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On this page we will describe history background and philosophy.
 

LiuHeBaFa Teaching Poem:
   The composition of  poems with numerical code,  to formulate ideological principles in a brief, but complete teaching verses, is common at any time and for any subject through out chinese history.
   The often given origins of these verses is that they are from the taoist-buddhist sage Chen Tuan from Mt.Hua in Shensi Province [this is unproven].  Teaching lineage gives the name of Lee Tungfung as having 'found' them 'in the cave tomb' of chen tuan as a document; alternate 'his-story' is that they were 'written on a wall' of the cave. [This story enhancing continues today as part of chinese martial movie mystic.] 
   It is also said that an elaboration of the 6x8 verses was made by Msr. Lee's protege as the 5-word 'secret'  Both the 6x8-verses and the 5-word verses have been translated into english. [Foxx for the 6x8 verses and Paul Dillon for the 5-word secret.] The 5-word 'secret' or 'songs' as first translated from chinese to english by teacher John ChungLi, are available.
 
   Three things can correctly be said of this terse poem:
(1) it comes from a time when numerological-mysticism and both the place, time, and mutability of things took on a oracle-like significance,  and
(2) their terseness is intentional, first like 'lecturers' notes they rely on single word brevity which only the addept understood and secondly, to obscure a secondary or tertiary meaning from all others; the verses are in a sense, an 'alchemical' test of the students' insightfulness and of the teachers intent to obscure a deeper idea. An insight is most of the ideo-pictograms chosen are composed of two parts (which interplay into deeper concepts) and that most of the characters are divisable into three categories: 3 chi's, 3 shen-spirits, 3-jings.
(3)  It also can be said, the poem-verses are not unique, and that as written, a terse alternative would be: 'to obtain unity'...'use a universal method'
 

He-Fa: harmonious method
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concordance by instruction

The Liu-He Ba-Fa Poem :  The only indepth, sholarly approach to deciphering and translating the teaching poem into english remains that previously offered by practitioner-author Khan Foxx.  Copies are only available by direct request.

Six Harmony Verses
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Liu He Verses

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Six Harmony-Combination :  Liu He
(Ti, Xin, Yi, Qi, Shen, Tung, Kung)
>1.  bodys' structure harmonizes with the minds' awareness, 
>2.  minds' awareness harmonizes with 'intent',
>3.  intent harmonizes with the chi (energy-flow),
>4.  chi harmonize with the 'spirit',
>5.  spirit harmonizes with 'motion',
>6.  motion harmonizes with the 'everywhere',
 
The seven-item union of aspects of importance is grouped in six-couplets :
1.  physical-body : the mantle of muscle bonded to the boney infrastructure
2.  minds' feeling the corporeal awareness of events 
3.   'intent' of the intrinsic~intuition 
4.  chi or qi : intregal and acquired flow-flux is energy-dynamic
5.  shen 'spirit' or espirit' is connected to exhuberence
6.  motion forms tropy, tropy and atropy limits motion
7.  space-awareness of  'everything', 'everyplace', 'everytime' and 'nothing'
 
 body-form-------\                /----flow~-wave-fluid
bone-form-----------\              /-----yi-intuition~aware
flow-form---------------\             /-----shen-spirit-tranquil
espirit------------\          /-----innate-hidden
             'empty'-trans-space-temporal
 
The lesson is to regulate, mediate, adjust, reconcile, transfer, 'tiao' a union of attributes:
1. the body exterior mantle to the interior support and integral power
the jing, and from this base....structure-form : feel-intuition : flow-motion
2. regulate  the synergtic union of the breath-flow, the mind-feel,
with the Spirit-nexus as the dominant leader.
 
The adept student with greater insight will see that each of the seven aspects can be further
divided in groups of three: san-ti (the three-way, three-level, three-segments of stance), san-yi,
the three-ideas, san-qi ( the three-sources of qi-flow), etc.  To read through without perceiving the diversity of each aspect is to only understand the top vineer of this teaching.

Eight Method Verses
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Ba Fa Verses

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Eight Methods :  Ba Fa
>1.  Qi-Fa =Flow: Move the chi and concentrate the spirit
>2.  Ku-Fa =Bone: Genuine-structural energy when bones are correct
>3.  Hsing-Fa =Form: Shapes exchange freely, follow a model, pantomime 
>4.  Sui-Fa =Following:  Flexible, adaptable, and coordinated in union
>5.  Ti-Fa =Lifting: Lift the head upward as if suspended from space
>6.  Huan-Fa =Reversal: The interchange of motions reverses and reciprocates
>7.  Le-Fa =Limit: Restraint is needed to harness the dynamic forces
>8.  Fu-Fa =Hidden: The intrinsic force arises from natural obscurity
Other ViewPoints:
 
Huang Shou Ting, of the Shanghai WuShu Association, studied with Song Guang Yu at XuShou, in a magazine article, he discusses 8-physical aspects:

Qi-Luo: rising+falling
Dong-Jing: moving+stillness
Jin-Tui: advance+retreat
Kai-He: open+close
Yin-Yang: in+out, soft+hard
Xu-Shi: empty+full
Wa-Qiao: jumping+bridging
Liu-He: internal six-pairs in harmony
 
D.L.Murray  6x8-verse resources: http://trinity.psnw.com/~dlmurray/6h8m1.html
 

The Nine-Joints and the Six Harmonys  "Michael Clanton" mrclanton@hotmail.com

The Internal Six Harmonies, which train the coordination of
mind and reflexes, chi and power, without all these elements,
a movement is not considered complete.

First Internal Harmony: Body and Heart. The basic principle is to copy the natural image of something.
For example, copy the image of animals or things. When animals are fighting, you must see their meaning
(intentions of actions), speed, and power. You must imitate the feeling and take that feeling into your body.
The heart means confidence. We must build up our confidence, which means to develop strong heart
(not the organ,but spiritual strength).      

Second Internal Harmony: Mind and Heart. When you get the image and you can imitate the feeling in your
body you must build up the feeling by practicing it over and over again. By practicing you build confidence.      

Third Internal Harmony: Mind and Chi(energy or oxygen). Once you practice enough to become confident,
then you can move without hesitation.
The body and breathing(chi) will move naturally and automatically with the mind.      

Four Internal Harmony: Chi and Spirit(Not ghost but heighten awareness). The spirit needs to be trained to
be highly alert. When your spirit is highly alert the chi automatically circulates through the whole body at
higher level(very fast blood circulation which carries the oxygen or chi throughout the body). 

Fifth Internal Harmony: Spirit Movement. In martial arts, the spirit uses the eye, ear, and sensitivity
(heighten sense of touch or feeling). When you fight your opponent you see hear or feel. If you have the
benefits of all the first four harmonies together, your spirit will recieve a signal and send a message to
the mind which will instantly react and power will automatically follow.    

Sixth Internal Harmony: Movement and Emptiness(not blankness of the mind but clarity and openess,
ready for any experience to arise beyond presetting or calculating something to happen or anticipating
something to happen) When you have the benefits of the first five harmonies, then you will know how to
react. You won't need to focus(calculate) on technique or anything else, just react. The real meaning or
technique is to move without thinking. This is what Zen Buddhist practitioners call No-Mind (the mind
free of conceptual idea, spontaneous fully aware and open to all experiences).

These principles are the key in developing perfect movement and the ability to conserve energy when in
motion. When your body moves in harmony or as one unit you have speed which translate into power.
This is real martial arts training. Learning alot of techniques and forms do not even constitute martial arts
training. True technique is being able to move appropriately with ease without thinking. This can only be
achieved by mind and body harmony.'

The Six External Harmonys 
...trains the coordination of arms and legs, shoulders and hips, elbows and knees, so one can attain a unity of  body mechanics.
  This is also viewed as the 9 joints.

First External Harmony: Body Joints Move as One: The three joints of the body are in the lower spine the middle of the back and the neck. Move from spine, to the back, to the neck.

Second External Harmony: Arm Joints Move as One. The three arm joints move from the shoulder, to the elbow, to the wrists.

Third External Harmony: Leg Joints Move as One.  The three leg joints move from hip, to the knee, to the ankle.

Fourth External Harmony: Hand and Foot.  The hands and feet move together as one unit.

Fifth External Harmony: Elbow and Knee. The elbows and knees move together as one unit.

Sixth External Harmony: Shoulder and Hip. The shoulders and hips move together as one unit.

To summarize:

All main joints (call root joints, shoulder, hip, and lower spine) must start together and stop together in harmony with each other.

 
 

The Nine-Joints (and the Six Harmonys)  curtousy "Michael Clanton" mrclanton@hotmail.com

'The LHPF style and all the internal styles of Chinese martial arts are concerned about the body moving as one unit, and only way it can move this way is that all the joints of the body must move together in a coordinated fashion. 

Masters notice that there are nine joints in the whole body.
There are three joints in the trunk of the body, ... the lower spine, the middle of the back and the neck.
There are three joints in the arm, which are the shoulder, elbow, and wrist.
There are three joints in the leg, which are the hip, knee, and the ankle.
These 3 sets of joints total to 9 joints. It is these joints that must move in harmony or coordinated fashion.  
The nine-joints dynamically linked as one has been viewed and taught as the principle of the Six External Harmonys; of course this is starting from the outside to the inside and working piece by piece intending to achieve balance. 
This teaching is unlikely directly from the LHPF-school, but is more a part of the BaGua-school teaching. The 'Six Harmonys' thus have two aspects: outer and inner.