You are currently viewing 36/24 Song Secrets of  Eight Trigram Palm (Baguazhang)

36/24 Song Secrets of  Eight Trigram Palm (Baguazhang)

Song One: Basic Posture of Baguazhang

Chest hollow, top of the head lifted, waist relaxed and sinking,

Twisting steps, bending knees, firmly grasping the ground.

Shoulders sink, elbows drop, palms extend forward,

Fix your gaze on the tiger’s mouth.

Song Two: Formation of the Basic Techniques of Baguazhang

First the elbows, then the overlapped elbows cover the heart,

Palms flip and collapse, advancing with the heel.

Heel follows the front elbow, combining power,

Front and back palms merge into one spirit.

Song Three: Basic Footwork of Baguazhang

Step with a bent knee, foot extends straight forward,

Resembling the movement of grinding a millstone.

Flex the knees, twist the hips, pivot on the foot,

The leg remains steady from all three sides.

Song Four: Balance of Left and Right Techniques in Baguazhang

Single Whip is not exceptional, it’s suitable to alternate left and right.

Left exchanges with right, right exchanges with left,

Retreat to draw the opponent in, then close the distance.

Song Five: Coordination of Hands and Feet in Baguazhang

As the foot turns, the hand follows suit,

Rear palm penetrates, front palm returns.

Forward and backward, no difference in execution,

Swift and direct like a crossbow arrow released.

Song Six: Requirements for Penetrating Palm in Baguazhang

While penetrating, the palm directly adheres to the elbow,

Rear shoulder transforms into the front shoulder.

Don’t hesitate or stay at a distance,

Footwork is like a compass.

Song Seven: Balancing Internal and External Training in Baguazhang

Chest empties, energy sinks,

Back tight, shoulders droop, arms extend forward.

Energy descends to the dantian through the Spleen and Stomach channels,

Straighten and lift the crown, unifying the spirit.

Song Eight: Three Levels of Practice in Baguazhang

While walking, the whole body remains steady,

Rely on the interaction of the two knees.

For low stance, emphasize flat knees and hip alignment,

For middle stance, lower the leg and waist.

Song Nine: Breathing and Qigong in Baguazhang

Lips pursed, mouth closed, tongue touching the palate,

Breathing solely through the nostrils.

Exhale with a humming sound when exerting force,

Harmonize the Yuan Qi, that’s the key.

Song Ten: Palm Shape and Usage in Baguazhang

Shape the palm like a tiger’s mouth, round and strong,

The middle finger slightly opens the ring finger.

Poke first, then strike, utilizing the wrist,

Relaxed shoulders, elongated waist, and drilling footwork.

Song Eleven: Body Movement in Baguazhang

Step up, bend the knee, and step back to break the opponent’s posture,

Changing palms and steps, lowering the body.

Advance or retreat, retreat or advance, adapt to the situation,

Skillfully arrange the waist and legs.

Song Twelve: Techniques of Advancing and Retreating in Baguazhang

This palm is significantly different from others; lifting the front foot while advancing is beneficial.

When retreating, move the rear foot first, and the hip steps should always be positioned outside, away from the center.

Song Thirteen: Offensive Techniques in Baguazhang

This fist is markedly different from others; the shoulder moves before the hand attacks.

Before extending forward, retract first, fully absorb and then release power independently.

Song Fourteen: Application of Force in Baguazhang

This fist is significantly different from others; power is continuous between the front and rear palms.

To initiate movement, the fingertips lead while the heel follows, ensuring each move remains connected without loosening.

Song Fifteen: Tactics of Striking in Baguazhang

This palm is significantly different from others; the sound comes from the east before the strike comes from the west.

Attacks from above and below are unpredictable, and the coiling of energy exhibits extraordinary capabilities.

Song Sixteen: Three Penetrating Palm Techniques in Baguazhang

The world fears the three penetrating palms; ineffective if adhering to external styles.

When they go outward, I go inward, extending my hand effortlessly to gain the advantage.

Song Seventeen: Utilizing Palms in Baguazhang

Using a palm on one side is insufficient; both sides must be proficient.

Horizontal, vertical, and triangular hands, making the opponent feel trapped within my own grasp.

Song Eighteen: Techniques Against Opponents of Higher or Lower Height in Baguazhang

When facing a taller opponent, desire to lower; when facing a shorter opponent, desire to elevate.

Perform oblique movements, circumventing steps without haste,

Emphasize waist power during turning until force reaches its peak.

Song Nineteen: The Principle of Combining Firmness and Softness in Baguazhang

In martial arts, firmness is crucial, but Guo Lao said that softness hides within.

Some understand its essence, the strength lies in the balance of firmness and softness.

Song Twenty: The Method of Combining Firmness and Softness in Baguazhang

Firmness is in the beginning, while softness is concealed at the end,

Softness leads initially, and then firmness follows.

When others demonstrate softness in their waist and hands, I absorb their force and elevate my stepping method.

Song Twenty-One: Turning Technique in Baguazhang

At the peak of performance, turning becomes necessary,

Evading attacks, transforming shapes without leaving traces.

The secret of transformation lies in footwork,

Entering, exiting, advancing, and retreating require the waist to lead.

Song Twenty-Two: Transmitting Spirit and Power in Baguazhang

Transmitting the spirit through the turning of the neck bones,

Twisting and turning the neck, the hand moves first.

Contracting and extending the neck when changing, resembling a dragon with a connected head and tail.

Song Twenty-Three: The Relationship Between Hands and Feet When Striking in Baguazhang

Striking relies on the hand and shoulder as the root,

If the shoulder is tense, it will not extend.

To advance, step forward, and if stepping back, the spirit should not be wasted.

Song Twenty-Four: The Source and Method of Applying Force in Baguazhang

Force comes from the muscles and bones, where hard bones are accompanied by sturdy tendons.

The big tendon at the foot root connects to the brain and spine,

Applying force while coordinating with footwork can overpower opponents.

  • Jin Zengqi,  Jin Zengqi, courtesy name Xingsan, was a scholar in the Qing Dynasty. He once studied under the tutelage of Yin Fu, a disciple of Dong Haichuan, the founder of Baguazhang, and had a strong desire to interact with other practitioners of Baguazhang. Jin Zengqi was knowledgeable and had an excellent memory, dedicating himself to studying martial arts. As a result, he systematically compiled the technical specifications and terms of Baguazhang that Dong Haichuan and his disciples had summarized in their practice and teaching, and turned them into verses. This was done to better preserve the cultural heritage of the nation.

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