bengquan

What makes Xingyi’s Bengquan different to a normal straight punch? Part 2: The bow draw.

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manchu_soldiers_2

Chinese archer, photographed in the 1870s

Following on from my previous post about Bengquan, one of the 5 Element fists of Xingyiquan, I want to take a closer look at some of the internal characteristics of the strike.

In learning to do a Bengquan correctly you must first learn the mechanical way to do it, then later you can tackle what should really be going on. By the ‘mechanical way to do it’ I’m talking about things like weight distribution, a slight contraction and a slight expansion as you punch, a counter rotation on the spine between hips and shoulder, and the way the fist continues straight forward like an arrow shot from a bow. Generally, these are the things I talked about in the last article. A lot of this is simply maintaining the requirements of San Ti Shi – the 6 bodies posture – while in motion.

Once you are able to do these ‘mechanical’ actions it’s time to look a little a little deeper at some of the internal aspects.

At this point, we need to introduce the concept of the leg bows, arm bows and the back bow. Together that makes 5 bows, all of which need to be coordinated together to produce a perfect bengquan. The word ‘bow’ is used here in the sense of a bow and arrow – the string can be drawn to create potential energy and released to fire that energy.

beng bows

Arms, legs and spine form the 5 bows.

By utilising the 5 bows we are able to source power from areas of the body that aren’t used in normal movement. The process that co-ordinates the 5 bows working together is known simply as opening and closing. I’m going to try and explain how it works with a bengquan, in a very basic way. Obviously, the situation is more complex than I’m trying to make out, but let’s just go with a basic explanation for now.

I’ve mentioned the muscle-tendon channels before. We try and condition them in the internal arts. They run from the fingertips to the toes on the same sides of the body. The opening, or Yang channels, run roughly along the back of the body. The closing, or Yin channels run roughly along the front of the body.

The connection along these channels start as very weak and difficult to get a sense of, but with repeated conditioning, in the correct manner it can be strengthened, so that the limbs can be manipulated using the channels, rather than by using normal muscle usage. Your muscles are still involved, of course, but you are repatterning the way you use them, so they can be controlled from the body’s centre, known as the dantien.

(Try my free Qigong video course for details on how to do this.)

Think of the channels as elastic connections. You need to be relaxed to access them. If a joint is tense then it reduces your access to the elastic force (hence the constant admonitions to Sung “relax’ in internal arts). Ultimately it is your breath, via reverse breathing that enables you to access these bows. Pulling in along the Yin channels creates the action called closing, and pulling in along the Yang channels creates the action of opening. This phenomenon is observable in most animals in nature. Similarly, in internal arts, one side of the body is always contracting as the other side is expanding, and so on. This opening and closing action enables us to use the ‘bows’ of the legs, arms and back in the same way a bow can power an arrow. There’s a storing phase, and a releasing phase.

While the bows certainly ‘add’ to the power, it’s important not to think of them as ‘additives’ that you can apply on top of the wrong sort of movement. They fundamentally are the correct way the body should move if you are using the muscle-tendon channels.

The image at the top of this post shows a Chinese archer, photographed in the 1870s using what’s known as a recursive bow – the very top and bottom actually curve away from the archer when in a neutral position and are pulled back when he draws the arrow. This type of bow was popular throughout Asia.

Here’s one being built using traditional methods:

https://www.youtube.com/watch?v=F0nEocphm-M

If you think of a recursive bow mapped over the top of a human body, then you get some idea of how the bows concept works.

beng2

Of course, this is just to get the general idea – the overal feel. There are actually 5 bows involved, as I’ve said.

In the last article we looked at how a bengquan has a storing phase of the movement, then an expansive phase of the movement. Now we can form a parallel with the action of drawing and releasing a bow.

However (and Mike Sigman needs credit for pointing this out to me) instead of thinking of the bow as firing an arrow out from your middle behind you, think of the string being pulled inwards towards the shaft of the bow, on the storing/closing cycle, and then released back to normal with a snap on the expansive punching section as you punch. That’s more like what is actually occurring within the body.

In the drawing phase the arms bend, the legs bend and the back bows and the dantien contracts.

The spine would ‘bow’ out. The bottom tip of the spine bow would be the coccyx and the top tip the head.

spinebow3

Spine in a neutral position before the ‘string’ is pulled back towards the ‘bow’.

The flexing and straightening of a leg, for example, is another bow. Same with an arm. All the bows need to be utilised as a team, lead by the dantien, and activated using the muscle tendon channels rather than just local muscle.

On release, the dantien is going down and out, which releases the back bow. The leg bows release which add a vertical component to the power. These combined forces drive and the arm bow to extend on the punching side.

The visual image of drawing a bow has long been associated with Xingyi’s Bengquan because the Bengquan ‘form’ is a perfect training vehicle to work on developing your back, leg and arm bows.  I haven’t mentioned intent (Yi) yet or Jin yet, so there’s more to the story, which I hope to mention next time, but if you’re looking for a way to practice the 5 bows in conjunction with a power release then Bengquan is a perfect mechanism to practice it with.

What makes Xingyi’s Bengquan different to a normal straight punch?

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human fist

Photo by Pixabay on Pexels.com

I got into a discussion about Bengquan, one of the 5 fists of Xingyiquan, a Chinese martial art I’ve written about before, recently, which prompted me to consider what really made a Bengquan different to a regular straight punch that you’d find in any number of other martial arts. I thought I’d just jot down a few of my ideas about it, because that forces me to organise my thoughts, but it has turned into quite a long post. So, apologies for that, but I’m going to post it anyway 😉

Xingyi is the oldest of the 3 big internal martial arts of China. Because it is so old and has gone through the hands of so many different practitioners and been secreted into several different secretive families, who often don’t teach outsiders, there are various different ways of doing Xingyi/Xinyi these days. They all employ different exercises and can look pretty different to each other, so it’s hard to talk generally about XingYi without somebody disagreeing with you. Still, all the different branches of the art remain one family, and you can talk about the art in general to some extent while still making sense. Which is what I’m going to attempt to do.

One thing to note is that historically Xingyi was developed as a barehand adaptation of military spear fighting methods. Ji Jike, (died 1662) also known as Ji Long Feng “God of spear”, was the oldest historically record practitioner. He was a soldier for the Ming Dynasty who found himself on the losing side and had to hand over his weapons and adapt to civilian life. He kept practicing his spear skill but adapted it for barehand work.

These days Xingyiquan is famous for having 5 fists. Each of these is a different kind of strike. Bengquan, “Crushing fist”, is one of the most famous of these fists. It’s representative of the Wood element, and consists of a very direct, forward strike, usually kept low, to the solar plexus or abdomen.

Xingyiquan has been featured in a few movies recently, and it’s its Bengquan that always gets the glory so you can consider it a kind of representative technique for the whole art.

In this scene from The Grandmaster a Xingyi master runs through the 5 fists, ending with Bengquan, then proceeds to fight Wing Chun master Yip Man, who is quite impressed with the Bengquan fist.

 

In the clip he then goes on to fight a second master who is doing a Shaolin art (my guess would be that it’s meant to represent Hung Gar) – it’s interesting to contrast the two styles (something I will be doing below).

What I would consider a good example of Bengquan outside of movies is this XingYi performer Yang Hai, originally from China, but now living and teaching in Canada:

I think most people I know who do XingYi, regardless of their particular style, would regard this performance “good”.

So, the question I want to answer here is what makes what he’s doing a Bengquan as opposed to a regular straight punch? In short, if you were just to punch forward in a straight line, with your body weight behind it, would it be a Bengquan?

Unsurprisingly, my answer is “no”, so let me explain.

Starting at the top of the body and working down, the first thing to look at is the arm movements. One arm is retracting in Bengquan as the other punches – that action utilises the whole body in a very relaxed way because it makes the spine rotate. Nothing is stiff. The arms are working together in harmony, the spine is rotating and the hips are also moving around it.

One hand coming back to the hip as the other strikes is also a feature of the Reverse Punch in Karate. So how is this different? Notice that in Bengquan the two fists cross over the top of each other, rather than being unconnected, and on different sides of the body. (Does the similarity point to a common ancestor? Possibly, back in the mists of time… it’s hard to say).

On a deeper level, the whole action of Bengquan is formed by the opening and closing of the body to move the arms. The section where the hands end up just in front of the body (meeting in the middle) is the ‘close’ part, the section where one hand punches out and the other retracts to the hip is the ‘open’ part. (A half-step Bengquan is where you punch on the close section as well).

The concept of opening and closing goes a bit outside the scope of this article, and involves the dantien usage and back bow, amongst other things, but I’ve talked about it before. You find this opening and closing action in Taijiquan, Baugazhang and other Chinese martial arts.

The question of why the arm retreats all the way to the hip in bengquan is also a good one. It doesn’t initially seem like something that particularly practical to do in a barehand combat situation. (Note different styles of Xingyi retract the arm to different degrees, too). However, I believe it’s there for a couple of reasons. Firstly, considering the spear origins of the art, the hip it’s a natural place to hold the butt of the spear, and where it naturally ends up when you retract after a spear thrust. Secondly, bringing the hand all the way back (an exaggerated movement) helps with the feeling of opening and closing. If you can do it big, then you can (over time) learn to do it small.

Note that if you are doing a Bengquan with a spear in your hands then your other hand cannot retract to the hip while thrusting with the spear (since you are holding the spear with two hands), but apart from this the action is identical to the barehand method. But after the thrust, you’d retract the spear back, so the hand was back at the hip again. So, doing Bengquan with a spear (correctly called Beng Qiang) is repeating the action on one side of the body over and over (until you swap sides), while doing it barehand, you are alternating sides of the body with each punch. Like this:

giphy

The next thing I’d look at is the footwork. in Bengquan you step as you punch. You don’t land your feet, then punch, or punch without stepping. The step is an integral part of the movement. It’s part of the opening and closing of the body and part of the technique. In Xingyi your feet should always be moving.

giphy1

Notice that his back foot stays connected to the floor for a comparatively long time for a stepping-in punch. He’s keeping that ground connection for a long, long time. His body and head are generally kept quite upright – he’s not lunging forward. All this is down to the type of footwork that XingYi uses, where the feet are kept under the body on a comparatively small base, as opposed to a wider stand where you have a longer base.

I believe that part of the purpose of this footwork is to aid a key feature that makes a Bengquan different to a regular straight punch – that is its ability to penetrate deeply into the target.

If you track the path of the fist in this example, it is on a slightly upward but mainly forward trajectory, like an arrow being shot from a bow. It goes right through the target in a straight line. It should be doing damage to anything it contacts on its trajectory, just like an arrow would, not aimed to land at a particular spot.

This feature marks Bengquan out as being different to a lot of punching methods that aim to land in one particular place in time and space. If you look at the path of a typical punch that is ‘swung’ at a target it is mainly swinging in an arc. So you’re timing it to land on the target as you drop your weight forward onto your front leg. That produces power, sure, but I wouldn’t call that a Bengquan as it’s not going through the target like you see in the Bengquan example above. Even if the force then goes through the pad or target, the punch itself doesn’t. To me a typical punch is about “landing on the target with your weight”, like a sledgehammer hitting something. Yes, that hurts and it’s effective, but it’s not what you should be doing in Bengquan. Done correctly it should displace a pad holder significantly. This is much easier to train on a person than a pad holder to be fair, as the contact of the fist on a pad is not the same as the contact of a fist on a body – the body is softer and crumples more as you impact, making it easier to get the right feel.

A key to look for in Xingyiquan, when its applied under pressure, is that the footwork doesn’t devolve into other methods, like say, falling into a long riding horse stance to help make up ground.

Xingyi is a collection of particular body methods (Shenfa)- once you start to lose one of them, the whole thing unravels, and you have… something else.