the rum soaked fist: internal martial arts forum

C.J.W. wrote:Overlord,

What do Liuhebafa practitioners -- the ones with decades of experience and in-depth knowledge -- think regarding the origin of the art?

With Gao Bagua, although the founder Gao Yisheng claimed to have learned the post-heaven 64 palms from a mysterious Daoist named Song Yiren 宋異人(送藝人), it is pretty obvious that it was Gao himself who created them by mixing and matching sanshou techniques from Xingyi, Dahongchuan, and Cheng style Bagua. (This view was corroborated by Kang Gewu, the well-known Bagua historian.)

I will pass this question to Strange.
In my opinion he is the only one here to answer this question.

Regarding to Kang Gewu, he also comments Liuhebafa the byproduct of Xingyi, Bagua and Taiji. The funny thing is his grandmaster Jiang Rongqiao a Xingyi Bagua expert, after learning only a half of Liuhebafa attested it’s way too complex to be a byproduct of Xingyi Taiji and Bagua.

Funny you bring up Gao Bagua, not sure what branch of Gao Bagua you are from.
AFAIK in Taiwan, the only Gao Bagua practioner inherited from Zhang Junfeng is Hong Yixiang,
During my visit in Taiwan to Tiger laoshi, A han laoshi and A pei laoshi, and from earliest to late students of Hong, they were not aware that Hong was expelled from Zhang’s school. This is vastly different from what Kenneth had claimed. In fact Hong’s family still got a cassette tape recording Zhang’s last words, he even said that if later on his students find something is missing in the taught techniques they should seek out Hong Yixiang to fill in the gap and complete the study.

CJW,
Chen YiRen's <Liu He Ba Fa> states clearly that LHBF is from Chen Tuan (ChenXiYi).

Chen tried the imperial exams for an official's post; but failed.
disillusioned, he wandered amongst mountains and rivers as an escape
living as a hermit in Wudang, Jiu Shi Yan
later he moved to Yun Tai Guan, at Tai Hua
Spent his time studying the Book of Change and predicted his own death
His writings include:
指玄篇
高阳集
钓潭集
三峰寓言
六合八法
二十四气导引法

after Chen Xi Yi, LHBF succeeded by Li Dong Feng,
next is a Daoist Yuan Tong, next is Wang De Wei, the first to call LHBF, Water Fist,
next is Daoist Yuan Rong, next is passed to Ye and Li (full name unknown), both taught
LHBF to cure sickness, and so on....

So there is no need to think, we already know.
But you are right, those who do not know, may "think" many different things
such as LHBF is derived from other arts.
Jiang RongQiao have do this type of "thinking" before.
He said that 30 years ago i thought the same, after many years of checking and asking
he had proven that LHBF is not related or derived from other arts
this is in the preface of <LHBF> by Chen YiRen, published September 1969

Cheers

Actually should thank Ken for his attention on LHBF.
From Hebei and DuLiu.... quite far away
I do not need to look so far, around 45 min drive i can find ppl practicing different type of LHBF
with official sanction from Singapore MA federation.

from LHBF history, the art is mainly taught is Daoist and Chinese medicine circles.
So I use Zhuangzi dreaming of butterfly
He said he himself is not clear, who is dreaming of whom.

Overlord wrote:Regarding to Kang Gewu, he also comments Liuhebafa the byproduct of Xingyi, Bagua and Taiji. The funny thing is his grandmaster Jiang Rongqiao a Xingyi Bagua expert, after learning only a half of Liuhebafa attested it’s way too complex to be a byproduct of Xingyi Taiji and Bagua.

Funny you bring up Gao Bagua, not sure what branch of Gao Bagua you are from.
AFAIK in Taiwan, the only Gao Bagua practioner inherited from Zhang Junfeng is Hong Yixiang,
During my visit in Taiwan to Tiger laoshi, A han laoshi and A pei laoshi, and from earliest to late students of Hong, they were not aware that Hong was expelled from Zhang’s school. This is vastly different from what Kenneth had claimed. In fact Hong’s family still got a cassette tape recording Zhang’s last words, he even said that if later on his students find something is missing in the taught techniques they should seek out Hong Yixiang to fill in the gap and complete the study.

My exposure to Liuhebafa is quite limited, but from what I have seen (especially Master Kam Tung's demos), I can tell it contains body mechanics (i.e. power generation) that are quite different from the Xingyi and Bagua that I know.

My Gao Bagua is not from Zhang's lineage, and I am afraid I am not at all familiar with the politics that has been going on within the Yizong school.

My grand teacher's father was a wealthy landowner -- and an avid martial artist -- from Gao Yisheng's hometown in Shandong. They had known each other even before Gao began learning Bagua from Cheng Tinghua's student Zhou Xiang. When Gao returned from Beijing as an accomplished Bagua master, he was so impressed by his skills that he hired Gao as his family's live-in bodyguard and private Bagua teacher for both him and his young son. He also helped Gao set up a Bagua school in town and became his very first disciple. (This piece of history and his name are both mentioned in Liu Fengtsai's book on Gao style Bagua.)

As far as I know, my lineage is perhaps the oldest Gao system in existence that predates all other major lines passed down by people who studied under Gao in Tianjin (e.g., Zhang Junfeng, Wu Mengxia, and He Kecai). It is quite similar to Liu Fengtsai's line, but still contains noticeable differences in flavor and movements -- especially in the Post-heaven 64 palms. (One of the reasons being that my grand teacher and his father also learned Xingyi from Shang Yuxiang, and incorporated elements of Shang style Xingyi into their Gao Bagua.)

On an interesting side note, my late grand teacher apparently had mentioned on numerous occasions that when he and his father first began training under Gao, the Post-Heaven 64 palms didn't exist and there was no "Gao style Bagua." Gao would just randomly demonstrate and teach them circle-walking drills and sanshou techniques. It wasn't until later when Gao began to stylize his art and give names to the techniques, and all of the sudden there was the story of this mysterious Daoist who had taught him the "complete" system of Bagua that even Dong Haichuan didn't know....

So if we were to compare the 64 palms from my lineage to the ones in the Yizong school, the first thing you'd notice is that ours are relatively short and simple -- most likely "prototypes" from the days when Gao was still formulating his own art.

"For I was yet scarcely fallen asleep, when I thought that I, together with an innumerable multitude of men, lay fettered with great chains in a dark dungeon, in which, without the least glimpse of light, we swarmed like bees one over another, and thus rendered each other's affliction more grievous. But although neither I nor any of the rest could see one jot, yet I continually heard one heaving himself above the other, when his chains and fetters had become ever so slightly lighter, though none of us had much reason to shove up above the other, since we were all captive wretches. "

LHBF was developed from an old Shaolin form / old Shaolin tradition which mixed together with local styles

A kung fu magazine editor in China interviewed me several years ago, and we chatted about the origin of LHBF. He is a close friend of Wu Ying Wah (son of Wu YiHui), and somehow helped to organize the LHBF association as Wu wanted to preserve the "art of his father". He said folks in the close circle knew that Wu YiHui had very good skills and LHBF was created by him. I have met some people practice and research in LHBF for decades, they hold the own opinion that the style is Wu's creation despite information on the books. His son, Wu Ying Wah expressed LHBF as both "Shaolin and WuDang". There may be some Shaolin element in it. I am fortunate in a way that I can meet those LHBF people who are honest to the art, to the history, and to themselves.

C.J.W. wrote:

Overlord wrote:Regarding to Kang Gewu, he also comments Liuhebafa the byproduct of Xingyi, Bagua and Taiji. The funny thing is his grandmaster Jiang Rongqiao a Xingyi Bagua expert, after learning only a half of Liuhebafa attested it’s way too complex to be a byproduct of Xingyi Taiji and Bagua.

Funny you bring up Gao Bagua, not sure what branch of Gao Bagua you are from.
AFAIK in Taiwan, the only Gao Bagua practioner inherited from Zhang Junfeng is Hong Yixiang,
During my visit in Taiwan to Tiger laoshi, A han laoshi and A pei laoshi, and from earliest to late students of Hong, they were not aware that Hong was expelled from Zhang’s school. This is vastly different from what Kenneth had claimed. In fact Hong’s family still got a cassette tape recording Zhang’s last words, he even said that if later on his students find something is missing in the taught techniques they should seek out Hong Yixiang to fill in the gap and complete the study.

My exposure to Liuhebafa is quite limited, but from what I have seen (especially Master Kam Tung's demos), I can tell it contains body mechanics (i.e. power generation) that are quite different from the Xingyi and Bagua that I know.

My Gao Bagua is not from Zhang's lineage, and I am afraid I am not at all familiar with the politics that has been going on within the Yizong school.

My grand teacher's father was a wealthy landowner -- and an avid martial artist -- from Gao Yisheng's hometown in Shandong. They had known each other even before Gao began learning Bagua from Cheng Tinghua's student Zhou Xiang. When Gao returned from Beijing as an accomplished Bagua master, he was so impressed by his skills that he hired Gao as his family's live-in bodyguard and private Bagua teacher for both him and his young son. He also helped Gao set up a Bagua school in town and became his very first disciple. (This piece of history and his name are both mentioned in Liu Fengtsai's book on Gao style Bagua.)

As far as I know, my lineage is perhaps the oldest Gao system in existence that predates all other major lines passed down by people who studied under Gao in Tianjin (e.g., Zhang Junfeng, Wu Mengxia, and He Kecai). It is quite similar to Liu Fengtsai's line, but still contains noticeable differences in flavor and movements -- especially in the Post-heaven 64 palms. (One of the reasons being that my grand teacher and his father also learned Xingyi from Shang Yuxiang, and incorporated elements of Shang style Xingyi into their Gao Bagua.)

On an interesting side note, my late grand teacher apparently had mentioned on numerous occasions that when he and his father first began training under Gao, the Post-Heaven 64 palms didn't exist and there was no "Gao style Bagua." Gao would just randomly demonstrate and teach them circle-walking drills and sanshou techniques. It wasn't until later when Gao began to stylize his art and give names to the techniques, and all of the sudden there was the story of this mysterious Daoist who had taught him the "complete" system of Bagua that even Dong Haichuan didn't know....

So if we were to compare the 64 palms from my lineage to the ones in the Yizong school, the first thing you'd notice is that ours are relatively short and simple -- most likely "prototypes" from the days when Gao was still formulating his own art.

Hi CJW
Didn’t know you are from Wu Jinyuan lineage if I am correct,
it’s really a lineage I don’t know much about! Thanks for the information!

You are right, LHBF and Xingyi Bagua is totally different body mechanics.
Out few LHBF people I encountered two schools really impressed me,
1, Lu Ziyun school, where Strange is from. It’s very natural but very unnatural. And i assure you it’s very applicable.
2, Kim Tung school, it’s very painstaking precise and extremely complex and detail.

Over

suckinlhbf wrote:

LHBF was developed from an old Shaolin form / old Shaolin tradition which mixed together with local styles

His son, Wu Ying Wah expressed LHBF as both "Shaolin and WuDang". There may be some Shaolin element in it. I am fortunate in a way that I can meet those LHBF people who are honest to the art, to the history, and to themselves.

Brother, can you help to show some article, publication, book written by Wu YingWah?
My opinion is that for this sort of matter, some form of published article is most reliable
thanks

Chen YiRen's opinion is that there have always been a fluid exchange between ppl and schools; and as such it is very difficult to trace an exact source. My teacher told me that the current LHBF has been modified once; but did not go
on to further elaborate on the details.

As a student, i follow what my teacher taught me.
If one is to say that i am spreading fairy-tales; i can assure you my teacher's skill is very real.
Of course, there are in existence many ppl who are much higher talent than i am.
in this case, to me, an analogy i would use is like someone try to learn capoeira but do not like the music.
is it possible to change the music? ; surely it is possible.
is it capoeira if the music is change?; this question I am not able to answer, i am not so high level.

can you help to show some article, publication, book written by Wu YingWah?

Its from their personal conversation. Well, the publications to the public are something else. It doesn't bother me at all. CMA is a big piece of puzzle. Everybody gets his own piece/pieces so is his style. It can be named as whatever, lhbf, abcd, efgh.....etc. The core and principle are the essence, and a style gives a path to get to the same destination.

there have always been a fluid exchange between ppl and schools; and as such it is very difficult to trace an exact source

We do have exchanges, and we work on techniques, powers....etc in the direction of Five Words Song, and LHBF Song. We also work a lot on the jin and feeling. Richard is a student of Chen. We got together every week before he passed away to get the feeling from his touch hand with Chen. Ken is the student of Wan, and we do the same on what Wan has passed on. We study and compare the difference of Chen and Wan through crossing hands. It is quite interesting. We try to get things fit into Five Words Song and LHBF Song, and how to understand the two songs. It's our cap. For sure you know where the two songs come from. I did the same with a student of Wang XiangZhai. Our path is different so are the experience and thinking. I went to join Capoeria years ago but never started training. I think rhythm work better than music.

六合八法拳追根溯源

作者：吴英华

　一、华岳心意六合八法拳创立与发展
　　
　　中华武术种类繁多，能独立发展，迄今巍然屹立，流传于后世，实有其存在之价值。
　　据传，“心意六合八法”拳术创始人系陈抟老祖，宋太宗赐名希夷先生，所谓听之不闻，名曰希，视之不见，名曰夷，抟之不得名曰微，字图南，自号扶摇子，亳州真源人，自幼聪明过人，及年长，好读《易》，手不释卷。后唐长兴(930－933)中，举进士不第，遂不求仕禄，以广游名山胜水为乐，隐居于武当山九室岩中，服气辟谷。后移居华山云台观。宋太宗待之甚厚。某年端午初，自知死期，遂呼其弟子贾德升者，凿石为室，石室成，卧化室中，在今之莲花峰张超谷中。著有《指玄篇》、《太极图》、《先天图》、《高阳集》、《钓潭集》、《三峰寓言》、《心意六合八法》、《廿四气导引内功》。
　　陈祖之后世，据传有李东风者，居隐山、距鹿东南十二里，山峦崎岖起伏，望之常有云气。李东风隐居于此，精研“心意六合八法”，接希夷之体钵。继传关杰、刘韵声二氏，流传于晋豫之间，他创编五字诀和歌诀。
　　宋元通道人入太华学剑，为中条老姆派，日法剑，必得英豪绝俗、正直无私者而传之。
　　传至王德威氏，六合八法易名“水拳”，王德威氏，陕西咸阳大魏村人。传道人圆融习宋元通八法，故流传于川陕一带者为“元通八法”。
　　李梨、张继善诸氏，惜不详居址，仅知李氏传授潘致和，由其传授房山杨景群，以心意六合医病亦为先天十二势，及李蝉、陈鹤侣、达远诸氏。
　　清道光年间，释门达远之弟子陈光第为心意六合八法之正宗。陈氏系河北昌平黄花镇人，精风角奇门六壬，喜邀游，幼年经商开封时，遇李蝉道人，习心意神功。又范固国者(黄河北崖范家滩人氏)精技击，凡乡里著称之拳师无不走访求教。后因不足所欲，乃积资游迹江湖，以期有所遇。行抵关中，结识李蝉道人，遂同往南阳玄妙观，学习心意六合内外神功及大乘，小乘玉川等剑法。凡五载，技术精进，得其要旨，时陈光弟与刘养真至南阳遇李蝉，从谈古今甚相得，乃贽为弟子，与范固国朝夕琢磨，对李师所授，视为金科玉律，精心研究，颇得心得。
　　先父吴翼翠晓口渝我等：各地武术皆有其风格特点，参合融化同出一宗，不可仅以刚柔缓急而判定是非。夫拳之为术，万法分流，归宗大海，其理皆一。内养心性，外修形体。八法为先天之学，主于诚，至理之学非至诚而不能达理，所谓心正而意诚，意诚可以通神叫，习之有祛病健身之功，老幼咸宜。
　　
　　二、华岳心意六合八法拳谱各势次序及名称
　　
　　1　停车问路　2　临崖勒马 3　闭门推月　4　拨云见日 　5　临崖勒马　6　摘星换斗
　　7　鸿雁双飞　8　闭门推月 　9　孤雁出群　10　野马追风 　11　川流不息　12　伏虎听风
　　13　声东击西　14　青龙探爪 　15　丹成九转　16　拨云见日 　17　顺水推舟　18　驽马回头
　　19　瓶花落砚　20　高山流水 　21　僮儿送书　22　樵夫担柴 　23　天官指星　24　五云捧日
　　25　托天盖地　26　燕子抄水 　27　朝阳贯耳　28　截手双推 　29　熏风扫叶　30　燕子衔泥
　31　灵猿摘果　32　猛虎回头 　33　旋转乾坤　34　风摆荷叶 　35　掩手神拳　36　琵琶遮面
　　37　流星赶月　38　燕子斜飞 　39　丹凤朝阳　40　翻江搅海 　41　倒骑龙背　42　狸猫扑蝶
　　43　抽梁换柱　44　风卷残云 　45　蛰龙现身　46　乌龙摆尾 　47　平分秋色　48　走马观花
　　49　魁星献斗　50　燕子穿云 　51　提手七星　52　雁字横斜 　53　黄龙转身　54　五圣朝天
　　55　叶底藏莲　56　凤凰展翅 　57　白鹤啄食　58　月挂松梢 　59　倒揭牛尾　60　童子抱琴
　　61　犀牛望月　62　鹞子穿林 　63　赤龙搅水　64　风动浮萍 　65　气升昆仑　66　存气开关
　　
　　三、华岳心意六合八法名称之意义
　　1、吾宗心意法
　　六合为体，八法为用。以心意神为，心意为先渠，形似神同形神合一。
　　2、六合
　　(一)体合于心 (二)心合于意 (三)意合于气
　　(四)气合于神 (五)神合于动 (六)动合于空
　　
　　3、八法
　　一是气：行气集神 　二是骨：骨劲内敛 　三是形：化象模仿 　四是随：圆通策应
　　五是提：顶悬虚空 　六是还：往来还复 　七是勒：定静守虚 　八是伏：隐现藏机
　　达到开合升降，化象虚空，神形清灵，动定静通。
　　
　　4、行功十六字
　　一吸便提，气气归脐，一提便咽，水火相见。
　　
　　四、华岳心意六合八法拳学五字歌诀及解释
　　
　　心意本无法，有法是虚无； 　虚无得自然，无法不容恕。 　放之弥六合，包罗小天地；
　　释家为圆觉，道家说无为。 　有象求无象，不期自然至； 　要学心意功，先从八法起。
　　养我浩然气，遍身皆弹力； 　见首不见尾，无象亦无意。 　收放勿露形，松紧要自主；
　　策应宜守默，不偏亦不倚。 　视不能如能，生疏莫临敌； 　动时把得固，一发未深入；
　　审机得其势，乘势击与顾； 　刚在彼力前，柔乘彼力后。 　彼忙我静待，攻守任君斗；
　　步步占先机，时时要留意。 　蓄力如弓圆，发劲似箭直； 　悟透阴阳理，刚柔互参就；
　　调息坎离交，上下中和气； 　守默如坐禅，动似蛰龙起。 　虚灵含有物，窈窈溟溟趣；
　　忽隐又忽现，息息任自然。 　避免敌重力，原来自我始； 　双单可分明，阴阳见虚实。
　　虚引敌落空，欲收放更急； 　两腿似弓弯，伸缩腰着力。 　臂脊须圜抱，内外混元气；
　　息念要集神，仿佛临大敌。 　目光如流电，精神顾四隅； 　前四后占六，掌握三与七。
　　形动如浴水，若履云雾霁； 　飘飘乎欲仙，浩浩乎精虚。 　意动似惧虎，气静如处子；
　　犯者敌即仆，五总九节力。 　欲学持有恒，升堂可入室； 　显隐无与有，凝神寻真谛。
　　妙法有和合，离尘空虚寂； 　拳拳得服膺，道理极微细。 　欲动似非动，静中还有意；
　　息念气自平，默默守太虚。 　无根筑基法，蕴藏皆珠玉； 　说难亦非难，看易本非易；
　　有志事竟成，世间无难事； 　欲学果有诚，久恒与智慧。 　华岳希夷门，力行最为贵；
　　神意要集中，推动转轮器。 　一触力即发，使敌难回避； 　欲松似非松，欲紧未着力；
　　运使求均衡，螺旋循环气； 　逢敌莫惶张，开合收与放。 　见形寻破绽，丝毫不相让；
　　腕肘肩胯膝，足踏手脚齐； 　节节力贯串，处处无乘隙； 　呼吸细绵绵，升降缓而急。
得法可应变，有术方为奇； 　法术二而一，缺一不能立。 　两手轻轻起，曲伸无断贯；
　　转移有曲折，形似游龙戏。 　纵横与起伏，阴阳运行数； 　意动气相随，关节含蓄力。
　　舒筋活血脉，荣卫得适宜； 　一吸气便提，气气可归脐； 　一提气便咽，水火得相见；
　　精研内外功，心虚腹要实。 　率然取其势，首尾不相离； 　奇正得相生，动静随心欲。
　　粗成五字诀，后学莫轻视。
　　拳以劲为上，以法为贵，懂劲知法者上乘，懂劲无法为中乘。无法而不懂劲者下乘也。懂劲难，知法亦难，故学拳难，知拳更难；应由练习时注意曲折，不在形势而在精神转换，切勿偏重理论，忽略实践一，因学拳以动为先，这种动是精神与肢体的运使，是精神合心意的支配，窃怯冥冥之谓也，以静求动，难动于形，而静于心意千变万化，其理皆一，若非功深日久，则不能得心应手也。
　　五总九节力：即肩、肘、腕、胯、膝、头、脊、腰、足为九节，掌心、顶心、脚心为五总，又名五心相印，力从脊出，是胸含腰耸，脊背力圆(心房固)，肩松即是脊力送，而后肘沉，力复达于腕底，其力发于掌指也，实与胯坐膝曲腰撑缩，足平踏，腰伸足指叩，颈项竖立，合成为五总九节之力也。
　　时配中气下行，集神气沉，丹田根固，尾闾中正，始于心肾相交，坎离相合(即心肾)先天于后天相接，即元阳达于气海，气海者(即丹田)化合体肢而出，难云是力，实气之结晶，即所谓发劲是也。
　　因九节有伸缩之能，合于五总，其弹力自生，而后法定，法定而后术行。
　　法者，是有规律之定法，要配合应变，审动静之虚实，法难有度，不为法所限，能用法，而不泥于法为止乘，善谈法者下，若无法者谬矣。心意本无法，即经典以外所传者心法也。(为口传心意)故不言法，(佛说有一切心，我有一切法此也)。
　　术者，肢体锻炼，结构间架，合乎运行，使内之精气，趋动形骸，不得有迟滞之虑，术以纯熟，心手相忘，法有虚实，动静裕如，应变有方，出奇制胜，人不能知，神妙莫测，故法术二而一，缺五不能立也。
　　
　　五、心意六合八法论架子与姿势
　　
　　拳的架子，和运使动作之姿势，全部在形势上与精神上，有密切在联系，凡于练习时，可高可低，可大可小，亦无新旧之别，可单操，又能联合次第，作拳路演习，有循环伸缩，有螺旋起伏，有升降纵横的转换，运使关节，舒展骨骼，使血脉流通而不凝滞，用以开合伸缩作姿势的联系，其架子之形势，与姿势的转动，务要联络一贯，不能断续分开，势分为上中下三盘(即三体)，以意为主，以气为辅，圆润灵敏，行气九转，连贯九节，泯没定象，使之不露棱痕，血行于内膜，气行于关节，所谓柔中之刚，练成刚中之柔，不浮滑，不凝滞，要在姿势与架式之中注意与无意之意，要使有态势的架子寻得无架子的姿势，要琢磨架子之起点，和行动中的姿态，与收缩起伏纵横收放的结构，分清了架子，是与姿态动态有密切的关系，即才能组成了一个完全的拳式，这是拳术中极为重要的一种关键。
　　
　　六、李东风心意六合八法歌决
　　
　　六合八法始于心，心意源关神主之。 　虚无自在静中动，静中养息调精气。
　　精气相交意相和，趋动形骸无迟滞。 　刚柔进退意相随，绵绵密密在胎息。
　　筑基无欲养元神，学得此法永于生。 　欲知有象原无象，固守虚无运坎离。
　　
　　七、华岳心意法内篇
　　
　　吾宗心意法，为希夷门内养心法，外修形体，心平息万有，为行工之基，有形之躯，用以无形相佐，一气之流行也。夫天地之间，非气不运，非理不宰，气理相合而不相离，故法以调息养气为主。气平心定，心定而后能静、静则动、动则通，通则久、久则变化无穷，易云；寂然不动、感而遂通，释日圆觉、道日金丹、儒日太极，一切事物之由来，静定工夫，不期然而自至，无极之真机寓矣。
　　道以诚而入，以默而守，以柔而用，用诚似愚，用默似纳，用柔似拙，夫如是，则可以忘形，可以忘我，可以忘忘，入道者知止，守道者知谨，用道者知微。知止则慧光生，知谨则圣智全，圣智与道一是为真忘，惟其忘不忘，忘无可忘者，即是真道也。
　　知神气可以长生，固守虚无以养神气、神行即气行，神住则气住，所谓意是气焉。行止相随，若欲长生、神气相住，相住者即是神气不相离、心不动念、无来无去、不出不入、自然长住。
　　
　　坎离诀
　　我家端种自家田，内有灵苗活万年。 　花似黄金色不变，掌中玉耘果皆圆。
　　栽培全赖中宫土，灌溉须凭上谷泉。 　若知返本延年乐，登到彼岸不须船。
　　来虑除情绝忘念，拴住意马锁心猿。 　功课一朝全造化，长生不老寿同天。
　　
　　蛰龙诗
　　识破乾坤颠倒颠，金丹一粒是天仙。 要寻莫向深山里，说破无非在眼前。
　　忙里偷闲调外乐，无中生有采先天。 从来认得生自处，下手工夫自口传。

Brother Stange,

Here is an article from Wu Ying Hua on searching for the root of LHBF. One of the teacher of his father was 释门达远之弟子陈光第为心意六合八法之正宗.

My Brother, thank you.
to my rough and simple understanding the passage says that Chen Guangdi is a student of buddhism under his
teacher Da Yuan. I do not take it to mean LHBF comes from Shaolin; but maybe i can be wrong.

"风角"
yes, we know only of fengshui; not many have heard of feng jiao, meaning divining of event by listening
and feeling the direction/angles of wind

"风角"

Thanks, Brother Strange. It is ancient and deep. Your words always have meaning behind.

I kind of lose your email address. Please PM me. Going to send you something.