Andy Lau’s character in Drunken Master II is Zhang Xueliang, the son of Zhang Zhuolin. Zhang Xueliang is regarded as a patriotic hero in the early 20th century. Gong Baotian, Yin Fu’s disciple is the Chief Bodyguard of Zhang Zhuolin, the supreme ruler of Manchuria in the 1920s.
Grappling and throws, groundwork has strong roots in Ming Dynasty China- in the era of heavy armor and knights. Most soldiers in feudal China served as peacekeepers, subduing an opponent on the ground for capture is a necessity in certain applications. Generally, ground fighting is limited if possible during melee situations against multiple armed opponents- however necessary for security purposes or last resort from injury on the battlefield. The feudal Shaolin Arm Bar is labeled as “Straddling a Horse” technique. Liu Jin Sheng in the pic is a Shaolin officer in the Shanghai days of William E. Fairbairn. It is a modern myth Baguazhang contains minimal knowledge of ground fundamentals.
Yin Yuzhang, the son of Yin Fu is remembered for his cleaving Saber methods, utilizing an instrument less than half the length of the iconic Giant Baguazhang saber often instructed in contemporary times. Many Chinese scholars link the cleaving saber to the Pudao in feudal era. The Silky Pudao dates back to the Song Dynasty and remained its emphasis throughout the Qing Dynasty. China is an agricultural continent- the pudao is a rare instrument important to both civil and military airbenders for cultivating qi or vegetables. In feudal times, not everyone had clearance to carry long weapons in certain districts- due to government restrictions at that time. The pudao wielders modified the big knife into a short knife (separating the blade from the pole) and attached the blade to the staff during battle. Yin Fu’s methods undoubtedly emphasize the importance of this long weapon, concealed within the Interlinking Body methods. Live Training Available.
Dong Jun (1186—1233) is a famous ancestor of Dong Haichuan. The Dong family is renown for the ancient battlefield kungfu- which Baguazhang earned its reputation in feudal times. The real Dong Haichuan descended from elite military commanders who are also real people- serving the empire with great contributions to Mongolia and Beijing. Dong Jun is the first deputy marshal and Army General of the Yuan Dynasty, in the era of Kublai Khan. In 1232 he participated in the siege of the Battle of Beijing and died during airbending in 1233. Feudal Baguazhang masters deserve honor for their kungfu with accurate context– the modern Baguazhang sports promotions have shifted considerably from the origin systems.
There is MMA Xu Xiaodong… and there is also YSB Xu Xiaodong- they are both connected to Baguazhang in Beijing. YSB Xu Xiaodong is instructing various hand to hand strategy in the department of the Beijing Armed Police Corps in the pic. Xu adapted simple, concise, fast and effective techniques of Internal Martial Arts to complement the requirements of professionals in the fast-paced information age.
100% of historians and Baguazhang enthusiasts agree- Yin Fu is the Senior Disciple of Dong Haichuan with the most elite demands for martial application [Imperial Guard Commander]. What most do not agree on is the context, and how Yin Style Baguazhang should appear aesthetically, as far as feudal routine training. In contemporary times, kungfu enthusiasts often base imagery from mainstream movies. A classic example: the Baguazhang style demonstrated in ‘The Grandmaster’ motion picture is commonly associated with Cheng Style Baguazhang (or polearm methods in Yin). However, the character in the film, Gong Yutian (Zhang Ziyi’s father) in factual history is built on GONG BAOTIAN- Gong’s system in real life is Yin Style Baguazhang, not Cheng Style. The predicament here… so is the Baguazhang fighter Gong Yutian a badass because of Cheng Baguazhang, or because of Yin Baguazhang polearm usage [the prop left out of the film]? Or is the reason simply modern enthusiasts associate high-level Baguazhang inspired by true history/ presented as fantasy in popular media- to be the most efficient method of learning feudal fighting systems in modern times? [Note: China has plenty of Qing Imperial Guard statues and toy figures as illustrated above. The rest is preference and history!!]
Medieval China is full of mystery, wonder- yet harsh with intensity. Feudal Baguazhang masters utilized the arts for real-world applications in an era which was not forgiving. The historical artifact endured to this day carries genetics often clashing with modern interests… for standard Internal Martial Art enthusiasts. Fortunately, there is something called smart, scholarly, and scientific training which is capable of preserving ancient systems while remaining practical for the modern era.
Wong Kar-wai’s 2013 film, THE GRANDMASTER, features elegant cinematography and artistry of Baguazhang. In the movie, Gong Er’s (Zhang Ziyi) father is Gong Yutian who is an elite Yin Style Baguazhang fighter. Gong Yutian’s character is inspired by Yin Fu’s (right on pic) disciple GONG BAOTIAN (left)- who served as the royal bodyguard of the Dowager Empress Cixi (middle). The style of Baguazhang in the movie is Yin/Cheng Baguazhang Interlinking Body- characterized by smooth coiling and uncoiling actions, dynamic footwork, close-in wrestling, bone strikes, and most importantly Polearm methods of Qing era Bodyguards… An interesting note, Gong Baotian’s LUOHAN Style of Baguazhang is cross-trained by Wutan Bajiquan carrier, Liu Yun Qiao. The Bajiquan fighter (Razor’s character) in The Grandmaster film is based on Liu Yun Qiao’s journeys.