Bafa Wubu: The Thirteen Energies
Taichiquan (Tai Chi Chuan), was not a single entity from its origins, but rather it evolved, through the monks' observations, discussions, ponderings and experimentations with movements and energy flow. The thirteen postures (consisting of Eight Energies or Gates and Five Steps) were the original movements of the first attempts to put together a single set in H'ao Ch'uan (loose boxing) which later became known as Taijiquan. There are many interpretations of the meaning of 'Taichiquan' the most common being 'Supreme Ultimate Fist'. However, Taijiquan means more than that. Master Jou Tsung Hwa explain it thus:
"Now, in the case of “tai chi chuan,” it means the martial practice of the state of “tai chi” (the change from no polarity to great polarity). That is why tai chi chuan delves into a serious study of the balance of yin and yang – physically, mentally and spiritually. The goal is to understand this balance in yourself and to be able to manifest a change in your balance of yin and yang. Then, if desired, you can extend that study out to martially affect an opponent. Yet, the martial arts need not always be expressed as outright sparring. The same principles can be used to affect the balance of yin and yang in anything outside of your body – this includes: your lifestyle, your working environment, your opportunities, manifestations, and so on.”
The Thirteen Postures is also known as Bafa Wubu. Ba means ‘8’ and Fa means ‘method’. So, Bafa are the 8 hand skills, or 8 ways of directing energy with the arms. These are known as the Eight Gates which are said to be associated with the eight trigrams (Bagua) of the I Ching. Wu means ‘5’ and Bu means ‘step’. So, Wubu refers to the 5 footwork skills. These movements are associated with the Five Elements: metal, water, wood, fire, and earth.
The Eight Gates
The first four energies can be found in the Grasp Peacock's Tail posture and are known as the Four Primary Hands:
1. Peng Jin (ward off)
(The first part of Grasp Peacock's Tail)
Peng is the primary energy and can be seen in all other energies. Peng is 'moving' energy and has an expanding, opening quality, likened to filling a balloon, or how wood can float on water. It is like a buffer zone. Rather than exercising raw physical strength Peng trains a connection from the ground, through the body with the mental intent of opening and expanding through the arms ultimately uprooting the opponent. Using yang jin (jin meaning energy), we ward off any kind of attack. When moving, receiving, collecting, and striking, Peng energy is always used.
2. Lu Jin(roll back)
(The second part of Grasp Peacocks' Tail - drawing both arms to the side and down slightly)
If Peng is 'moving' energy, then Lu is 'collecting' energy. It has a yielding absorbing quality where one is connecting to the opponent’s oncoming force, and moving in the direction of the force whilst ‘sticking’ or ‘adhering’ and ultimately leading that force into emptiness. Lu energy is receiving and collecting energy, or inward receiving energy. The greater the force of the opponent’s attack, the greater his loss of balance.
3. Ji Jin(squeeze or press, depending on interpretation)
(The third part of Grasp Peacock's Tail, where we centre first, the the hand on the wrist)
If Peng is moving energy and Lu is 'collecting' energy, then Ji is 'receiving' energy. Ji is a yang attacking movement and means to 'press', although the Chinese character means to squeeze. Again, the power comes from the centre at lower dantian. The elbows are squeezed inward as the lower dantian also squeezes. One hand is placed inside the wrist. This hand is yin, while the outside hand is yang. This is a whole body movement and not only an arm movement and is designed to disturb the opponents equilibrium. Ji energy is to ‘advance to receive and adhering to the opponent. It is not a push, but rather like a coin bouncing or rebounding on a drum.
4. An Jin (push)
(The final part of Grasp Peacock's Tail, where the energy is pushed forward onto the attacker)
If Peng is moving energy, Lu is 'collecting' energy and Ji is 'receiving' energy, then An is 'striking' energy. This is a yang attacking movement coming from the whole body issuing yin and yang Qi into the attacker's vital points on his chest. The push comes from connecting to the ground, through the feet, pushing from the feet, into the palms and uprooting the opponent. Never in Taijiquan is there a two-handed strike or attack using the same power in each hand at the same time. Experienced tai chi players will use a 'fa-jing' in the waist causing one hand to strike just before the other. The hands are firstly yin, then yang thus releasing yang Qi into the attacker.
The following four energies are said to make up the Four Corner Hands
5. Tsai Jin (or Cai) (grasp or pluck)
This energy has a 'pull down' movement, and in martial applications is a snap, with a violent jerking fa-jing application. As always, the power comes from the centre and not only from the arms and hands. It can be likened to picking, or plucking fruit from a tree with a snap of the wrist. Often one hand will be placed right on top of the other wrist to assist in the power of this jerking motion.
6. Lie Jin (or Lieh) (split)
Lie is an opening, splitting or striking movement which separates parts of the opponent’s body in two directions. In a martial application scenario, place the leg behind the opponent’s whilst connecting their own arm across their chest and turning from the centre causing the opponent to fall backwards with the opposing forces being applied to the upper and lower parts of their body. Postures with Lie energy are Part Wild Horse's Mane, Slanted Flying and White Crane Spreads its Wings.
7. Zhou Jin (or Chou) (elbow strike)
Known as an elbow strike, it is another method of attack used when the opponent is in close proximity. It is often a secondary strike. And, of course, the force is coming from the centre, and propelled from the feet.
8. Kao Jin (lean or shoulder stroke)
Often called a shoulder strike, it is not a primary attack, but rather a line of defence. The power comes from the centre using the legs and waist together. It is a full body strike energy. The Peng energy is mobilized throughout the entire body, and then the entire body is used as one unit and the force is delivered with the shoulder or back.
The Five Steps
The five movements that make up the rest of the thirteen postures are steps, or directions:
1. Jin Bu (Advance) Move forward - advance
2. Tui Bu (Retreat) Move backward - retreat
3. You Pan (Right step) Stepping to the right (either laterally or turning the body)
4. Zuo Gu (Left step) Stepping to the left (either laterally or turning the body)
5. Zhong Ding (Maintaining balance, settling and centring
These movements are used for attack, retreat, to readjust, to remain centred and balanced. Movement is continuous, smooth and with purpose. These five steps are also associated with the Five Element Theory, and the Eight Trigrams (Bagua)
For more information, Egreenway is an excellent reference.
The Energies Within the Form
Energies in Repulse Monkey
Repulse Monkey involves stepping backward while using the hands in a pushing or deflecting motion. This movement involves multiple energies that are harmonised together to achieve both defensive and offensive capabilities. Here’s a breakdown of the energies typically used in Repulse Monkey.
1. Peng (Ward Off Energy)
Peng energy is present in the leading hand as it extends outward. Even though it may appear soft, there is a subtle outward expansion or resilience in this movement, creating a warding-off force. The Peng energy helps maintain structural integrity and balance while preventing the opponent from pressing in.
For example, if an opponent tries to grab or push you, the leading hand uses Peng to neutralise the incoming force and maintain a stable structure.
2. Lu (Rollback Energy)
Lu energy is the deflecting or redirecting energy used to neutralise the opponent’s force. In Repulse Monkey, this can be seen in the movement where one hand pulls back slightly while the body rotates, guiding the opponent's energy away from you.
As you step back, the rear hand uses Lu energy to draw the opponent’s attack into emptiness, redirecting their force without directly opposing it.
3. Ji (Press Energy)
Ji energy can be subtly present in the coordinated movement of both hands. As you repel the opponent with one hand, the other hand might move in a way that creates a squeezing or pressing effect, especially if you are in close proximity.
This energy is not as dominant as in other movements, but the intention to apply focused, pressing force can be part of the movement, especially if you’re countering a close-range attack.
4. An (Push Energy)
An energy is more apparent as you complete the movement, where the leading hand often finishes with a pushing motion. This push is a controlled, downward-directed force used to create space or to unbalance the opponent.
After redirecting the opponent’s attack with Lu energy, the An energy is applied to either push them away or to solidify your position.
5. Tsai (Pluck Energy)
Tsai energy can be used if the movement involves a more aggressive response, such as seizing or grabbing the opponent’s arm or wrist while stepping back. Tsai involves a quick, forceful pulling action, often used to break the opponent's balance or control their limb.
As you retreat, Tsai energy can be used to pluck and pull the opponent, disrupting their balance and creating an opening for a follow-up.
6. Lie (Split Energy)
Lie energy can be subtle but present in the way the hands move in opposing directions during the movement. For example, as one hand pushes or wards off, the other hand might simultaneously pull or control another part of the opponent's body, creating a splitting force.
The turning of the torso as you step back can also create a slight splitting effect, applying force in different directions to disrupt the opponent's balance.
7. Zhou (Elbow Energy)
Zhou energy is typically less emphasised in Repulse Monkey but can be used if the encounter becomes close-range, where the elbow might be employed as a striking tool.
If an opponent closes the distance unexpectedly, Zhou energy can be used to strike with the elbow while still executing the backward step.
8. Kao (Bump Energy)
Kao energy is also subtle in Repulse Monkey but can be present in the form of a body check or bump if the opponent moves too close. The shoulder, hip, or chest can be used to apply Kao energy, creating space or unbalancing the opponent while you step back. This energy is particularly useful in crowded situations or when you need to quickly regain control of space.
Integrating the Energies
In Repulse Monkey, these energies are seamlessly integrated. As you step back, the body coordinates with the hands, applying Peng to ward off, Lu to roll back, An to push, and other energies as needed. The movement embodies the Tai Chi principle of using soft, yielding movements to neutralise force while maintaining stability and readiness to counterattack.
Each energy is not isolated but flows from one to another, creating a continuous, harmonious movement that defends and counters in a single action.
Understanding Lie Energy
The expression of Lie energy might not always involve an overt or dramatic "splitting" motion as seen in some specific applications, like "Part Wild Horse's Mane." This is because Lie energy isn't limited to just a visible or exaggerated separation of forces; it can also be subtle and internal, manifesting in different ways depending on the context.
1. Lie Energy as Internal Force
Lie energy is fundamentally about applying force in opposite directions, but this can be expressed internally rather than in large, external movements. In the Bafa Wubu sequence, Lie energy might be present in the way you redirect or control an opponent's force through small, precise movements. The splitting effect could happen on a smaller scale, where your intention and energy create an internal separation or disruption in the opponent's balance.
2. Subtlety of Movement
In some martial arts, especially in Tai Chi, the application of force can be very subtle. The split doesn't always have to be a wide or obvious motion; it could be a twist of the waist, a shift in weight, or a change in angle that creates the splitting effect. For example, even a small rotation of the hips or shoulders in one direction while your arms move in another direction can produce Lie energy.
3. Lie in Different Techniques
Depending on how the Bafa Wubu is interpreted, Lie might be integrated into techniques that combine other energies. For example, in a technique that primarily uses Peng (ward off), you might subtly introduce a splitting force to unbalance your opponent. This doesn't always require a large separation of your arms but could involve a torque or a change in the vector of force that creates the split.
4. Application in Martial Context
In a real-world application, Lie energy might not always manifest as a visible splitting motion. Instead, it could be part of a tactical manoeuvre where you subtly unbalance or disrupt your opponent by pulling or pushing them in different directions. The energy is still there, but it might be less obvious than in forms that emphasise large, dramatic movements.
Conclusion
The expression of Lie energy might be more internal or subtle, rather than a large, visible splitting motion. The key to understanding Lie in this context is to focus on the principle of applying force in opposite directions, even if the movement is minimal. This energy can be present in how you rotate, shift weight, or apply force in different vectors, creating a disruption in your opponent's balance or structure.
Lie Energy in Part Wild Horse's Mane
Lie energy is characterized by the application of force in two opposing directions simultaneously, creating a ‘splitting’ effect. In the movement Part Wild Horse's Mane, this principle is clearly demonstrated in the way the body and arms move in opposite directions.
Opposing Forces
In "Part Wild Horse's Mane," as one hand moves forward (in a pushing or pressing motion), the other hand moves downward or to the side. This creates a separation of forces, akin to splitting. The forward hand extends outward as if striking or pushing an opponent, while the rear hand pulls back or down, reinforcing the splitting energy.
Body Mechanics
The torso also plays a crucial role in generating Lie energy. As the arms separate, the waist and hips twist, amplifying the opposing forces. The rotation of the body helps create the necessary leverage and power, further enhancing the splitting effect.
Application of Lie Energy
In a martial application, "Part Wild Horse's Mane" could be used to unbalance or uproot an opponent by applying force in two directions. For example, the forward hand might push an opponent's upper body or arm, while the other hand controls or pulls another part of the opponent's body (e.g., their wrist or elbow), creating a tearing or splitting effect that disrupts their balance.
Visualization
Imagine someone trying to hold onto your arm. With Lie energy, one part of your body (e.g., your forward arm) would press or push their arm away while your other hand or arm pulls or redirects another part of their body in the opposite direction. This opposing movement creates a powerful, destabilizing force that is difficult for the opponent to resist.
Other energies in Part Wild Horse’s Mane
Peng is the fundamental energy of expansion and buoyancy, providing structural integrity and maintaining balance. In Parting the Wild Horse’s Mane, Peng is evident in the outward extension of the arms as you separate your hands, creating a feeling of pushing up and out that maintains the body's frame and protects against incoming force.
Lu is the energy of yielding and redirecting force, often used to neutralize an opponent's energy rather than meeting it directly. In Part Wild Horse’s Mane, Lu appears subtly when one arm moves backward, as if redirecting an incoming force away from the body. This backward circling motion helps guide energy away from your center.
Ji is a pressing energy that combines inward and forward forces. In Parting the Wild Horse’s Mane, Ji Jin (energy) can be felt in the coordinated movement of the arms pressing forward and slightly inward, as if you are holding or compressing something between your hands.
An is a pushing energy that moves downward and outward. In Parting the Wild Horse’s Mane, An can be sensed in the lowering of one hand while the other pushes forward and upward, giving a gentle but firm push.
Lie involves a splitting force, characterised by simultaneous actions moving in opposite directions. This energy is present in Parting the Wild Horse’s Mane when the hands separate; one arm moves forward and upward, while the other moves backward and downward. This creates a sense of opening and dividing force.
Cai or plucking energy, involves pulling forcefully in a quick and decisive manner to off-balance an opponent. In this movement, it’s subtly present in the downward pull of the rear hand, as if guiding energy away from the opponent.
Zhou and Kao while these energies are not primary in Parting the Wild Horse’s Mane, they exist as potential forces when rotating the body. Zhou Jin can appear in the positioning and movement of the elbow, and Kao Jin is apparent in the initial step forward, before the lower arm is raised.
Energies in Brush Knee
In Tai Chi, Brush Knee (often called Brush Knee and Push) is a fundamental movement that involves several key energies. Here are the different Tai Chi energies involved in the Brush Knee movement:
Peng is an expanding or buoyant energy, often considered the most fundamental Tai Chi energy. In Brush Knee, Peng Jin is used to maintain structure, balance, and a sense of lightness in the body, especially in the leading arm that pushes forward. It keeps you grounded while maintaining an outward force.
Lu involves redirecting force rather than meeting it head-on. In Brush Knee, Lu Jin is subtly present when the rear arm circles down and back, guiding an opponent's force away or to the side.
Ji - In Brush Knee, this energy manifests as the front arm moves forward in a controlled and deliberate push, applying directed force towards the target.
An is a downward and outward pushing force. This energy is seen in the final push of the front hand in Brush Knee, which directs energy outward and downward, typically aimed at the opponent's center.
Cai a pulling or plucking energy, used to disrupt an opponent’s balance by quickly pulling down or away. In Brush Knee, this energy can be used when the rear hand pulls down as the front hand brushes or pushes, subtly disturbing the opponent’s balance.
Lie involves a splitting force, where one part of the body moves in one direction while another moves in the opposite direction. In Brush Knee, Lie Jin is used when the two hands perform opposing actions — one hand brushes downward while the other pushes forward, creating a splitting force.
Zhou Although not always emphasised in Brush Knee, Zhou Jin refers to using the elbow as a striking tool. It’s subtly present in the movement when the arm circles, creating potential for close-range elbow strikes or controls.
Kao involves using the shoulder for close-contact force. Like Zhou Jin, it’s not a primary energy in Brush Knee but can be present as a potential force in the rotation of the torso or shoulder.