The Bagua used in Feng shui can appear in two different versions: the Earlier Heaven Bagua, used for burial sites, and the Later Heaven Bagua, used for the residences. Xiantian Bagua. In Xiantian Bagua, also known as Fu Xi Bagua or Earlier Heaven Bagua, the Heaven is. We’ll start learning Ba Gua Feng Shui in this lesson. If we have to classify Chi calculation Feng Shui systems, Ba Gua Feng Shui should be belong entry level. According to this system, houses are categorized into 8 types. All people are divided into 8 groups as well.
In this chart: 生(Generative/Counter-clockwise), 剋(Destructive/Clockwise)水生木,木生金,金生火,火生水水剋火,火剋金,金剋木,木剋水Water feeds wood, wood brings fire, metal brings water, fire brings earthWater quenches fire, fire melts metal, metal chops wood, wood drains waterBagua used in Feng Shui The Bagua is an essential tool in the majority of Feng Shui schools. The Bagua used in can appear in two different versions: the Earlier Heaven Bagua, used for burial sites, and the Later Heaven Bagua, used for the residences.Xiantian Bagua In Xiantian Bagua, also known as Fu Xi Bagua or Earlier Heaven Bagua, the Heaven is in the higher part and the Earth is in the lower part. The trigram Qian (Heaven) is at the top, the trigram Kun (Earth) is at the bottom (in the past, the South was located at the top in Chinese maps). The trigram Li (Fire) is located on the left and opposite to it is the trigram Kan (Water).
Zhen (Thunder) and Xun (Wind) form another pair, while being one opposite the other, the first on the bottom left next to Li while the second is next to Qian on the top right of the Bagua. Gen (Mountain) and Dui (Lake) form the last pair, one opposite the other, both in balance and harmony. The adjustment of the trigrams is symmetrical by forming exact contrary pairs. They symbolize the opposite forces of Yin and Yang and represent an ideal state, when everything is in balance.Houtian Bagua The sequence of the trigrams in Houtian Bagua, also known as the Bagua of King Wen or Later Heaven Bagua, describes the patterns of the environmental changes. Kan is placed downwards and Li at the top, Zhen in the East and Dui in the West.
Contrary to the Earlier Heaven Bagua, this one is a dynamic Bagua where energies and the aspects of each trigram flow towards the following. It is the sequence used by the Luo Pan compass which is used in Feng Shui to analyze the movement of the Qi that affects us.Western Bagua Feng shui was made very popular in the thanks to the Bagua of the eight aspirations. Each trigram corresponds to an aspect of life which, in its turn, corresponds to one of the cardinal directions. Applying feng shui using the Bagua of the eight aspirations (or Bagua map for short) made it possible to simplify feng shui and to bring it within the reach of everyone. Western Bagua focuses more heavily on the power of intention than the traditional forms of feng shui.Masters of traditional feng shui disregard this approach, for its simplicity, because it does not take into account the forms of the landscape or the temporal influence or the annual cycles. The Bagua of the eight aspirations is divided into two branches: the first, which uses the compass and cardinal directions, and the second, which uses the Bagua by using the main door. It is clear that, not taking into account the cardinal directions, the second is even more simplified.Bagua map A bagua map is a tool used in Western forms of to map a room or location and see how the different sections correspond to different aspects in one's life.
CHEN, Xin (tr. Alex Golstein)., INBI Matrix Pty Ltd, 2007. (accessed on Scribd.com, December 14, 2009.). ^ Wilhelm, Richard (1950). Translated by Cary F.
Baynes, forward by C. Jung, preface to 3rd ed. By Hellmut Wilhelm (1967).
Princeton, NJ: Princeton University Press. Pp. 266, 269. TSUEI, Wei.
Chinese Culture Books Co., 1989. ZONG, Xiao-Fan and Liscum, Gary., Blue Poppy Press, 1999. Theory.yinyanghouse.com. Wilhelm, R. & Baynes, C., (1967): 'The I Ching or Book of Changes', With foreword by Carl Jung, Introduction, Bollingen Series XIX, Princeton University Press, (1st ed. 1950). Cisek, Jan., 2007.
Moran, Elizabeth and Master Yu, Joseph., Penguin, 2005.
Contents.History (name also translated as ) began learning at age 16 from the famous Chen Family master, Chen Yan Xi.Three years later, Fu began learning Baguazhang from Jia Qi Shan (also known as Jia Feng Ming). Fu was one of the first to learn these arts, as the Chen Family had only started teaching their art to outsiders a few decades earlier; Dong Hai Chuan had only revealed Baguazhang a few decades earlier, and only took on a handful of students, one of them being Jia Qi Shan.
Although Fu did not receive the formal schooling of his urban countrymen, Fu was very bright, learnedthe two arts well, and practiced very hard.At the age of 26, Fu had become very famous for single-handedly defeating a large mob of bandits, a story that appears in a number of versions.Fu traveled to Beijing where he met the other great Baguazhang masters of that period. He learned from them and exchanged information about the art. In 1928, three military generals organized the first nationwide martial arts competition in Nanjing. Fu Zhen Song was one of the five judges of the competition. When the generals wanted to test the true skill of the top winner, a young man by the name of Wang, all the judges 'nominated' Fu to do the 'testing.'
Fu had no choice but to respect the commands of his seniors and fought with the winner, Wang. According to those present, the battle went on for a long time, and at the end, Fu hit Wang off the stage with one single blow. This was to be one of the three high-profile battles Fu was famous for, the other two being the fight with Li Shu-Wen, an older and established master of Bajiquan, and with a large group of Muslims who practiced Cha Quan back in Fu's home village.During this time, Fu met, befriended and exchanged information with the top Baguazhang masters of China. He became close friends with, and taught him the Baguazhang 'mud-walking step (tang ni bu).'
Fu studied from, and one day beat him in a match of 'push hands.' Yang said, 'You only won because you switched to Baguazhang.' Fu also studied swordsmanship with Li Jing Lin.Fu Zhen Song and four other winners of the competition were invited to the south to teach their arts. Because of this historic event, they were called, 'The Five Northern Tigers.'
These five men were constantly challenged by martial artists in the south, as the southern martial artists were very proud of their arts and refuted the arts of the north. Fu Zhen Song never lost a fight or a challenge.Fu Zhen Song moved to Guangzhao in the Guangdong Province, and headed a school there. By this time, Fu had synthesized his own system by learning various family styles of taiji; the differing styles of baguazhang; the Wudang Sword from Song Wei Yi (likely learned from Li Jing Lin, though Fu did study under Song for a time); and; by emphasizing the most important principles and techniques from each, and by eliminating all of the parts he thought were not valuable or of no substance. Fu's style of Baguazhang would include such methods as the yin and yang palm changes, the famous Dragon Baguazhang, the Si Xiang form, the Liang Yi synthesis of Baguazhang and Taijiquan and his own version of Taijiquan. Many of the names used were likely inspired by the, and the forms and progressions inspired by both that work and by the martial philosophies of Sun Lu Tang.
Learning Progression When Fu and the other four invited martial artists arrived in Guangdong, Ta Kung Pao newspaper published an extensive article about the background of Fu and proclaimed that he was at that time the 'true inheritor' of the Ba Gua Zhang tradition as handed down by Dong Hai Quan and Cheng Ting Hua. Fu understood the massive gap between Tai Chi Chuan and Ba Gua Zhang; thus, he created an elegant solution for that gap. Fu created a martial arts form he called, 'Liang-Yi Chuan,' or Harmonized Opposites Boxing. This form would be a vital key to the Fu Style system of learning Ba Gua Zhang, as it is a precursory set of movements and skills required to move from Tai Chi Chuan to Ba Gua Zhang.In other words, if one wishes to learn Fu Style Ba Gua Zhang, he or she must learn Fu Style Tai Chi Chuan very well; then learn Fu Style Liang-Yi Chuan very well in order to advance to the highest levels where he or she can learn Fu Style Ba Gua Zhang.
Many will refute this hierarchy of learning, however, this is the true system of learning Fu Style Wudang Chuan (which is the globally encompassing name for the Fu Style system of Tai Chi Chuan, Liang-Yi Chuan, Ba Gua Zhang, Hsing-I Chuan, Baji Chuan, weapons, applications, and total mastery of 'Qi,' health and wellness). Fu Style is characterized by a large number of spinning movements and point strikes. This fighting style can also be used to damage internal organs with precise striking methods.Fu Style Present Day The Fu Style Wudang Chuan was carried on by his son Fu Wing Fay, who also created forms for si-xiang, advanced tai chi and more. Among others, Fu taught. The lineage is now held by his own son in Vancouver, Canada.has somewhat truncated the style because he feels there is not enough time to learn the entirety of the Fu Style system, and it is more important to develop health and wellness, rather than 'hands that can chop a table in two.'
However, with the incorporated conditioning exercises, 2-person routines and the practice of the Bagua Push Hands form, the martial aspects remain intact. Another branch of the style was established by Fu Zhen Song's student Lin Chao Zhen, who likewise modified the teaching methodology.Fu Zhen Song's internal student To Yu as well taught Fu Style Wudang Chuan in Honk Hong, and now has many disciples in western countries. References.
Lin, Chao Zhen (2010). Fu Zhen Song's Dragon Bagua Zhang.
Blue Snake Books. Pp. 18–20.
Lin (2010), pp. 24-25. Lin (2010), pp.
38-39. Lin (2010), pp. 31, 36-37. Lin (2010), pp. 42-43.
Lin (2010), pp. 37-38, 69. Kwan, Dr. (April 1978). Lin (2010). 65-67. Liang Shou-You, Yang Jwing-Ming, Wu Wen-Ching (1994).
Baguazhang. Miller, Dan (1992).
'The Pa Kua Chang of Fu Chen-Sung'. Pa Kua Chang Journal 2 (6). Kirchhoff, Tommy (December 2004). Inside Kung-Fu: 74–78. Fu Yonghui and Lai Zonghong (1998). Fu Style Dragon Form Eight Trigrams Palms. Smiling Tiger Martial Arts.
Lukitsh, Jean (October 1992). 'A Wushu Dream Comes True'. Inside Kung-Fu 2 (3): 34–39, 76. Smalheiser, Marvin (April 1996). 'Fu Style T'ai Chi and Bagua'. T'ai Chi.
Smalheiser, Marvin (June 1996). 'The Power of Mind and Energy'.
T'ai Chi. Smalheiser, Marvin (December 2000). 'The Power of Yin/Yang Changes'. T'ai Chi.
Allen, Frank; Tina Chunna Zhang (2007). The Whirling Circles of Ba Gua Zhang: The Art and Legends of the Eight Trigram Palm. Blue Snake Books. Pp. 48–51. Fu, Victor Sheng Long 2004External links.