Home, Techniques, The Two Ma's, Cheng Ting Hua, Dong Hai Chuan, Ba-Gua Zhang& The I-Ching, 

Fu Chen Sung, 2004 Annual All Ba-Gua Zhang Tournament 

The other Gao style

Gao Ziying

One of the main baguazhang descendants from Beijing, Grandmaster Gao Ziying started learning Wushu from his father Gao Wencheng at the age of nine. After that he learnt from famed Master Guo Gumin and other famous martial arts masters. His specialities were baguazhang, xingyiquan and taijiquan. He also mastered many weapons forms. He was particularly famous for his skills in pushing hands and holds and locks. He taught the martial arts for more than fifty years during which time he taught many disciples both in Beijing and throughout China.
Gao Laoshi was very easygoing and polite. He liked nothing more than to make new friends. He was not conservative in his teaching and approached the transmission of his art with diligence thus those who loved martial arts and especially his students both loved and respected him.
From 1966 onwards he taught in Beijiing Normal University, Beijing Transport University, Beijing Steel Institute and the Beijing Xicheng Wushu Society. He also taught classes for all in many places. In 1962 he placed second in the Beijing Xingyi competition. His efforts earned him a special award for promoting wushu.
Gao Laoshi served as a lifetime Martial Arts Technical Adviser to the Beijing Baguazhang Research Association. He was also the Honorary Chairman of the Beijing Science Qingbao Centre Wushu Research Association.
Grandmaster Gao authored a number of papers on baguazhang’s 64 Hands.
At the end of his life he was the oldest living expert on baguazhang in Beijing.

Gao Jiwu

In 1942 Gao Ziying’s son Gao Jiwu was born. Gao Ziying’s only hope was that his son could carry on this legacy, promoting martial arts and carrying on the family tradition.
Gao Jiwu is the third generation of the Gao family to carry on the family’s art. He feels heavily the responsibility that has been handed to him but is determined to live up to the task.
Gao Jiwu started learning martial arts at the age of seven from his father learning changquan (longfist) and weapons such as spear straightsword, broadsword and other basic skills. When he reached the age of twenty he really started to learn the internal martial arts of baguazhang, xingyiquan and taijiquan from his father but his main interest was baguazhang. From such a young age he trained very hard. He loved training and made made many friend and, like his father the thing he paid the most attention to was wu de.
In 1984 an Englishman Nigel Sutton came to Beijing and trained with him reaching such a level that in 1986 he was able to win a gold medal in baguazhang at the Tianjin International Invitational Competition. Spectators who knew the Gao Style baguazhang commentated that Nigel Sutton truly demonstrated the flavour of the Gao style baguazhang. Nigel Sutton is now a sixth generation baguazhang disciple and a fourth generation Gao style baguazhang disciple under Master Gao Jiwu. He has established the Zhong Ding International Traditional Martial Arts Association and the Gaoshi Baguazhang International Association of both of which Gao Jiwu is Honorary President and Martial Arts Technical Adviser.
Master Gao Jiwu continues to research, practise and teach. From the beginning of 1980 he served the Beijing Baguazhang Research Association as secretary ; He currently serves as vice-chairman. He is also active as the chairman of the Beijing People’s Sports Association ; In these posts he has done his best to promote baguazhang.
In both 1999 and 2001 Gao Jiwu took part in the Beijing Traditional Martial Arts Competition winning gold and silver medals in the baguazhang category ; Furthermore he is one of the co-founders of the Huairou County Martial Arts School and currently he serves as the Vice-Principal ; He has appeared in television and film demonstrating baguazhang and in 2003 completed a series of vcd’s on Gao style baguazhang ; Gao Jiwu holds the rank of 7th Duan martial arts expert awarded by the All China Wushu Association.


Specialities of Gaoshi Baguazhang

1/
Wu de is very strong,
Theoretical understanding of the art very strong
Bitter training very strong
Gao Ziying learnt in-depth the arts of baguazhang, xingyiquan, taijiquan and dachengquan and combined his knowledge.

2/
Combines xingyiquqn, dachengquan, taijiquan, and the theoretical base of the art in the movements of baguazhang
Gang Jingli (hard power)very strong
Unending changes

3/
Gaoshi Baguazhang pays close attention to changes and how they may be applied
Hard and soft work together
Every move is suitable for fighting, each hand method has its application

INTERVIEW WITH MASTER GAO JIWU BEIJING OCTOBER 2003

NS : Master Gao thank you very much for giving us your time today. First of all may I ask you to tell us something of your training history ?

GJ : I started learning martial arts at the age of seven from my father Gao Ziying. I was born into a martial arts family. My grandfather Gao Wencheng learn baguazhang from two second generation baguazhang masters, Yin Fu and Li Dekuan. Both of these masters were disciples of the founder Dong Haichuan.
The first art I learnt was changquan (longfist) as well as weapons such as straightsword, broadsword, spear and staff. With this solid foundation established, my father began to teach me baguazhang, taijiquan and xingyiquan.

NS : I know that you are a 5th generation baguazhang exponent but you often refer to what you do as Gao style baguazhang. Why is this ?

GJ : This is because my father Gao Ziying did not only learn baguazhang. He also studied xingyiquan, taijiquan and dachengquan. What’s more, all of his teachers in these arts were exponents of the highest level. He learnt xingyiquan from Li Cunyi, taijiquan from Yang Chengfu and dachengquan from the founder Wang Xiangzai.

NS : Did he become a disciple in these lineages ?

GJ : No he didn’t. You have to understand that at that time the masters of all these internal styles were friends and they exchanged knowledge. For example when Gao Ziying learnt xingyiquan from Li Cunyi, he was only in his early teens. He was learning from his father’s friend. There was no need for him to become a disciple.
So to return to why I refer to my art as Gao style baguazhang, this is because my father took his knowledge, experience and skill in all these arts and applied them to his baguazhang.
The strong xingyiquan influence in our family’s baguazhang almost merits it being regarded as xingyibaguazhang !

NS : I have noticed that in Gao style baguazhang emphasis is placed on the hexing bu (crane form stepping) as the basic walking learnt. Only after the student has learnt he xing bu does he go on to learn the more common tan ni bu (mud treading step). This is not the case in many other styles. What is the reason for this ?

GJ : We first practise he xing bu in order to learn four fundamental facets of baguazhang movement. These are song, wen, man and yuan ? Relaxed, stable, slow and smooth.

NS : Is the song in baguazhang the same as that in taijiquan ?

GJ : No ! In baguazhang we concentrate on song in two places,the shoulders and the hips. The rest of the body must have jin (power).
Once the student has begun to manifest the four attributes to some degree he or she is able to progress to the tan ni bu.

NS : What is the purpose of the tan ni bu ?

GJ It is to train the body in basic skills. The exponent learns to sink the hips, to move backwards and forwards smoothly with speed and stability. This ensures that when the baguazhang exponent is in action he naturally has these attributes.

NS : Is there any specific qigong training in baguazhang ?

GJ : We practise zhan zhuang (standing post). My father emphasized this due to his training with Wang Xiangzai. This is a stationery practice but then we have our own moving qigong, which is the first circle-walking form that the student learns, the dingshibazhang (fixed eight forms palms). This form is first practiced with the he xing bu. The stepping is coordinated with the breathing. This form, thus practiced, not only promotes good health but also develops jingli (power).
I know that there is one famous teacher from the Yin Fu lineage (Interviewer’s note Master Xie Peiqi) who taught a whole series of qigong exercises claiming them to be an essential part of Yin Fu’s baguazhang but these are not a part of our curriculum.

NS : Which then, of the baguazhang empty hand forms, is the most important to learn and practise ?

GJ : The most important is the basic dingshibazhang because all the changes come from this form. This is fundamental. After this either the laobazhang (old eight palms) or the lianhuanzhang (continuous palms). In fact in the Gao style baguazhang the lianhuanzhang also incorporates the laobazhang.
The number of forms you learn or accumulate is not important. What is important is the depth of your understanding of the principles embodied in the form.

NS : What about weapons training ? What is the importance of that ?

GJ : (Laughing) Well in the old days if you didn’t know weapons you were at a major disadvantage when facing an armed opponent. Nowadays, however, they are still important for training strength and power. Weapons training teaches you how to use the legs and the waist to develop the most power.

NS : Which weapons then are the most important in baguazhang ?

GJ : The most important are the broadsword, straightsword, spear and the deerhorn knives.
The broadsword used in baguazhang is a large one and is unique to the art. The deerhorn knives are also unique so I emphasise these two in particular.
In our family style there are two weapons forms we practise which were handed down by Liu Dekuan. One is a straightline straightswod set called Fenglun jian, the other is a spear form. Liu Dekuan was famous for his skill with the spear, indeed his nickname was Big Spear Liu and the spear form we practise was developed by him.

NS : Master Gao you noted that weapons training is good for developing power. Do you advise your students to do weight training of any kind ?

GJ : You can train with weights. For example the dingshibazhang may be practiced while holding weights but you must ensure that you still continue to follow the principles and perform the moves correctly.
In my opinion the most important thing is to ¨ lian yi bu lian li¨, that is to train the intent not the strength. This means that correct strength or power comes from correct intent.
What characterizes the internal martial arts is that we train the intent first then the energy (qi) comes from this and finally the strength or power comes from the energy. In Chinese this is referred to as yi,qi,li (intent, energy, strength). In the external martial arts the initial emphasis is on xing, the shape or form. In baguazhang this is not so important unless of course you are talking about demonstration to impress others.
In baguazhang ultimately we train to have yi, qi and li together in the same way that we have both hard and soft supporting each other ; you might say mutually complementing each other.

NS : What would you say was the most essential baguazhang training method ?

GJ : Walking the circle ; always walking the circle. Whenever you have time walk the circle. The other thing is to practise palm changes. What differentiates baguazhang from other arts, its specialities shall we say, are agile footwork and constantly changing palms.
In the 64 hands form there are many palm techniques, all of which may be practiced on bags or trees . In Beijing we use trees (laughter) both to walk around and to hit.

NS : Do you practise pushing hands in Gao style baguazhang ?

GJ : Yes we do but it is not greatly emphasized. We have single-hands pushing hands and double hands shiliroushou (testing strength pliable hands). Through these methods we learn how to develop and use ting jing (listening energy). When you listen in this way you can hear your opponent’s strength and that is the time to attack !
Our pushing hands is different in intent and focus from that of taijiquan pushing hands. In taijiquan we try to be as song and sensitive as possible, focusing on yielding. In baguazhang our power is much more positive and obvious, not hard coming from soft but hard and soft together, supporting each other.

NS : What about other two-person training methods ?

GJ : Well all of the 64 Hands techniques must be practiced with a partner, each taking the role of either attacker or defender.
In some styles this is practiced as a continuous, flowing sequence but we practise only one or two moves at a time.
Certainly the moves may be connected to run together but sometimes the result is a little bit contrived.

NS : Is jingzuo (seated meditation) a necessary or recommended practice in baguazhang ?

GJ : No,. In baguazhang we have standing post but most importantly we have the dingshibazhang. When this is performed correctly the yi naturally sinks to the dantian thus no need for jingzuo.

NS : I know that xingyiquan is an important relative of baguazhang. What do you think is the most important aspect of xingyiquan to train ?

GJ : The five elements ; definitely the five elements because everything else in xingyiquan comes from them.

NS : What about the two-person forms ?

GJ : Not so important. They are additions, changes from and variations of the five elements so you must train the five elements diligently.

NS : You have mentioned that xingyiquan, baguazhang and taijiquan are all often taught together. Is it advisable to practise the neijiaquan (internal martial arts) and the waijiaquan (external martial arts) together ?

GJ : There is no problem with training both together. But you must ensure that you have a good foundation in one system before going on to study another. Good basics are the most important thing. If you train hard in basics so that your legs and waist, in particular, are strong and flexible, then you will have a much better chance of attaining skill in whatever style you study.

NS : Master Gao I know you have been involved, along with other senior members of the Beijing Baguazhang Research Association, in developing a competition form which combines aspects of all the major styles. Could you tell us some more about this ?

GJ : First of all this form was developed for the benefit of both judges and participants in competition. It makes the work of the judges easier and also lays down fairer ground rules for the competitors. But, to my mind, however, it gave to those of us who developed it a chance to discuss and agree on those things which were fundamentally important to all our styles. The end result is that within one form are encapsulated all the specialities of the different styles. It is for this reason that I stress to my students the importance of learning this form, irrespective of whether they are going to enter competition or not.


NS : Many teachers emphasise the secret teachings they have received or the secret skills they have mastered. What is your opinion of this ?

GJ : Some people have a high level of skill but are, by way of character, conservative. They do not want to give out freely what they have worked so hard for. Such people often refer to this or that secret.
Another type of person is the one who does not have much knowledge so he jealously guards what is his
In the case of the first type, they have expended much time, money and effort to acquire something so that they feel their students should do the same.
In the case of the latter, they don’t really have enough to teach so they jealously guard what little they have, again under the guise of secrecy.
My father Gao Ziying was unlike either of these types. He had a great deal to teach and he desperately wanted to teach it. His greatest fear was that his students should fail to attain any level of skill.

NS : I experienced that when I firsts started learning with Grandmaster Gao Ziying and yourself in Beijing in 1984. He was both generous and painstaking in his teaching.
But now to the future Master Gao, what plans do you have ?

GJ : I hope to continue my job of promoting baguazhang. I will continue to serve the Beijing Baguazhang Research Association in any way they require of me. I have a series of vcd’s coming out soon and now that I have retired I plan to write a series of books.
Alos I have great hopes that you will help me to promote Gao style baguazhang throughout the world !

NS : I will certainly do whatever I can to help.

GJ : You can do a lot for after all you were the International baguazhang champion in Tianjin in 1986 …

NS : Yes but I was’ t very skilled then…

GJ : I agree but even though your skill level was not so high all those who saw you perform said that your baguazhang definitely had Gao family flavour !

NS : Thank you.

GJ : So I hope that you will promote the art and keep alive the memory of Gao Ziying Laoshi.

NS : I will do my best. Finally Master Gao do you have any advice that you would like to give to someone who is just starting to learn baguazhang ?

GJ : First of all I would say that the student must be diligent but also that they must make sure that they are learning from a teacher who teaches correctly. Then the student must train bitterly, what we call in Chinese kulian, that is they must be able to work very hard and put up with a great deal of pain. This kulian is a painful process.
At the same time they must be diligent in ensuring that they practise correctly and adhere to the principles. With good basics, a strong foundation, powerful and flexible legs and waist then they will surely make good progress.

NS : Master Gao, thank you very much.

GJ : Thank you.