Tag Archives: IMA

Xing Yi

Pu扑 – Pouncing Energy

GM Fu Jian Qiao executing Tiger Form

Pu 扑 or to Pounce is an aggressive energy that allows you to encapsulate and overcome your opponent. Like a tiger jumping on their prey this energy is similar in aspect. It is very similar to Pi, or chopping energy but there is more too it. It is curved, circular, to attack and overwhelm. Pu has a light energy to it, the ability to cover ground quickly and envelop your opponent. It is nimble yet aggressive. It overpowers and overwhelms. It is a strong energy but not stiff.

The pounce starts with the legs. The contract–knees bend and ankles flex. The energy lunges forward quickly as you spring forward. You push from the ground firmly through the foot, allow the ting (straight) energy to accelerate through the knees and into the upper body. As you arrive at your opponent you root again with a curve in the legs ready to move again at moments notice. The leap can be long or short, depending on the distance between you and your opponent but It ends close to them. When practicing learning to lengthen your leap is important to strengthen skill and legs. Also with most calisthenic exercises it must be trained to react quickly yet firmly. It must be trained to react in any direction at a moments notice. Agile and swift while returning to root easily.

The energy is curved. It contracts and expands. It loads like a bow and explodes straight like shooting an arrow. It should maintain the basic internal principles of head held high, chin tucked, chest hollowed, buttocks slightly tucked. Qi/Lo and Kai/He principles should be expressed distinctly but with coordination and unity throughout. The body should move as a unit.

While the energy itself is the leap it can lead to powerful strikes. When striking with Pu it is usually expressed through the palms similar to Pi Quan (but doesn’t necessarily have too). It is more complex however. It holds a yuan type body, curved throughout, especially between the elbows. It expresses a wave power, or Bo Lang Jin. While Bo Lang Jin can start Hi or Low, in regards to Pu it starts at the root. It travels up the back and expressed out the arms in a circular type power. It does not burst through a defense or opponent but overwhelms them. If the strike is being blocked it should work to come over the defense and strike the opponent. The opponent should be suppressed, enveloped and confused as the wave is difficult to comprehend.

Training this energy can be accomplished several different ways. Weight training, jump training and calisthenics are simple ways to strengthen tendons and muscles to increase capability. Basic line drills are the most important however. Repeatedly conducting Xing Yi line drills. To begin, start with regular stepping, loading into it and releasing then quickly re-establishing root. Focus on the movement. Work on quickness. From there work towards your gum bu or advancing step. Again focus on the fast movement, cover ground quickly yet always maintain a firm root. Work on covering more and more ground. Have a standard size room and analyze yourself. If it takes you 10 moves to get to the other side work on getting across the same area in 9 moves then 8 moves. Maintaining the principles and using the intent of Pu energy is important though, just don’t leap without reestablishing root or using uncoordinated body movements. Slow and methodical, progress slowly yet with disciplined consistency.

One must always be involved in their training, never let it become idle. You must work to improve different aspects, either individually or several at once. However you best train if you do not use conscious effort little progress can be made!

Neijia, Xing Yi

Jue 决. Bursting/Exploding

The energy of bursting or exploding with your strike is always an exciting feeling. It makes you feel alive, powerful. Its one of the easiest jings to discuss but the intricacies of this energy is what makes it truly special.

What are these subtleties of this Jing? It involves the funneled connection of all parts working together to maximize the potential power. Like water breaking through the dam, its power is channeled through a specific point, exploding through and past in a gush of raw power. Bursting comes from inside. It starts at the Dan tian. What does that mean though? It’s the center of you equilibrium, its where all movement should start and end. Without a stable platform the energy can be easily dispersed or unconnected. From your center you can move energy anywhere and if you practice you can move this energy anywhere very quickly.

Yet to move quickly you need to bring your legs and root with you. They will follow your center, pushing off then re-rooting where you intend to go. It issue a force that explodes one must have the concept of due ba li within all parts of their body. At the exact moment the strike is delivered a slight sinking energy should be issued to root and allow the equal and opposite energy to extend out their arm or leg. Can when issue energy without this sink? Sure but you will find the power just not quite as strong (but depending on the fighter could still be extremely strong), a piece missing from the puzzle so to speak.

One also must be lifting upward or Ti (or Chui-suspending, many descriptions for it). Neither leaning in either direction (or any of the 6 honestly) and center maintained. You must “hang around your bones” and be stable. If one leans its creates a slight energy draw towards that direction. Is that necessarily a bad thing? No not necessarily, if one leans forward you will direct the energy that way but you may find yourself using more Li (strength) than Jing (power) as it will be slightly slower, not as sharp. When you center is off your power can be disrupted and dispersed more easily. You will not be as quick in any direction, dedicated but limited in a way.

To truly burst your energy your joints must be connected and coordinated. Starting at the foot and going up the leg, twisting through the waist, up the back and through the shoulder to arm to fist takes practice. You must relax, allowing the pulse to freely move through the body and not bind up at some joint. Many people talk of 9 joints or 5 joints or 3 bows or 5 bows: these terms all while independent of eachother hold many similar concepts together, most importantly is the coordination of the body to shoot the power out like an arrow. It must have Ting, or straightness, your joints compact together and explode together.

The energy must come through the shoulder and arm through the fist to a point beyond (Same for a kick as well). It must feel like your sending your strike to penetrate through your target! Use your intent and focus. Yi or intent is highly emphasized in internal martial arts but is discussed in any fighting realm. Whether you figure it imaginary or something greater, the idea of striking through your target adds effects. It causes you to slightly lengthen, to load and unload slightly greater, to move slightly faster and more coordinated. All these effects, while potentially small, can add up and create effects well beyond an unfocused strike.

Here is the other catch on Yi and intent. Your mind most be totally focused on that event. It must brain all its energy into it and leave nothing behind. An amazingly focused mind brings that much more coordination and power. Like an unfocused workout, you just don’t move as well, lift as much, fight as hard. It’s a catalyst to greater effect and truly needed in a fight. The mind must obviously be ready to move into the next event and not be stagnant but it MUST be focused. Note: some people will talk lofty ideals of no mind and connection to nothingness, these are very viable concepts in internal martial arts but are not something typical applied to this. This leads into much deeper debates on ideals that are not necessarily wrong but will bleed over into other concepts.

Internal arts looks to maximize the use of the mind and body, this includes how it strikes. It looks to harmonize the strong and soft, the energy coming in and going out, it looks to move with coordination, it looks to move with power and energy. Any small piece out of alignment or not focused in that moment take away from the whole. You can do 10,000 punches or kicks everyday but without focus, intent, consistency in effort, your power will be limited. Your power will not develop over time as effectively and it will not truly explode through at a level that would be discussed for years to come!

Push Hands (Tui Shou), Xing Yi

The energy of Shù (束)

Golden Chicken Frames Upward from Xing Yi Shi Er Hong Chui by Master Pei Xi Rong, translated by Joseph Crandall @ http:\\smilingtiger.net.

Shù or binding is a useful technique in martial arts. It incorporates connecting, accepting, leading, and restraining. It is considered one of the 5 yang energies in Xing Yi (and Xin Yi Liu He). Its also seen throughout other internal/external martial arts and is used for defensive purposes.

Well great Sifu I appreciate that info but so what? Why would we not want to constantly be leading into emptiness and using their own energy against them melding Yin and Yang together. Well there are just realities in the fighting world. Transformational energy is an extremely difficult task and while one of the most important tricks in your bag it should not be your only trick. Binding can create an opponent to lose their advantage and get them out of “their game.” It allows you to obtain an your own superior position and follow up with a strike they may not be prepared for. This example can be expertly demonstrated through the chicken form Rooster blocks up to Rooster flicks its feathers. Once you block you grab an opponents wrist and sink down. *Note your arm can slightly wraps around your opponents and your whole body must sink in a fast, firm, and stable manner. This will disrupt the opponent’s energy and momentum. This essentially “binds” them from attacking again at that moment. FYI this can then be followed up with Rooster flicks its feathers by issuing Zhǎn (展) energy and exploding up.

The importance of binding in internal martial arts is in the game-changing effect of disrupting your opponent and providing an advantage to yourself. The energy must be quick, strong, and rooted. The whole body must be incorporated. Shù primarily works in the linear up and down pathways (yet there are always circles within the linear). Connecting to the opponent is also important. Whether delivering a strike or intercepting one a fundamental principle in any IMA system is connecting and understanding their energy. Then one can use many different principles to bind an opponent. One can lead an opponent to emptiness or one can pluck and jerk an opponent. Another key is the move must get your opponent close to you. Why close? Because your are contracting your energy. Internally binding shrinks and gathers. You must put the energy into the joints and store it. This will enable an effective binding as you become strong like a tree or steel. Joints must be aligned, the body must be upright, the dan tian sunken, and the root must be firm. If executed correctly it cannot be broken or moved.

Now this energy must be practiced. Santi training or any gathering practice is beneficial to this type of training. Actually conducting standing training that exercises the muscles in this position is most beneficial though. It will be tense at first and most martial artists will only be able to hold positions like this for short periods. You will train low positions with arms close to your body. The energy will be focuses inward and sunken. Overtime the tension will ease as muscles learn to “relax” in this flexed position. Its also key to keep the joints properly aligned and “stacked” on each other. Your three sections will be connected and combined. Without the properly alignment and connection the muscles will not have a frame to relax into and injuries can occur. You will also not maximize the capability of this position to make it unbreakable and truly strong. Now its also key to remember to practice releasing and expansion methods or your body will become too “tight” and will not be able to issue energy properly. This can be saved for a later lesson though 😉

Neijia, Xing Yi

What is Guo 裹?

Master Liu demonstrating Guo Zi Quan from his article, “Xing Yi Quan Ba Zi Gong,” Wu Long Magazine, 1984.3 #30, translated by Joseph Crandall, Smiling Tiger Martial Arts.

The importance of being having whole body power in Internal Martial Arts cannot be understated. To have Fa Li (power) one must have Guo 裹. Most IMA individuals understand Guo in terms of wrapping Jin. It’s a horizontal energy (oversimplified term, all directions are present to ensure centeredness) used for defense and offense. It takes an opponents incoming energy and wraps around it, cutting it off or better yet absorbing it to re-issue.

Great Sifu you defined Guo, so what? Why is it important?

Guo can be fundamental to absorbing and issuing. All fighting arts look to “suck” in their opponent and take advantage of the position. Blocking is easy but true masters in their chosen art can off-balance their opponent, using their opponent’s strikes and aggressiveness to their advantage. It is circular, coiling, redirecting. You must connect with your opponent, overturn and coil around it, lead it into emptiness. It allows you to gain the upper hand or superior position for the attack. It allows you to gather energy in your joints to release quick and sharply like an arrow.

Some masters will talk of Guo at a deeper level. They will associate Guo with connection and togetherness. The wrapping methods of Guo require the practitioner to connect the Sānjié (三節) or three sections through coordinated movement. The wrapping methods need to be coordinated in the legs to root and absorb, the waist to maintain centeredness and twist as the arms to overturn and accept, and the head to be upright to allow for the energy to sink and gather. When all of this is coordinated it will maximize the effectiveness of your Jin. Now as you get older this Jin will be harder to accomplish as joints and aches will get in the way of coordination. This is one reason to remain soft and supple; to ensure things can connect smoothly and work in harmony. If you do not practice consistently and work towards song/suppleness you will become “scattered.” This will show in your wushu and is something you want to delay in old age as long as possible. Discipline, consistency, hard work — the mantra of the wise, the mantra of wushu experts who can obtain and maintain Guo well into their old age!

Neijia, Push Hands (Tui Shou)

Hua Jin (化動) – Neutralize/Transform Energy

Sifu Hart demonstrating Beng Quan, once Hua energy is understood it can be expressed even in solo practice.

The final steps of internal martial arts fighting involves neutralizing energy and transforming it.

Neutralizing energy can be done rather simply; a person can jam, block, dodge, push another’s strike or body to neutralize their energy. These methods are often seen in external arts and other combat sports that need to apply defense quickly yet effectively. Internal Martial Arts emphasizes a neutralization method that leads the energy into emptiness to gain advantage and potentially transform it in some fashion. The concepts are circles are extremely important here along with a connected and relaxed body. A curve allows one to redirect energy and gain the upper hand. Coiling and accepting energy can also allow for one to negate a person’s strike while storing up a great amount of that person’s “energy” or momentum. You can block their strike in any direction and the greater your “entire” body receives that strike the better you can nullify it. Maybe you block down and back up some. Or perhaps you coil their strike to the side while stepping at an angle. There are numerous ways to neutralize energy but masters do it with understanding, precision, grace, and calmness.

You must accept the energy into your joints and the coiling parts of your body, compress them (but don’t overcompress — always maintain your root and center), keep them relaxed (yet connected) as possible. Song – Calmness and relaxation— is truly key to this point. However, the ideal of song is often lost in translation. If a person attacks you with a ferocious strike you are not going to be able to be a wet noodle and handle their energy. You will need structure, connection, and quickness to overcome and redirect it. The idea of song is to be as relaxed as possible to handle that energy. You will will still have energy, you may even tend to be on the hard side (Yin and yang are always together and mutual, you just must be more “yin” than the other person at that moment of accepting the strike to be able to redirect it). But if you are more relaxed than your opponent in that moment (even a hair) you will be quicker to react and overcome and thus gain the advantage (all other factors being equal). Again the more you can relax and find that sweet point the better.

Once you neutralize a strike what now? Attack? Continue to defend? This is where the concept of transforming comes in. There are numerous ways to transform energy; perhaps it is off-balance them, strike them, throw them or trap them, again applications are numerous and ideals will tend towards your strengths in the art. Transformational energy does require the use of your whole body connection to be effective. You need that “spring” throughout your body to “coil” and “uncoil.” To have a powerful strike or throw the body needs to be able to work together and use every inch of your body to produce a powerful effect.

In the end every fighting art works towards these ideals in some form or fashion. They neutralize attacks and react, putting themselves in ideal positions to attack with maximum power. Internal arts expounds and pontificates on this method. You will need to coordinate your movements and maintain proper structure throughout to maximize effect. Your whole body must develop a quick and sharp “Jin” energy, compressing and releasing effortlessly and timely. You must develop your intuition to be in the “right place” at the “right time.” You must be able to move and keep these characteristics in mind (as well as all the ones previously discussed in the blog). You train this in push hands and continue these ideals in fighting. Most internal fighters will want to connect through a block or touch of some fashion and continue that connection until the fight is over. The action is continuous, always countering and attacking: neutralizing, storing, transforming, releasing. At high levels this looks fluid and effortless. This level of fighting is truly hard to get to, its hyper-functional and requires a constant/consistent work against many different styles and opponents so you learn how to act and react to each style. Commonalities will exist but unique characteristics from each style will need to be explored against your own to learn the counters and gauge what energies are required and your effectiveness. Enjoy the grind, welcome the climb and work towards your own mastery.

Neijia, Push Hands (Tui Shou)

聽 Tīng and 懂 Dǒng Jin: Listening and Understanding Energy

These two jings are very important within IMA and all Martial Arts in general, internal stylists just specifically emphasize it.

Ting Jin is an easy Jin to discuss but truly takes time and dedication to understand and “get.” Listening Jin is based on touch with any part of your body (almost everyone begins this by learning to listen with their forearms and hands). You adhere-stick (Zhan nian – discussed in the last blog post linked here) to your opponent and learn to feel their “energy” and movement. When will they move? Through listening Jin it will be revealed to you.

Dong Jin is the next logical progression. Once you can “feel” their energy you must be able to understand it. Now you must answer, “How will they move.” Will they attack or defend? Will they move forward or backward? Understanding Jin can be used in offense or defense. Is their energy hard, is it coming at you? Or is is soft, are they deflecting or parrying your strike? Now you must also do this while you are attacking or defending. Whether you throw the kick or punch or defend against it the Jin must always be present to know what your opponent will do and/or how they will react.

Why do we train these Jin’s? To understand and overcome our opponent. “Well Sifu I will just overcome them with my superior offense! You know what they say… the best defense is a solid offense!” I cannot argue that having a solid offense is great but to reach the higher levels of fighting defense integrated with offense is the true key. Understanding your opponent and making the fight look effortless is truly amazing to watch. To react before they even seem to move makes it seem like your skills are on a level that seem mysterious. All martial arts have/discuss this skill as it gives you an edge– Boxers call it a sixth sense, IMA calls it having spiritual power. It’s not magical, its engrained. Discipline and repetition, putting one’s self in countless scenarios(compliant and non-compliant). Your body must be empty yet alert. It must be honed, trained. You “connect” with someone you will instantly be able to react with the techniques and skills you have attained. The confrontation will become a sort of dance, you will constantly be attacking and defending, becoming substantial and insubstantial. You must effortlessly move back and forth with your opponent, being empty and full interchangeably. You must never getting out of distance that you cannot “listen” to their energy while at the same time putting yourself in a superior position, usually at an angle or body alignment that allows for instant defense/offense. One does not truly hone these skills through countless hours of forms and basics (but they are foundational and there are reasons this is done as well 😉 you must take that leap of faith and train these skills against partners.

A majority of people train these concepts through push hands. Push hands is a great exercise that I love to participate in but it’s limited in function. Advancing to restricted or freestyle push hands helps and I recommend as well but still limits capability. To get those skills that truly seem superior and appear mysterious I believe one must spar. Compliant at first through partner drills, as soon as you connect with your opponent “feel” their movement and understand how to counter. Blocking is easy but actually paying attention to their energy and body movement will give you the results you desire. Its about being present constantly (all wushu training is!). Once you have gone through a series of drills and feel comfortable begin non-compliant training. Have them randomly throw a punch or kick. Connect, feel, understand, react. From there multiple techniques and then free fighting. It’s a long road (years of dedicated practice to truly understand) with many many bumps and bruises. There will be times you feel like you are not “getting it,” there will be times like you are starting over, but if you strive through it the end goal is well worth it!

Neijia, Push Hands (Tui Shou)

Zhan Nian (沾黏) Jin

Sifu Hart discussing the finer points of Tui Shou.

Sticking/Adhering (沾黏) Jin is a fundamental jin within IMA.  From this Jin you can can dive deeper into listening, understanding, deflecting, and redirecting anothers Li (strength).  Sticking jin is tricky as it requires body parts to touch.  Usually IMA practitioners start with arms but once a working knowledge is understood any body part can be used.  The goal is to remain in contact of some sort to be able to use your other jins appropriately.  Your opponent will move and you will move with him, he will feel like he cannot “shake” you .  He attacks, you retreat… he retreats, you stay with him (attacking as necessary).  They are fast, you are fast… they are slow, you are slow.  This is why you must learn to listen, understand, and follow.  If you do not learn these jins, sticking energy becomes difficult if not impossible to maintain.  Yet without sticking jin these other jins become useless as well, they are all mutually beneficial and coordinate with eachother.

Another goal is to become as light as possible–Qing ( 轻) Jin.  Why light?  Being empty and light allows for you to “feel” their energy and to be able to react quickly/agilely.  Being heavy and strong makes it difficult to react quickly; not impossible but difficult and not the correct method to higher levels.  It also gives plenty of energy to the other person to “feel” and work with.  Among other things the greats of the past hollowed their chest,  rounded their backs, relaxed their shoulders and made their upper body empty (in reality this is a gross over generalization, once they mastered their body they were able to appear empty but be full and vice versa – their conceal and release became truly marvelous).  They were able to react instantly to situations and seamlessly follow, neutralize, and redirect their opponent.  Why?  Because they had mastered their sticking ability!

Most people train this method through push hands (Tui Shou).  This is a great method and preferred among many internalists.  But there are steps to this.  One must first work in a rooted position and then move to moving step (my method is restricted step then to freestyle).  It’s a great non-threatening environment to hone sticking skills and work on true lightness ability with those skills.  However to be truly great with this skill one needs to work into compliant and non-compliant sparring.  Learning to stick at a point of contact can be tricky when a punch or kick is executed (and even trickier when that punch and kick returns back to its owner).  One must learn to truly move with an opponent, blocking or evading a strike then returning with it slightly as you “attach” yourself to your opponent; with the true key being “staying” attached.  There will be several subtle movements and understanding fight distance, spacing, and angles truly become important.  If you can master sticking in a fighting environment you are your way to truly becoming mysterious.

In the end the higher level would be the touch becomes virtually non-existent.  You would stick to your opponent without them feeling anything from you.  You become like the air around them, incapable of identifying your presence but constantly feeling theirs.  Their will becomes  obvious while yours remains mysterious.   They become truly frustrated because of their inability to “touch” you and apply their yi (intent) and li (strength). It’s a lofty goal but one worth striving for.

Neijia

Duì Bá Lì (对拔力)

Duì bá lì, translated as pulling force, is one principle that applies to all Martial Arts, but is especially important within Internal Martial Arts.  This force can be better understood as equal and opposite force.    Newton’s third law is a powerful player in martial arts.  To exert a force one must also exert an equal force in the opposite direction.  One cannot escape physics.

Now  duì bá lì can be described in a few different scenarios:

  1. It’s the equal and opposite force when striking
  2. It’s the concept of the left side accepting energy and the equal and opposite force exerting out the right side (or vice versa)

The first example is the easiest to understand.  Lets take Beng Quan from Xing Yi for example.  When a person executes the strike the fist comes forward but at the same time the should blade goes back.  This creates a dynamic tension and if executed in a quick and coordinated manner will allow you to express a sharp energy (Jin) at the opponent.   It feels like you are “stretching” in both directions and expanding to its limits. Like the spring coiling and uncoiling, the uncoil is reinforced through the opposite energy, making it quicker, sharper, harder.  Now any combat sport does this and great fighters develop sharp quick punches because they naturally learn to align, sink, and create that dynamic tension (among other talents).  The great thing about internal arts is that it is focused on and constantly conditioned.  To focus on that pulling/pushing force and learning to expand it is exciting and can create a powerful strike.  Another training mechanism is narrowing the focus down to the cun jin level (1 inch power).  This focus further emphasizes the dynamic tension down to the miniscule and can create what some consider miraculous results.

GM Fu Jian Qu executing Beng Quan

In many lineages one must focus on “lengthening” the arm by creating a bigger separation between shoulder and back–thus creating a larger equal yet opposite energy.  Great martial artists like Dong Hai Chuan and Zhang San Fen were said to have abnormally long arms (among other characteristics).  Now though its not impossible for someone to be born this way, most likely their arms were of normal length (as seen through most pictures of them).   Yet when they fought they were able to reach out and create that shoulder/back separation–lengthening their arms and giving the appearance of it being abnormal.

The second example involves has similar concepts of equal and opposite energies but involves the whole body.  When a person strikes you it is blocked and through positioning, timing, and connecting its accepted, followed, and diverted.  At the same time you strike them using the built up energy you have gathered from their attack.  Definitely easier written then done. Now what are you really learning to do?  You must learn position, relaxation, root, balance, whole body connection, muscle/tendon micro-movements/compression/expansion etc…  As a boxer I could play “patty-cake” by slapping someone’s punches down all day and then reacting with my own strike making it look almost simultaneous (and in a sense is still duì bá lì).  Blocking and striking (jìn gōng dài de), while difficult in its own right, is still shallow when compared to the full potential of this skill.  By accepting their force and “nullifying” their strike while at the same time using their energy to compress your tendons/muscles then quickly expanding it and striking while they are still off-balance (aka not ready to receive a strike in return) is truly impressive.  Now consider that this must be accomplished over and over again, in seamless rhythm–energies constantly changing and adapting in harmony without interruption until your opponent is defeated.  A very daunting task indeed!!!  It takes hours of training your body with forms,   partner training, compliant sparring, non-compliant sparring (the same style), non-compliant sparring (different styles).  Like any skill one must work towards it becoming natural (thus leading into the ideals of hua jin) learning to respond to different scenarios which can only be accomplished through disciplined, focused repetition and training.

Overall duì bá lì is an overarching concept in IMA (and all other MA for that matter).  It involves several different training mechanisms, time, dedication, and patience.  One must condition the body into working for this strength and when you have truly attained it your skills seem miraculous and infinite.

Neijia

JingQiShen (精氣神)

JingQiShen are the three treasures in Daoist internal arts that one must constant nurture, cultivate, and balance for a long and healthy life. These three compliment and rely on eachother–if one is weak, the others will suffer, advancing age and increasing the likelihood of disease and sickness.

Jing (精):  In English this Chinese term is known as essence.  It’s a physical matter that is believed to be stored in the kidneys (yin in nature, apart of the water cycle).  It flows throughout your body to keep it strong, healthy and young.  It’s the primordial energy given to you by your mother and father.  It helps create marrow and semen and aids in the development of bones, hair and teeth.  As you age you “use up” your jing.  It is important to understand the seven desires and six emotions as these will hasten the loss of Jing resulting in physical decay (i.e. hair loss/greying; weak bones/connective tissue; teeth issues; dull mind; etc).  If you Jing completely depletes your body dies.

Qi (氣):  In this reference Qi is defined as the life force that enables your body to move and focus. When your body is strong (strong jing) your Qi will be abundant and circulate freely.  Qi is connected to the blood  and air and thus thought to be the result of lungs and spleen.  Qi is also associated with Yang and Fire cycle.  It circulates through your 12 meridians and 100 vessels.    If there is an imbalance, blockage or disruption then one can get sick, injured, or die.  When Qi strongly circulates a person’s fu organs will be nourished and healthy, they will move energetically and their si shou will be fully developed and strong.

Shen (神)  can de defined as spirit.  It is the energy behind mental functions and spiritual awareness.  To develop a strong shen one must have  strong qi and solid jing. Shen is housed in the heart and is another reason a person must conquer their emotions and desires, becoming centered and balanced.  To be centered and calm a person gains the ability to convert and consolidate shen in their Upper Dan Tian.   Shen will primarily be observed through the eyes (yangshen 眼神), through a strong and radiant gaze.

Overall the three treasures nourish eachother and are developed or used mutually.   A strong JingQiShen creates a strong and healthy ming (life).  If a person develops and cultivates these treasures they will slow aging (cellular decay is slowed), will have a tranquil peace of mind, and have abundant vitality.  Through Daoist concepts they may be able to develop a connection back to the void and expanded consciousness.  Now this is easily written but to truly have a strong JingQiShen  one must live a regimented lifestyle often antagonist to work and relationships.

Can I not have a strong JingQiShen then?  Yes, not as strong as the monks and martial artists of old but still strong enough to live a healthy, mobile, and happy life.  You must guard your treasures, nourish them, and cultivate them.  Do not let your desires scrape your bones, your procrastination strip away your youthfulness, and your idleness rob you of your mind.

Consistent (Daily) and focused practice will allow gains to slowly and surely be made.  Over time, this compounds, and resulting in real and recognizable gains in strength, health, and mental clarity.   Again, the ideals are easy to discuss and understand but true discipleship in this method takes dedication and patience.

Neijia

 Shēnfǎ (身法) 

Sun Lu Tang demonstrating San Pan Liu Di from Xing Yi. His ShenFa was exquisite; expertly demonstrating the 8 characteristics and the particular methods for each move. In this move he demonstrates Cheng (撑劲) Jin (pillar energy)

Shēnfǎ (身法)  or body method is truly important in wushu, especially internal martial arts.  To capture the essence, the ideals and principles of the art is the goal.  What has been laid out to us by previous masters of old is shown through the movements and explanations of the exercises and forms.  To capture their Shēnfǎ  gives a student a chance (yes a chance, not guaranteed!)  towards true Gong Fu in that martial art.  To move without coordinated effort, inside and out, will most likely meet sub-standard ends.  To reflect what previous generations built upon is the start towards mastery in your particular art.  Are your stances too high? Then work on getting lower, building your base.  Are you moving slow, scattered?  Work on connecting your body, moving slowing at first but working towards swift coordinated movements.  There is a reason for all this!  Strong, agile, and flexible legs allow for greater Gong Fu!  So do coordinated, swift, and agile movements! The masters of old understood this and are reasons there are amazing stories about them (whether embellished or not, there is still a reason they have stories).  They worked hard to achieve great results.  To attain their results one must follow in their footsteps and capture their Shēnfǎ !  Without truly understanding the moves, their methods, their applications one does not get the totality of the art.  Will their art be hollow?  Possibly not, as they may still attain some value whether it be health, relaxation, balance, strength, self-defense etc… but they will not gain the maximum benefit, the deeper treasures within the art.  This treasure includes capturing the  Shēnfǎ  of the art, to work towards mastering it and all the benefits it contains.

Now can a person learn more than one art at the same time?  Yes why not!  Traditionally students learned one at a time.  Why?  Because that’s how you master something and that mastery often provided security for their families (financially and physically) and abundant health too boot!  Also then they were  able to more quickly learn other wushu styles and exercises.  Their body was attuned to learning and had method already.  It was connected and agile.  It was strong and healthy.  All of these reasons allowed someone to quickly ascertain another style.  What are commonalities among internal arts?  Qi/Lo, Kai/He, Shou, Song, etc..  These can translate to the others and make it easier to learn the Shēnfǎ .  All of that being said if you have a great instructor and you work diligently in each art;  you can grasp each aspect.  Its more difficult as it requires constant effort to not leak into the other art but it is possible!

Now what if your instructor says all the forms and stuff is BS and they have a few moves that grasp at certain aspects of a martial art?  Its their prerogative.  Several great masters would learn some style completely and grasp moves from other styles to create their own Shēnfǎ .  If their Gong Fu was truly special (masters like Yang Lu Chan, Sun Lu Tang, Fu Zhen Song come to mind) it would continue for generations.  To say they have mastered the  Shēnfǎ  of that style is a misnomer though.  They may have taken pieces and garnered some skill but  may not reflect the style they got the movement from.  At this point their martial art becomes their own, their own Pai (fist) with its own unique  Shēnfǎ .  At this point it would be up to them to spread their art/style, hopefully garnering enough skill and ability to continue for generations to come.

In the end your journey is your own.  Do you want a more traditional path or something that is close by which might not be traditional but keeps you active and healthy (and possibly has great sel-defense qualities ;).  Its your journey and you enjoy it.  I will continue down my traditional path, looking to master the styles I choose and ensure I properly display each  Shēnfǎ  successfully and tactfully.  To gain a deeper understanding of each art, to understand where they converge and where they diverge.  To take these aspects and apply them as I see fit, either for health or self-defense.