The Early History and Development of Bajiquan

Bajiquan, one of the most distinctive martial arts of northern China, has long been celebrated for its explosive power and battlefield effectiveness. Today, it is translated as “Eight Extremes Boxing” (八極拳), but the name has undergone multiple transformations throughout history. In its earliest forms, the style was sometimes referred to as “Rake Fist” or “Cultivator’s Fist” (耙子拳), a reference to the hooked position of the hands, which resembled agricultural tools. The origins of Bajiquan are usually traced back to the late Ming dynasty (1368–1644), although the style fully flourished during the subsequent Qing dynasty (1644–1911). Its name carries the notion of striking to the farthest limits in eight directions, symbolizing the explosive power that defines the art.

Bajiquan became known not only for its technical characteristics but also for the men who practiced and transmitted it. Many of its exponents were involved in military service or served as bodyguards to government officials and even the emperor himself. Through this unique social positioning, the style acquired the reputation of being the “bodyguards’ art.” Over the centuries, Bajiquan developed from a regional family tradition in Mengcun village into a martial system recognized throughout China and, eventually, across the world.

The Origins of Bajiquan

The early history of Bajiquan is clouded in legend, family oral traditions, and fragmented manuscripts. One of the most frequently cited early transmitters of the art was Zhang Sicheng (1642–1739), a native of Sichuan. According to family records, Zhang became entangled in conflicts during the fall of the Ming dynasty, when loyalist rebels fought against the newly established Qing dynasty. After killing members of the Qing army, Zhang fled his native province and disguised himself as a wandering Daoist or Buddhist monk. Because of his reluctance to wear proper monastic robes, he was given the nickname “The Lazy-robed Monk” (懶披裟和尚).

In 1727, Zhang arrived in Shandong province, where he encountered a Hui Muslim named Wu Tianshun and later taught martial techniques to Wu’s son, Wu Zhong (1712–1802). Other traditions record this wandering figure not as Zhang Sicheng but as Lai Daoshi (賴道士), a real Daoist monk and spear expert. It is possible that over time, the characters “Lan” (懶, lazy) and “Lai” (賴, surname Lai) were confused in oral transmission, creating two versions of what may have been the same person. Regardless of the precise identity, this master transmitted martial teachings that became the nucleus of Bajiquan.

Wu Zhong and the Foundation of a Style

The true consolidator of Bajiquan was Wu Zhong, who became the first recognized master of the style. Wu Zhong lived in Mengcun village, Hebei province, an area that later became synonymous with Bajiquan. His martial reputation was built not only on empty-hand techniques but also on his mastery of the spear, learned from Lai Daoshi. His skill earned him the title “Divine Spear” (神槍). Historical accounts suggest that Wu Zhong traveled extensively in northern China, including to Beijing and possibly to the Shaolin temple, where he exchanged techniques with other martial artists.

By 1775, Wu Zhong returned to Mengcun and began teaching members of his family and community. Among his most prominent disciples were Wu Rong, and his nephew Wu Ying (1766–1852). Wu Ying in particular became an important figure, not only as a martial artist but also as the custodian of manuscripts that recorded Bajiquan’s methods. With Wu Zhong, Bajiquan began to take on the form of a structured system, rooted in family lineage, yet open to influences from spear and battlefield combat methods.

Expansion Through Generations

After Wu Zhong, Bajiquan expanded steadily through successive generations of disciples. In the third generation, important figures included Li Dazhong (1810–1874), Wang Changxi, and Zhang Keming (1812–1882). Li Dazhong, nicknamed “Iron Fingers,” was both a military officer and a battlefield fighter. He befriended Li Yunbiao (1812–1868), a general renowned for Piguaquan and Tongbeiquan, with whom he exchanged techniques. From this period onward, Bajiquan was often paired with Piguaquan, creating a complementary system that combined Bajiquan’s close-range explosiveness with Piguaquan’s long, whipping strikes. Though considered separate lineages, the two schools were so frequently practiced together that a proverb emerged: “When Baji joins with Pigua, gods and demons tremble; when Pigua joins with Baji, even heroes sigh knowing they cannot compete.”

The fourth generation continued this expansion. Li Guicao, the son of Li Dazhong, and Huang Sihai (1829–1914), another army officer, carried the style into new regions. Zhang Jingxing (1843–1929), the son of Zhang Keming, later brought Bajiquan into Tianjin, where he taught a wide circle of students. Meanwhile, in Mengcun, the Wu family maintained its transmission, with Wu Ying passing down manuscripts to his descendants.

The Era of Famous Masters

The late Qing and early Republican era (19th–20th centuries) was a turning point for Bajiquan. During this time, the art was no longer limited to small villages but spread into cities, military academies, and even the imperial court.

Perhaps the most legendary figure of this period was Li Shuwen (1864–1934). Born into poverty in Cangzhou, Li had been sold as a child to a traveling performance troupe. After suffering a leg injury, he left the troupe and apprenticed himself to Huang Sihai. Li became renowned for both his Bajiquan and spear skills, earning the fearsome nicknames “One Strike Kill” and “Divine Spear Li.” His reputation was cemented by duels and military engagements, where a single palm strike was said to have killed opponents. Li Shuwen’s many disciples—including military officers, martial artists, and bodyguards—spread Bajiquan widely in Beijing, Tianjin, and Henan.

Another towering figure was Wu Huiqing (1869–1958), who studied under his uncle Wu Kai. Wu Huiqing was an imposing man, over 1.8 meters tall and weighing nearly 100 kilograms. He cultivated both external and internal strength, practicing qigong, iron palm, and weight training. After fleeing Mengcun following a fight with Qing officials, he established himself in Liaoning province before eventually returning to his native village. There, he collected family manuscripts and codified them into the “Wu Style Opening Gate Bajiquan Secrets Manuscript” between 1927 and 1930. His work ensured that Bajiquan’s knowledge would not be lost during a turbulent period in Chinese history.

The Republican era also saw Bajiquan enter formal martial institutions. Ma Yingtu (1898–1956), along with his brother Ma Fengtu, trained under Zhang Jingxing and Zhang Yuheng. Ma Yingtu became known for his ruthlessness and military exploits, later serving as chief instructor at the Nanjing Central Martial Arts Institute, where he oversaw the Shaolin department. His career highlighted the integration of Bajiquan into national-level martial training.

Another iconic master was Huo Diange (1886–1942), a direct disciple of Li Shuwen. Huo’s skills earned him the role of personal bodyguard to Puyi, the Last Emperor of China. His fame grew after defeating Japanese judo and karate masters in public matches, further enhancing Bajiquan’s reputation. His nephew, Huo Qingyun (1905–1982), continued his work, eventually teaching hundreds of students in Changchun after the founding of the People’s Republic.

Meanwhile, Zhang Litang (1893–1967), a wealthy young man who had trained under Li Shuwen, became an officer and later a respected martial teacher in Beijing. There he founded the Exchange Wushu Association, where he collaborated with Taiji and Bagua masters, ensuring Bajiquan’s survival in urban martial circles.

Modern Transmission, Hunyuan Bajiquan

By the mid-20th century, Bajiquan had branched into several prominent lineages, each with unique characteristics. Zhang Xuchu (1927–1994), a student of Zhang Litang, enriched his practice with Chaquan, Tantui, and Shaolin Liuhequan, while promoting Bajiquan both in Beijing and internationally. His student Chen Xiang went even further, integrating Daoist Dragon Gate Qigong and Hunyuan Taijiquan into his Bajiquan practice. Chen described this synthesis poetically, saying he had “given wings to the leopard”—a metaphor for enhancing Bajiquan’s already explosive power with refined internal energy, giving birth to Hunyuan Bajiquan.

The Wu family of Mengcun remained at the center of Bajiquan transmission. Wu Lianzhi (born 1947), a direct descendant of Wu Zhong, became the most active promoter of the style on the global stage, teaching what is known as the “Open Gate” (開門) Bajiquan. In addition, the Gao family of Tanggu, the Ji family of Langerkou, and the Qiang family of Zilaitun preserved important regional branches.

Technical Characteristics of Bajiquan

The uniqueness of Bajiquan lies in its technical principles. Unlike arts that emphasize continuous combinations or long-range movements, Bajiquan specializes in sudden, devastating strikes delivered at close range. The hallmark of its philosophy is “one position, one strike” (一招一勢): each movement is simple, direct, and complete in itself. Power is expressed explosively, often in the moment the lead foot touches the ground, creating a full-body release of force.

Central to training are the Six Openings (六大開, Liudakai): pressing (頂), embracing (抱), whipping (單), lifting (提), carrying horizontally (挎), and spiraling (纏). At advanced levels, these powers are unified into a seamless expression of energy. Classical sayings describe Bajiquan as “fierce and violent” (剛猛暴烈), “explosive and piercing” (崩撼突擊), and “moving like a bow and striking like thunder.” Its explosive quality has long been compared to the sudden pounce of a leopard, further reflected in its training ethos of compact, coiled readiness followed by violent release.

Because Bajiquan is close-range in nature, it has often been paired with long-range styles such as Piguaquan and Tongbeiquan. The complementary relationship of these systems ensured that practitioners were prepared for both near and far combat, a necessity on historical battlefields.

Conclusion

The history of Bajiquan illustrates the evolution of a martial art from a local tradition to a national and international heritage. Beginning with the shadowy figure of Zhang Sicheng or Lai Daoshi, crystallized by Wu Zhong in Mengcun, and spread through military officers, bodyguards, and martial institutions, Bajiquan grew to embody both cultural heritage and practical combat. Its masters—Wu Zhong, Li Shuwen, Wu Huiqing, Ma Yingtu, Huo Diange, Zhang Litang, and many others—represent not only martial excellence but also the adaptability of Chinese martial arts to changing social and political landscapes.

Technically, Bajiquan remains distinctive for its explosive power, its “one strike, one kill” philosophy, and its integration with spear techniques and complementary systems such as Piguaquan. Through family preservation, institutional teaching, and modern revival, Bajiquan continues to thrive. Today, figures like Wu Lianzhi and Chen Xiang carry forward the tradition, ensuring that this once-village style remains a vibrant part of global martial culture.

Bajiquan’s journey from the fields of Mengcun to the courts of emperors, and now to international practice halls, reflects not only the survival of a martial art but also the persistence of a cultural identity rooted in discipline, explosiveness, and the pursuit of mastery.

Hunyuan Bajiquan Lineage:

1. Wu Zhong (吳 鐘 1712-1802)

2. Wu Ying/Rong (吴溁/荣 1766-1852)

3. Zhang Keming (張克明, 1812–1882)

4. Huang Sihai (黄四海, 1829–1914)

5. Li Shuwen (李書文, 1864–1934)

6. Zhang Litang (張立堂, 1893–1967)

7. Zhang Xuchu (張旭初 1927-1994)

8. Chen Xiang (陳項)

9. Lucas Christopoulos (Yun Luxia 雲露俠)