also trained in the latter and that his Bada zhao (]
_ Eight great techniques) and Jingang bashi (_]_ Nryana
eight movements) which he learnt from Li Ruidong were very
strong and well practised. My father said that it was not Lis custom
to demonstrate Baji in front of an audience, and in public he only
performed with the great spear. In a certain sense, therefore, Baji
training lays the foundation and is the best preparation for great
spear practice.
A
s a traditional martial art that has preserved a considerable
degree of classical character, the most distinctive feature
about Bajiquan is its simplicity and absence of embellish-
ments. Its simplicity is made manifest in two principal ways. First,
Baji have a simple structure with only three main sets: Baji xiaojia
(]__ Baji small set), Bajiquan (]__ Baji set), and Baji duijie
(]___ Baji sparring form). The three are learned sequentially
with each focusing on specific aspects of Baji training, and the rela-
tion among them is very clear. There is a further Liu zhou tou (,
__ Six elbows) which is a basic training method used for enhanc-
ing hitting and resistance abilities. The Six openings (, Liukai)
and Eight techniques (]_ Bazhao) used in closed-door training
are also simple, clean, and direct, without unnecessary flowery
embellishments. Second, the force employed in Baji (jingdao) is
likewise simple, clean, and direct, drawing a clear line between
movements and still postures, empty feints and concrete strikes,
and is devoid of complicated twists and turns and their accompa-
nying exegesis: so long as a vigorous youth applies his efforts, he
will grasp the principles of Baji and reap the benefits of training,
and will not be befuddled by empty mysticism. Unfortunately, the
development of Chinese martial arts has fallen under the shadow
of superficiality in recent years. In this atmosphere, and pushed on
by personal ambition and greed, certain individuals have taken the
initiative to transform the gems in classical Chinese martial arts
(including Bajiquan) for their own gain, freely adding branches and
leaves and foisting theories from other martial arts styles on to Baji,
about which they have not a single sensible word to say, and merely
adding froth and theatrics in order to enhance their weak tech-
niques, even going as far as to invent secret ancestral formulas. It
has eluded them that unembellished simplicity is the most sublime
form of beauty between heaven and earth! This is particularly true
for such a fine specimen of classical martial arts as Baji, whose
structure gradually took shape through several centuries of develop-
ment. In the process it has received improvements by past masters,
and has changed here and there in minor details, but in general a
single principle has prevailed, which is that the utmost care must
be taken not to facilely introduce changes, and thereby be guilty of
Artists impression of Leopard-headed Lin Chong (figure on the left)
Bajiquan (Eight Cardinal Boxing) and Liuhe daqiang (Six Harmony Spear)
Summer 2009 49
adding feet while drawing a snake. Whoever is guilty of such an
act is also guilty of destroying a valuable national cultural heritage,
guilty of offending our predecessors who have faithfully preserved
and passed on Baji, and should be punished for his crime.
Indeed, it is under the premise of simplicity that Baji accomplished
its fusion with Liuhe daqiang. Anyone with a rudimentary
knowledge of the martial arts knows that the daqiang (great spear)
has to have a certain length. If the spear shaft is too thin it becomes
soft and cannot be properly wielded, which means it must possess
a certain thickness, and requirements of length and thickness
necessitate a certain weight. I will not burden my readers here
with the manufacturing standard of the daqiang, for those who
are interested I refer their attention to Qi Jiguangs New Book on
Military Discipline (___ jixiao xinshu) and Cheng Chongdous
Selected Readings on Long Spear Techniques (__ changqiang
faxuan). In the Baji tradition, long shafts not lighter than four or
five jin are customarily used for spear practice, while some of the
past masters, such as Mr. Zhang Gongcheng and Mr. Li Shuwen,
used shafts weighing up to eight jin for daily practice; and my late
father employed a wooden staff of about five to six jin even into his
seventies. Such long and weighty staffs can scarcely be held without
adequate strength in the arms, let alone employing techniques of
lan , na _, quan _, zha _ and move up and down with it while
making advancing and retreating movements. Of course, staffs
used for performance and competition tend to be much lighter, for
too great a weight impedes free use of techniques, and without
techniques one is no better than a clumsy man tamping a wall, or a
labourer chopping fire-wood as the old saying goes. On the other
hand, it is a well-recognized principle that one should always use
heavy equipment in training.
Baji is a powerful form of boxing effective in close range combat.
Long periods of training in Baji, coupled with other supplementary
training methods, are conducive to increasing muscular strength
in the arms. Baji lays particular emphasis on the use of explosive
force which can be employed in short and sudden attacks and
overwhelming the opponent with strong attacking movements. This
use of force may be adapted to spear practice, and is suitable for
wielding a spear both in training and in applied combat situations.
Daqiang stresses long motion with quick rhythm (__
shichang jieduan), as exemplified by the dynamics of crossbow,
whose arrow lies pregnant with energy while sitting in the
mechanism. The parallel here is self-evident and I need not dwell
further on this point.
One of the salient and most impressive aspects of Baji performance
is daduozi j_, which is also called zhengjiao (__ stamping).
Youthful performers often stamp their feet with a great deal of
force, which has led some observers to comment that Baji can cause
concussion. For example, Mr. Xu Zheng (Zhedong) wrote in the
introduction to Bajiquan, authored by Liao Jinjie, that I have often
seen Baji performers apply too great a force when stamping their
feet, which can damage the brain, so I advised them not to stamp
so fiercely. Even though Baji practitioners insisted on the importance
of stamping, I strongly advised against it.
[
In the 1950s, when
Mr. Xu Zheng was teaching at the Northwestern Institute for
the Baji master Wu
Zhong was known as
king of the spear in
Zhuangke village in
Qingyun county, which
tacitly conveys the
inseparable relationship
between quan (boxing)
and qiang (spear)
within the Baji system
Ma Fengtu practising great spear in his backyard in Lanzhou
Bajiquan (Eight Cardinal Boxing) and Liuhe daqiang (Six Harmony Spear)
Summer 2009 51
Nationalities in Lanzhou he frequently visited my house. The
institute was not far from my home, and Mr. Xu liked to walk
over after dinner to watch me and my brothers train in the open
courtyard. On those occasions he was always excited and spoke
much, only he had a heavy southern accent and we could barely
understand what he said. He once broached this subject with my
late father, who just smiled in return and added a few short notes
by way of explanation. Afterwards he said to me that Mr. Xu was
a literati who had taken to the martial arts, specializing in Taiji, but
was too small and slight of built to wield a daqiang, and did not
understand the use of duozi, so what purpose would it serve to talk
about it? Mr. Xu was a learned scholar with a keen sense of inquiry,
but he was not physically very strong. In fact, to a very large
extent duozi is a necessary method in the training of daqiang, and
represents a stepping movement that is employed in some of the
most important techniques in the Liuhe spear such as white bull
drilling its horns ('| bainiu zhuangjiao), white ape hoisting
a sword (__ baiyuan tuodao), etc. To put it simply, in certain
situations duozi helps to make sudden adjustments in the use
of force, changing in an instant the spatial relationship between
the protagonist and his opponent, and helps to psychologically
threaten the antagonist with an unexpected jolting movement. This
is a crucial technique in daqiang practice and must be rehearsed
repetitiously over a long period, so that it may be spontaneously
employed in combat situations. There is an ancient saying that a
thousand ounces of gold cannot buy a sudden commotion, and a
sudden commotion sends one to the king of the underworld! (
_]_____qianjin nanmai yi sheng xiang,
yi sheng xiang chujian yanwang) This proverb is hard on the ear
but its rationale is unquestionably correct. Naturally, some of the
practitioners have not grasped the true principles of Baji and falsely
believe they demonstrate their prowess by forcefully da duozi in
performance. Obviously, this is incorrect practice and I would like to
take this opportunity to point out this mistake to Baji practitioners
among my readers.
M
ore important, Baji stresses the need to draw slow
postures (_ jiazi) and hit quick punches (___
j_ man la jiazi, kuai daquan). In a broad sense the
jiazi here refers to all the postures, but more specifically it means
the Baji xiaojia set. Xiaojia has a rather small number of movements
but its structure is extremely taut; it demands the practitioner not
to rush through the motion and to execute each movement with
great clarity, which has to be slowly and patiently drawn out. Each
movement should be executed with the proper power, and each
posture should be made with precision, circulating ones breath as
one goes through the routine, so that the qi is complete and full
force is manifest, like a cloudless blue sky or a spotless window,
or sitting down leisurely to read Liu Gongquns calligraphy, such
as shence junbei H[. Undoubtedly, as far as spear practice is
concerned, this is an extremely important method of training that
is beneficial to both physical and mental wellbeing. There are many
important elements in spear practice, but as Mr. Ma Fengtu said
there is none more important than stillness: Once the daqiang
is held in the hand, the first thing to do is to still ones qi. There is
an ancient adage which says that whenever a momentous event
occurs one must always manifest a still qi, this also holds true for
use of the spear. Lone practice requires stillness, a two-person set
practice requires stillness, and agonistic practice involving real at-
tack and defence requires even more stillness, for proper techniques
cannot be employed when stillness is absent, and when ones hand
does not follow his heart he is likely to suffer losses. In the past
when people practiced with spears, it often happened that one of
the antagonists lost as soon as he made a movement with his spear.
There are many reasons for this but the most important is impa-
tience and too great a desire for victory.