Chi Kung. Lily Siou

There are no facts of this period, just stories. Anthropologists tell us that primitive peoples all over the world have basically the same customs and beliefs. It is only through the passage of time that human cultures have become distinct and individual. Each culture gradually evolved from a lower and simpler form of life to a higher and more complex one.

      The art of Ch'i Kung developed in a similar manner. At first, the theory and practice was simple, but the art progressed to more complex and more refined stages. This progression is naturally reflected in the practice of Ch'i Kung, where one starts with the simple and then goes to the complex.

      Before animal husbandry and agriculture, the primitive Chinese lived in caves and survived by anything that came their way. They ate wild fruit, drank the blood of animals, and covered their loins with skins. They had to fight wild beasts and often were hurt of wounded. This is another reason for the development of Ch'i Kung. The cave dwellers needed to be in control of their body energy in order to survive.

      Ch'i Kung also aided them in preventing illness and speeding recovery. Meals were irregular and the food coarse and uncooked. The body was exposed to the weather and subject to much abuse. Stomach trouble and other ailments naturally followed. Through experience, they learned methods to fight illness. For example, when they were ill, they lay still in caves and waited for death. After long experience, they discovered that by not moving or exercising, their bodies decayed and they died. By practicing certain exercises, they learned that the sick could become well again. They also found that exercises helped to maintain good health. These exercises were developed over thousands of years and came to be known as Ch'i Kung.

      These exercises were developed naturally from instinctive responses to illnesses. The most universal symptom of disorder in the living organism is pain. The organism instinctively seeks to find remedies for it. For example, the dog licks its wounds, and eats certain herbs and grasses when sick. A child will naturally stretch its cramped limbs or scratch its itching body to remove these irritations. Such instinctive responses are the origins from which definite curative systems have arisen.

      Primitive man had a very limited knowledge of physical laws or cause and effect. He was in the very first stages of understanding the workings of Nature. The only way for him to explain things was to personify them. He attributed to all inanimate objects his own sentiments and passions, fancying them to be influenced by the same things in the same ways. This tendency to personify or animate everything is universal among primitive peoples.

      Primitive man considered natural phenomena to be alive and to have human characteristics. He was frightened by lightning, thunder, earthquakes, volcanic eruptions, and eclipses. He was in awe of the sun, the moon, and the stars. To him all things were the outward manifestations of the gods, demons, and other powerful forces of the universe.

      Primitive man thought that health and disease were controlled by these forces. Disease, in particular, was regarded as the work of devils or spirits in possession of the body. The possessed could only be cured of infirmity when the intruders were evicted by the application of appropriate incantations. Charms and other psycho-spiritual practices were used as well as martial exercises for health. In the early stages of Ch'i Kung development, the art was once a faith-and-nature healer as well as a martial art.

      Chapter 4: Ch'i kung and the yin and yang

      The Yin and Yang are the source of all things in the universe. It is the motherhood and the fatherhood of creation. Heaven was created by an accumulation of Yang, and earth was created by an accumulation of Yin.

      The way of Yin and Yang is the way of the left and the right. The Ch'i Kung forms and sequences were born from this concept of the Way.

      There are eight feature symbols in the art of Ch'i Kung. The first two are the creative heaven and the receptive earth. They represent the primary division of Yin and Yang in the Ch'i Kung exercises. Under these two, come the elements of fire and water, thunder and wind, and mountain and lake. Each pair is composed of opposites in quality that balance each other. One element is Yin while the other is Yang. Water, wind, and lake are Yin, and fire thunder, and mountain are Yang. Water seeks the lowest ground, while fire seeks to rise into the air. Because fire ascends into heaven and water descends to earth, we can see that Heaven is the accumulation of Yang and earth the accumulation of Yin.

      Yin and Yang are also rest and motion controlled by the Way of Nature or the Tao. Fire naturally rises and water naturally seeks the stillness of the low ground. By the movement of Yin and Yang, Nature creates and nourishes life. Ch'I Kung follows the Way of Nature and controls the movement of Yin and Yang. One learns to create, to nourish, and to harvest the unseen life force.

      Ch'i Kung exercises harness the flowing of the Yin and the Yang. Through the Yin and the Yang, the transformations of the universe come about. Power and strength are brought forth by Ch'i Kung. It is the beginning of creation within the human body.