Swimming Dragons Theory
Table of Contents
Section II - Swimming Dragons
Into the Eye of the Dragon
Swimming Dragons is the pinnacle training form for both the scholarly and warrior aspects of Ba Gua internal Kung Fu. Its practical functions are undeniable in the practice of its “Core Techniques” of borrowing force, misdirection, distraction, locks, trips, sweeps and takedowns while constantly perfecting the unique internal skills of Liu He Ba Fa (the Six Harmonies) using spins, twirls, smooth transitions, traps and root towards the development of internal power (Nei Gong).
This is the “Warrior” aspect of Ba Gua training with its roots in the close range, unarmed bodyguard self-defense for royal and wealthy patrons of late 1700s China. Taking on hostile groups and gangs of bandits armed with staffs and swords.
In 1811, Dong Hai Chuan, one of the renowned bodyguards for the royal court, integrated the techniques of his profession with the Taoist Earlier Heaven cosmology of the I Ching forming the first formal system of Ba Gua Zhang – Eight Gate Cosmology. Its emphasis being on deeper development of meditative practice, connection and unification with the Tao. This was taught by Dong Hai Chuan as a profound and quantum improvement in contrast to the myriad indigenous martial arts of the period.
As a teacher to the Imperial Guard, it was his quest to impart the sanctity of Taoism along with the brutal necessity to diffuse one’s adversaries. The goal being that harmony and internal development were superior fighting strategies than aggression and brute force. Thus, internal cosmology is the true essence of classical Ba Gua Chuan as a martial art.
This “Scholarly” system of Chi Gong Kung Fu is based on the legendary “Father of Chinese Civilization”, as well as of Taoism, Fu Shi (circa 2850 BC) and his record of symbols (Gua) pertaining to the Balance of Nature, or principles of the seasons as outlined in the Taoist Cannons of History, Medicine and ‘Change’. The Ba Gua are the Eight Gateways of Life!
Qi Gong
Qi Gong (or “Chi Kung”) in the Swimming Dragons form embrace all three aspects of Martial, Medical and Scholarly Qi Gong. Though it is primarily a Scholarly form taught through a Martial Medium, the Medical benefits are immediate and layered. The soft flowing motions led by your “Tan Tien”, and thus your ‘Root’, gently massage your joints while revving up your Qi … greatly increasing your longevity and quality of living.
The deeper layered Medical benefits from the form come in the changed mindset, and lowered stress levels, which help hormonally regulate the causes of degeneration, exhaustion and depression which can accompany Qi Gong practice … and thus form a foundation for deeper Qi Gong work.
The Martial Qi Gong is heavily influenced by H’sing-I as well as the ‘Liu He Ba Fa’ within the Sui Chiao (ancient Chinese Wrestling) of the Ba Gua techniques.
H’sing-I is all about the Transmutation of the Elements. Expanding on the transformations of Yin and Yang in Tai Chi, H’sing-I uses the Five Elements and their Interaction as it relates to the Creative and Destructive qualities of Qi within combat. Like Ba Gua, it is primarily an attacking art. Expressing direct and fierce aggressive attacks that focus on your opponent’s Elemental weaknesses. Its forte as an art is in its immediacy in shifting from one Element to the next … Hard to soft, weak to strong, bright to hidden, silent to loud. H’sing-I drills ingrain the Elements into the practitioner, allowing them to explode automatically with your opponent’s weaknesses.
As stated initially, the Qi Gong of the Swimming Dragons form is wholly developed around the Scholarly Qi Gong of the I-Ching. Thus, it is primarily a Meditative Art, focused on the ‘Changes’ and the “Transition” of Elements. Yet the deepest training and instincts nurture the practitioner towards a profound understanding of the Universe around us and how we can better and more instinctively survive this Dance we call “Life”.
Eight Gates Theory
Before the beginning was the formless void of Wu …
Then, at the beginning there was only Intent (Heaven, Chi, Chien, Li) and Form (Earth, Kun) and all was in balance: Tai Chi.
Creation followed destruction which followed creation.
Father Sky and Mother Earth without time … All is instantly created and destroyed.
In manifesting this bliss, they bore two children who were both visible and manageable: Fire (Li) and Water (Kan).
Thus, the Five Elements theory (H’sing I) was born (circa 4500 BC) out of Wu, Chi’en, Kun, Li and Kan. [Emptiness, Heaven, Earth, Fire and Water]. These are the Taoist Five Elements, which are different from the later Buddhist and Neo-Taoist developments which are better explored in the art of H’sing I.
In Ba Gua (Ba = Eight, Gua = Gate or Dimension) these equate to the sacred qualities of Time (Chi’en, Change, Heaven, Yang) and Place (Kun, Gravity, Earth, Yin).
Thus Wu is the center of both Time and Place … Heaven and Earth. From which the four cardinal directions emerge: North, South, East, West and Center defining our Place. And the four seasons (Yang), which dictate our rate of Change or Time: Winter Spring, Summer, and Fall and the “fifth season” of Transition … and thus “Change” is the Great Constant. (Dark Energy?)
Change is the rate at which Matter (Kun) Transforms (Chi) itself.
As Such:
Cardinal Directions
North is Earth – Winter Solstice
East is Fire – Spring Equinox
South is Heaven – Summer Solstice
West is Water – Fall Equinox
With the Corners as Transitions or Change
N.E.is Thunder – Beginnings
S.E. is Blood (Fauna) – Family
S.W. is Wind (Flora) – Nature
N.W. is Mountain Top – Endings
These are the four pillars of Place, the four corners of Time yielding the eight directions of Change. Thus, Place & Time go hand in hand, and harmony is restored thru adhering to “The Way”, and “The Way” is Tao.
The intermixing of these eight dynamic functions are the foundation of understanding the predictable qualities in Nature as brought forth in the 3000 year old “Book of Changes” (I-Ching). Established by King Wen in the Yellow River Valley of China in 1150 BC, it elaborates eloquently and thoroughly about each of the 64 interactions (Hexagrams). This was later organized into the “Earlier Heaven” arrangement of the 64 hexagrams by Shao Yong in the Sung Dynasty (920 A.D.) which harmonized the “Later Heaven” arrangement of King Wen with the “Earlier Heaven” arrangement of Fu Shi.
Thus the Swimming Dragons form is an operatic masterpiece of Taoist Cosmology emulating move per move the sequence of changes in the Shao Yong Earlier
The Sequence
All “things” originate from the primal Potential or emptiness energy (Wu Chi) which pervades our universe from the cosmic to the quantum.
The first spark of life (movement, Chi), as stated in the I-Ching, is manifest as Thunder.
Thunder coming out of hibernation within the Earth
The great awakening … the first expression of early Spring
To understand the I-Ching is to ride this magical Dragon (as Ba Gua is often referred). Springing from the much older “Five Dragons” of Taoist H’sing-I, this evolved into the “Eight Immortal Dragons” of classical Ba Gua … giving the dragon reverence and respect while Honoring the Tao.
Swimming Dragons are circles moving within circles.
The set of 64 techniques or “palm changes” are unique to Ba Gua. They are divided into eight sets, each with eight techniques. This form is based on the “Earlier Heaven” sequence, with the trigrams and hexagrams in a specific order as per Shao Yong, the top scholar and mathematician of the Sung Dynasty. “Earlier Heaven” refers to the original state of Balance and flow before the input of Man which is called “Later Heaven”. Earlier Heaven is Pure Tao.
The Shao Yung Earlier Heaven Arrangement
The Earlier Heaven sequence follows the natural course of ‘Changes’ observed in Nature. Specifically, the sequence starts with “Kun”, The Mother, in the deepest and darkest time of Winter, and represents the quiet and stillness of the dormant earth … Completely Receptive and Open, as expressed in the Hexagram Kun/Kun.
This then follows the pattern of transitions, as expressed in the sequence of 64 Hexagrams, which flow Mathematically (through Fractal Equations) from Winter in the North, clockwise through Spring in the East, Summer in the South and Autumn in the West … ending back at Kun/Kun in the North starting the cycle all over again … with the “Corner” Trigrams expressing the essence of these Great Changes as the crucial concept of Transition.
Thus, the Trigrams are the Primal Archetypes … and the Hexagrams are the visible manifestations within this Sacred Dance!
After the opening salutation and the first “Mother Palm”, the form continues with Chen Kun (24), “Return”. Return to life … the cycles of life. The earliest Spring moment! Thunder within the Earth. This second palm is called “Hidden Flower” or “Hidden Flower Under Leaves”. Power and beauty coming from hidden places. Thunder from within the Earth.
In exploring these techniques, it is important to stay mindful of all eight dimensions, which are happening all at once! We are Here and Now. And thus, the form has many layers and should be studied within multiple realms all working together towards harmony.
This technique of “Dragon Palm” uses deception and spins to position the opponent for defeat. Using minimal force with precise accuracy, which will ensure escape at least. On the “Warrior” side, “Hidden Flower” is founded upon Thunder and Earth [the two trigrams] explosive and centered using the cyclical repetition of “Return” to lull the attacker into an advantageous position for escape while offering the opportunity to inflict damage. And so “Thunder” (Chen) in the “Root” (Kun) is the base energy behind this initial set of movements. The “Spirit” of the move is “Return” (Hexagram 24), The endless cycles of the Tao.
These multiple layers create a lot of complexity even though the goal is effortless simplicity. Responding to all situations with an intuitive innocence, meeting on the ground of our own choosing … awaiting the Tao.
So, the Elements (Trigrams), represent and inform the Chi which empowers the execution of the technique (Fa Jing).
The name of the move, or its “Judgement” (the specific interpretation of the hexagram in the I-Ching) and its relation to the sequence of nature established by Shao Yong is the “Meditation”, or “Scholarly” aspect of the Chi Gong. Especially when practiced physically through the Swimming Dragons form. This sequence offers profound insight into our natures. Understanding the flow of ‘Change’ within ourselves and others. Heya Ho!