The Connection Between Yue Shi San Shou and Bagua Zhang

Brief Biographies of the Masters

In the later part of Qing Dynasty, Liu Shijun (刘仕俊, 1840-1910), a prominent Chinese martial arts master from Xiong County in what is now Hebei Province, was proficient in Yue Shi San Shou (岳氏散手) – Yue Style Free Hands, which he learned from two monks. He was renowned for his superhuman strength and superb fighting skills in empty hands and with weapons. His reputation was widespread and he was also known as Xiong Xian Liu (雄县刘) – Liu from Xiong County, and Da Gan Zi Liu (大杆子刘) – Big Pole Liu.

Eventually, Liu Shijun’s fame among martial arts circles led him to become chief instructor for the Shen Ji Battalion (神機營) in the Qing capital. While in Beijing, Liu Shijun taught many disciples; among his most accomplished was Liu Dekuan (刘德宽, 1826-1911).

Liu Dekuan was from Cangzhou (滄州), the Martial Arts Town, which was the same area of Hebei Province that Liu Shijun was from. Liu Dekuan began learning martial arts in his youth, training in Baji Quan, and excelling in both empty hands and weapons.  He later became a disciple of Liu Fengang who was the inheritor of Liu He Men (六合門) – Six Harmony Style, specializing in the Liu He Da Qiang (六合大槍) – Liu He Big Spear. He also learned various martial arts and Chinese weapons under the tutelage of Tian Zhankui (田春魁) and Xu Liu. (徐六). Both Baji Quan and Liuhe Men have a routine named Six Harmony Spear. Liu Dekuan was known for his high level of skill with the spear. His nickname was Da Qian Liu (大槍劉) – Big Spear Liu, and his name resonated in Beijing and throughout the region.

Whether Liu Dekuan became a disciple of Liu Shijun while in Cangzhou or later in Beijing is not clear, but he did learn Yue Shi San Shou, Qin Na, and other skills from Liu Shijun. This must have been a unique relationship, since they both came from the same area of Hebei and shared the same surname.

At some point, Liu Dekuan became a disciple of the Bagua Grandmaster, Dong Haiquan (董海川, 1813–1882). Some accounts say that this was at the recommendation of Liu Shijun.

The Connection between Yue Shi San Shou and Bagua Zhang

Having trained in martial arts since his youth, and after having mastered many skills, Liu Dekuan synthesized what he had learned and created the Liu Shi Liu Shi Zi Zhang (劉式六十四掌) – 64 Palm Palms. This sequence uses a linear pattern consisting of eight rows of eight techniques, hence the 64 Palms.

Brief analysis of Yue Shi San Shou – Yue Style Free Hands

Yue Shi San Shou consists of three levels, each containing eight rows or sequences: Shang (上) – Upper, Zhong (中) – Middle, and Xià (下) – Lower. The Middle Level is more complex than the Upper Level, and the Lower Level is more complex than the Middle Level. Sadly, what is being passed down today are only various versions of the Upper Level.

Fighting Concepts

Yue Shi San Shou adheres to the Si Ji (四擊) – Four Methods of Combat, found within Northern Styles of Gong Fu. These are:

Ti (踢) – Kicking
Da (打) – Striking
Shuai (摔) – Throwing
Na (拿)– Seizing.

The Upper Level focuses largely on striking, and each row contains Qin Na techniques. There are also various throwing techniques. In the Middle and Upper Levels, techniques are more complex and use more kicks. However, the core of the art remains Qin Na, the art of seizing and controlling.

Brief Analysis of the Liu Shi Liu Shi Zi Zhang – Liu Style 64 Palm Palms

As stated earlier, Liu’s 64 Palms generally adopt a linear pattern, but there is considerable use of angles and turns. The Bagua concepts of posture and energy must be shown when practicing the techniques. The rows are only practiced on one side and begin with the posture Lao Seng Tuo Bo (老僧托钵) – Old Monk Upholds the Alms Bowl.

Fighting Concepts

The 64 Linear Palms of Bagua also emphasize the Four Methods of Attack. While Ti – Kicking, plays a minor role, Da – Striking, Shuai -Throwing, and Na – Seizing are more evident.

Strikes are mostly executed with the open hand, but there are also some fist strikes. The throwing techniques are ingenious and often use turning actions. At times, throws are combined with Qin Na techniques to gain better leverage. The joint-locking skills are outstanding and versatile.

How Yue Shi San Shou influenced the development of the 64 Palms

The structure of rows is not unique to either Yue Shi San Shou or the 64 palms. Tan Tui, Baji Quan, and Shaolin Jing Gang Ba Shi are just some of the styles that use rows for training fundamental skills. Be mindful that in Chinese martial arts “fundamental” should never be interpreted as easy.

A row is a sequence of defensive movements that are performed in a line. The line might incorporate angles and may contain some turns and spins. But the structure remains that of a pattern that repeats movements.

Eagle Claw

Liu Shijun is considered the forefather of Eagle Claw Gong Fu. He taught his grandnephew, Liu Chengyou (刘成有),who taught his third son, Li Qiwen (劉啟文) and his nephew Chen Zizheng (陈子正, 1865–1933).Chen Zizheng, known asthe Eagle Claw King, created several key forms; among the most important is the so-called “Mother” set, Lian Quan. This form consists of 50 rows and embodies the essential elements of the style. Some rows are repeated three times; other rows are repeated four times. They all begin on the left side and finish on the right. The structure of this form is imbued with techniques from Yue Shi San Shou which can be seen throughout the 50 Rows.

The 64 Linear Palms of Bagua

As with Eagle Claw, the techniques of the 64 Bagua Linear Palms created by Liu Dekuan, although they evolved to contain elements of Bagua Zhang, are heavily influenced by Yue Shi San Shou. Particularly, many of the Qin Na and throwing techniques derive from it. This is to be expected since Liu Dekuan was a disciple of Liu Shijun from whom he leaned Yue Shi San Shou.

Conclusion

This article gives a brief synopsis of the characteristics of Yue Shi San Shou and Liu Dekuan’s Bagua 64 Linear Palms. The connection between Eagle Claw and Bagua Zhang’s Linear Palms is obviously from Liu Shijun teachings. Although he was renowned for the Yue Fei’s Free Hands, he was already practicing martial arts before he met his two primary teachers, the monks Dao Ji (道济) and Fa Cheng (法成).

Since I practice and teach both Yue Shi San Shou and Liu Dekuan’s Bagua 64 Linear Palms, I have a particular interest in researching the connection between these two styles. In a future post I will explore each of these two branches of Chinese martial arts in greater depth.

Look for video clips demonstrating sections of Yue Shi and the 64 Palms.

Note: The photos displayed on this post were digitally enhanced.