A Complete Guide to Chi-Gung

Many different styles of chi-gung evolved through the ages in China, each one focusing on a particular aspect of practice, all of them cultivating personal power by working directly with energy. Some styles aim mainly at acquiring power for martial prowess, some focus more on refining energy for spiritual development, while others are practised primarily for purposes of health and healing. Almost all traditional styles of Chinese chi-gung fall into one of the major ‘Three M’ categories – medical, martial or meditative – although some of them overlap, and all of them promote health and longevity. Most of them evolved in association with a major school of thought in China, or as a distinctive lineage founded by a particular master and handed down by personal transmission from generation to generation.

It would require an entire book to fully elucidate any one of the major traditional styles of chi-gung, so instead we’ll simply scan the field and take a brief look at the main features of a small selection of the most important styles that are still taught and practised today.

Chang San-feng (1279–1368) (Fig. 17), a renowned martial arts master and Taoist adept who resided at the famous Shao Lin Temple where the Buddhist monk Bodhidharma (Ta Mo) taught after his arrival in China from India, is credited as the founder of Tai Chi Chuan. It is said that he was inspired to create this soft, flowing, meditative style of martial arts by a battle he witnessed between a snake and a crane while wandering one day in the mountains. Watching the snake bob and weave in circles in precise response to the crane’s tactics, and the crane brushing off the snake’s attacks with swift but soft strokes of its wings, Chang realized the superior power of the soft over the hard approach to combat, the tactical wisdom of circular movements, and the importance of moving in response to as well as in anticipation of the opponent’s tactics. Subsequently, he retired deep into the mountains to meditate on what he had observed and gradually he developed the basic postures and movements of Tai Chi Chuan.

Fig. 17 Chang San-feng, the founding father of Tai Chi Chuan, was a master martial artist, accomplished meditator and Taoist sage; he spent many years practising and teaching at the famous Shao Lin Temple

No one knows exactly how Chang’s lineage was transmitted over the next 500 years, other than the fact that it was handed down from master to select disciple in great secrecy and never taught in temples or martial arts schools. It was not until the late eighteenth century that Tai Chi Chuan became known to anyone other than secret initiates. At that time, it was revealed by a martial artist named Yang Lu-chan, who had been a servant in the household of Chen Chang-hsing and learned the secret art by surreptitiously spying on Master Chen’s private family classes. The Chen clan, one of whose ancestors had been a close disciple of Chang San-feng, had been maintaining the Tai Chi tradition as a family secret for 500 years, and Yang was the first outsider to learn it. Whoever else Chang San-feng may have taught, it seems that the Chen clan were the only ones who kept the tradition alive, and today ‘Chen Style’ is recognized as the oldest form of Tai Chi Chuan.

Meanwhile, Yang Lu-chan modified the style he had learned from the Chen family and taught it to his own son Yang Chian-hou, thereby founding his own lineage, known today as ‘Yang Style’ Tai Chi Chuan. Yang Lu-chan was also the first master to teach Tai Chi Chuan openly, establishing a school in Peking where anyone who passed muster could receive instruction. One of Yang’s disciples later founded what is today known as the ‘Wu Style’, and one of his students created the ‘Sun Style’. Today, the Chen, Yang, Wu and Sun styles are the major forms of Tai Chi Chuan taught throughout the world.

Probably the most famous Tai Chi master known in the Western world is Cheng Man-ching, who learned the art from Yang Lu-chan’s grandson and brought it to Taiwan in 1949, where many Westerners came to study with him. Cheng simplified the original 108 movements into only thirty-seven, thereby making the form much easier to learn and remember. According to tradition, there were only thirteen positions to begin with, so Cheng’s simplification represented a return to the basics, not a departure from the path.

Tai Chi Chuan involves slow rhythmic movements of the whole body, with one posture transforming smoothly into the next in a continuous stream of motion. Body weight shifts alternately between left foot and right, with the centre of balance always kept down in the lower abdomen. Recalling the lesson of the snake and the crane, defensive and offensive manoeuvres always occur in alternate sequence, with every strike developing into a subsequent parry and every parry flowing into a following strike. The combination of deep diaphragmic breathing and slow, continuous, rhythmic movements generates a very powerful energy field around the body and a highly concentrated flow of energy within.

When used for martial purposes, both the external force field and the internal energy are focused to deflect or deliver blows, sometimes without any physical contact. When used to develop physical strength, protect health and prolong life, the energy is continuously circulated throughout the Eight Extraordinary Channels of the Macrocosmic Orbit, while the field is used to draw terrestrial and celestial energies into the system from nature and the cosmos. In both applications, the mind must remain clearly focused, fully concentrated, and completely calm throughout the practice, which makes Tai Chi Chuan a very effective form of moving meditation for spiritual cultivation. An off-shoot of Tai Chi Chuan known as ‘Pushing Hands’ involves two people standing face-to-face with hands lightly touching. By feeling the other person’s energy through the hands and thereby anticipating his or her next move, both partners continuously rotate their arms and shift their weight from one foot to the other, protecting their own space while looking for an opening in one another’s defence through which to strike, like the snake and the crane observed by Chang San-feng.

Today, you can find qualified Tai Chi Chuan teachers almost everywhere in the world. A good place to look for a teacher is around dawn in any public park in any city with a sizeable Chinese population. As all chi-gung adepts know, dawn is the best time to harvest chi and public parks are the only places in big cities where the potential gradient, oxygen level and negative ion count in the air are sufficient to generate a strong flow of internal energy and facilitate harmonious exchange between the human system and the powers of Heaven and Earth.

Eight Pieces of Brocade (Pa Tuan Chin)

This set of chi-gung exercises was developed in the twelfth century by Marshal Yueh Fei, the great Chinese military strategist who sacrificed his life trying to protect the Sung dynasty from defeat by the Mongols. Although Yueh Fei was a military man, the chi-gung set he created is not a martial art. It was designed to strengthen the body, particularly the legs, back, shoulders and neck, to balance the vital functions and tonify the internal organs, to build immunity and resistance and enhance vitality, and to drive stagnant energy and toxic residues from the system. Today it remains one of the most widely practised styles of chi-gung in China as well as the rest of the world.

The Eight Pieces of Brocade consists of eight individual exercises, each of which is designed to strengthen a specific part of the body and stimulate a particular organ-energy system, while also bringing the whole system into harmony with the forces of nature and the cosmos. It is one of the most comprehensive, effective and versatile chi-gung sets ever developed. As with Tai Chi Chuan, various versions of the original set have evolved in China over the centuries, under the tutelage of different masters, so the form you learn depends on who you learn it from. It may be practised as a complete set, in which case you should follow the original sequence because when practised together each exercise builds on the results of the previous one and paves the way to the next, or you may select one or more of the exercises for inclusion in your own programme. Two of the exercises in the recommended set for daily practice introduced in the next chapter are taken from the Eight Pieces of Brocade.

This set may be performed in either the standing or the sitting posture, although the latter should be used only when age, illness or physical disability make it difficult or impossible to practice in the standing posture. Specific exercises may also be practised selectively to strengthen weak or disabled parts of the body, or to restore functional balance in ailing organs. To give you a general idea of the scope and style of this excellent set, here are the names of all eight exercises, literally translated from the Chinese and listed in the original sequence:

1. ‘Upholding Heaven with Two Hands to Regulate the Triple Burner’

2. ‘Seven-fold Spinal Stretch to Expel the Myriad Ailments’

3. ‘Upholding Heaven with a Single Arm to Regulate the Spleen and Stomach’

4. ‘Turning the Head and Twisting the Tail to Expel Fire from the Heart’

5. ‘Drawing the Bow to the Left and the Right as though Shooting at a Hawk’

6. ‘Twisting the Fist and Focusing Fierce Eyes to Cultivate Energy and Generate Power’

7. ‘Embracing Legs with Two Arms to Make the Kidneys Firm and Strong’

8. ‘Turn and Glance Behind to Eliminate the Five Ailments and Seven Dangers’

Hsing Yi (‘Form and Intent’)

Developed as a form of martial art for combat and competition, Hsing Yi is said to have been created by Marshal Yueh Fei, the progenitor of the Eight Pieces of Brocade set, during the Sung Dynasty. Along with Tai Chi Chuan and Pa Kua Chang, Hsing Yi is one of the three great internal energy styles of martial arts that evolved in China after Ta Mo fused spiritual and physical cultivation at the Shao Lin temple. The name ‘Hsing Yi’ reflects the primary role which intent (yi) plays in forming the various postures and controlling the forms (hsing) the body adopts during practice.

As a martial arts form, Hsing Yi is a very powerful fighting technique that consists of a series of consecutive linear attacks that always move forward towards the opponent. As an exercise set, Hsing Yi has developed various forms, each of which contains eight steps that are performed slowly in sequential order and in close conjunction with deep diaphragmic breathing. Each step has a specific tactical application in combat, alternating between offensive strikes and defensive parries. When used in actual martial competition, the moves are executed very fast and not necessarily in the order in which they appear in the exercise sets. Instead, each move suggests itself spontaneously to the combatants as they compete, based on what each one feels the opponent’s next step will be.

Besides the eight-step sets of martial manoeuvres, Hsing Yi also includes a series of single-step chi-gung exercises to boost circulation of energy, balance the body, regulate the breath and concentrate the mind. All Hsing Yi exercises are designed to generate great power by fully concentrating energy behind every strike. For example, when a punch is applied, body, breath and mind are coordinated in such a way that the power is drawn up from the ground through the legs, transferred to the torso with a twist of the hips and brought up to the left or right shoulder, which focuses the full force of the gathering power plus the weight of the body into the punch, sending it down through the bones of the arm and out through the knuckles of the hand at precisely the moment of contact. This requires a combination of balance and physical coordination, plus unwavering mental focus, so that intent spontaneously gives rise to form.

Pa Kua Chang (Eight Trigrams Palm)

Pa Kua is the most elegant, mesmerizing form of Chinese martial arts. Tradition attributes the creation of this style to an eccentric, flamboyant martial artist by the name of Tung Hai-chuan, who appeared in Peking during the late eighteenth century and proceeded to challenge and defeat all of the reigning martial arts champions of the time by using this style of combat. Its true origins remain unknown, but like Tai Chi Chuan it was probably developed by Taoist recluses in remote hermitages hidden among the misty peaks of China’s sacred mountains.

It is said that the only one who could match Tung’s fighting ability was a famous Hsing Yi master whom he challenged to a duel. The match continued non-stop for three days, with neither combatant gaining the upper hand, after which they called it a draw and sat down to drink tea and discuss philosophy instead.

When performed by an accomplished master, such as Lo Te-hsiu of Taiwan, Pa Kua is truly beautiful to behold. Theoretically based on the principles symbolized by the ‘Eight Trigrams’ in the I-Ching (‘Book of Change’), Pa Kua is performed by walking continuously in circles using the ‘Lotus Step’, with sudden and seemingly effortless reversals of direction, deep dips and swift swerves, and exquisitely executed turns. The circular path followed in this form is divided into eight sectors, each one governed by one of the Eight Trigrams. Based on the prevailing situation between the opponents at any given moment, each trigram suggests the most appropriate tactic as the Pa Kua combatant passes through the related sector of the circle. The permutations and combinations of moves in this style are countless, and it requires not only a high level of mastery in the form but also a deep understanding of Taoist philosophy as elucidated in the I-Ching to utilize Pa Kua Chang for martial arts competition or combat.

The fighting form of Pa Kua Chang is known as the ‘postnatal’ style and is extremely intricate and complex. However, there is also a slow-motion set that is used purely to cultivate energy, enhance vitality, boost immunity, protect health and prolong life, and this is known as the ‘prenatal’ style. The latter consists of eight elegant manoeuvres, each of which commences with a smooth 180-degree reversal in direction as one ‘walks the circle’ with the Lotus Step. Each manoeuvre in the prenatal style is designed to strengthen particular parts of the body, tonify specific organs and balance energy flow throughout the entire system, while also harmonizing the whole system with the macrocosmic energy fields of Heaven and Earth.

Like Hsing Yi and Tai Chi Chuan, Pa Kua Chang should be learned from a qualified teacher, not from a book, because it involves carefully choreographed sequences of steps and movements, like a dance, rather than just a series of individual exercises, such as the Eight Pieces of Brocade.

Play of the Five Beasts (Wu Chin Hsi)

This is one of the most ancient styles of chi-gung practice in China, dating back to prehistoric times, when the movements of various animals in nature were copied as models for fighting tactics in martial arts as well as for therapeutic exercises, such as the ‘Great Dance’, which was developed to cure rheumatism and other symptoms of excess dampness in the flooded basin of the Yellow River. Some of ancient China’s most famous physicians, such as Hua To and Sun Ssu-miao, adapted various versions of this style as physical therapy for the prevention and cure of disease. The five animals that served as original models for these forms were the bear, tiger, deer, crane and monkey.

This was the style of martial arts which the eccentric Buddhist monk Ta Mo found being practised in China when he arrived there from India around 500 AD. He combined these animal movements with various breathing exercises and yoga postures from India, and the resulting hybrid became the foundation for all subsequent development in the Chinese martial arts. The Shao Lin Temple, which Ta Mo made famous by teaching there, became the creative centre for the Chinese martial arts, and many of the fighting forms which subsequently evolved there and later spread to Korea and Japan can be traced back to the Play of the Five Beasts, such as Shao Lin White Crane, Shao Lin Tiger and so forth.

Chi-gung forms based on the Play of the Five Beasts are primarily styles of martial arts, some of them relatively ‘hard’ and ‘external’, which means that they rely as much on martialling sheer physical strength as they do on guiding internal energy. This makes them particularly effective for building a strong body and developing physical coordination. However, when practised slowly in conjunction with deep diaphragmic breathing, these forms are also good for cultivating and circulating internal energy, balancing vital functions and boosting immunity.

Shao Lin Temple Style (Shao Lin Chuan)

The style of chi-gung practiced at the Shao Lin Temple ultimately became associated more with martial arts than meditation. Ta Mo’s original intention was to fuse meditation and martial arts into a single system of practice based on internal energy work, but in subsequent centuries, the Shao Lin Temple became renowned as the headquarters for China’s greatest martial artists, and students flocked there to learn how to fight. Chang San-feng, the progenitor of Tai Chi Chuan, spent many years of his life living and teaching martial arts at the Shao Lin Temple, as did many other great masters, and consequently a broad range of styles evolved there.

When the Manchus toppled the Ming dynasty in 1644, and took control of China by establishing the foreign Ching dynasty, the Shao Lin Temple became a hot-bed of patriotic Chinese resistance to Manchu rule. Consequently, the Manchus sent troops to burn it down several times, and to hunt down and kill the most renowned Chinese masters, who had become rallying points for those who wished to restore the Ming dynasty. Therefore, for several centuries Shao Lin martial arts went underground and had to be taught in great secrecy in remote mountain monasteries. Fortunately, most of the forms survived this way, and today they are still widely taught and practised throughout Asia.

Some of the rough-and-tumble Shao Lin forms gave birth to the martial arts traditions of neighbouring countries, such as Korea’s Tai Kwan Do, Japan’s Karate, and some of the fighting forms of Southeast Asia. These styles are generally regarded as appropriate only for younger practitioners, due to the stress and strain they put on the body. However, like all forms of chi-gung, even the most strenuous Shao Lin fighting style can be slowed down, softened up and practised in conjunction with deep breathing, thereby transforming it from a martial art into a preventive healthcare and longevity programme. A good example of this versatility is Shao Lin White Crane style, which is one of the most powerful, aggressive fighting forms in the Shao Lin repertoire. When the fighting forms are dissected and broken down into individual manoeuvres, they become excellent chi-gung exercises that may be practised as ‘moving meditations’ for health, longevity and spiritual development.

The Six Syllable Secret (Liu Yin Chueh)

This has already been discussed in Chapter 6 and is mentioned here only to point out that it is regarded as a complete ‘set’ of chi-gung practice in itself. It first became popular as a self-contained set during the Tang dynasty, when it was commonly prescribed along with herbs as a cure for disease. Some of the six basic postures and movements, each of which detoxifies and guides healing energy to one of the six major organ-energy systems, are quite similar to the manoeuvres used in the Eight Pieces of Brocade set. In fact, these exercises may be practised as a general chi-gung set without using the healing syllables, and the healing syllables may be used alone, in conjunction with deep breathing, to help cure disease, even while lying still in bed. The complete set is described and illustrated in detail in my previous work The Complete Book of Chinese Health and Healing.

Standing Pylon (Chan Chuang)

This is a very old style of chi-gung practice that is performed standing in the Horse stance, sometimes with the arms hanging loosely by the sides, sometimes raised up in front as in the ‘Embracing the Tree’ posture introduced in the following chapter. Basically, this is a style of still standing meditation designed to open the energy gates, stimulate complete circulation of energy through all eight channels of the Macrocosmic Orbit, cultivate mental concentration, and develop patience, stamina and strength. Virtually all Chinese martial arts and chi-gung masters teach this form to their students as a basic foundation for other styles of practice. It is a well-balanced style of practice that simultaneously builds physical strength, generates a powerful flow of internal energy, and develops mental clarity and focused attention. Some adepts train themselves to the point that they can maintain this posture for up to an hour or more at a time, and even though there is no physical movement, such sustained periods of practice usually leave the whole body bathed in sweat due to the internal heat produced by the energy which this exercise generates.

Microcosmic Orbit (Hsiao Chou Tien)

This is by far the most popular style of Taoist still meditation and is somewhat related to the kundalini yoga of India. It may be practised in either of the two basic sitting postures or standing still in the Horse stance; the preferred posture is sitting cross-legged on a cushion on the floor

It is referred to as the ‘Microcosmic Orbit’ because it draws energy up from the sacrum (seat of the kundalini energy in Indian yoga) through the Governing Channel along the spine into the head, then down the front of the body through the Conception Channel back to the sacrum, thereby inscribing an ‘orbit’ through the microcosmic ‘universe’ within the human energy system. As energy ascends through the various ‘passes’ along the spine, it becomes increasingly refined and awakens various dormant spiritual faculties associated with the major energy centres, or chakras. When it reaches the upper elixir field centre in the centre of the head, it nurtures spiritual vitality and contributes cumulatively to the gradual awakening of primordial awareness. The upper elixir field also transforms the Earth-generated Fire energy of sexuality from the sacrum into the Water energy associated with the spiritual virtues of Heaven. Thus the energy rises up the spine as Fire and flows back down the front as Water, cooling the chakras, calming the emotions and balancing the excessive Fire generated by temporal life.

As the most basic still form of chi-gung practice, the Microcosmic Orbit is an excellent adjunct to any style of moving chi-gung exercise, such as the Eight Pieces of Brocade set. Generally, it’s best to practise the moving set first, to mobilize energy and balance the body, then conclude with a period of Microcosmic Orbit practice in still sitting meditation to refine, circulate and store energy.