|
|
 |
|

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 |

|
| 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 |
|
|
| Liu He Verses |

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 |
|
|
| Ba Fa Verses |

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
|
 |
|
|
 |
|
|
 |
|
|
|
| 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 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.
|
|
|
 |