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Liuhebafa quan
Chen Tuan, the Taoist sage credited with inventing liuhebafa quan
Also known asShuiquan, xinyi liuhebafa
FocusStriking, weapons training, qigong
Country of originChina
CreatorChen Tuan
Famous practitionersWang AnNi
Da Yuan
Li Chan
Chen Guangdi
Chen Helu
Yan Guoxing
Zhou Shusheng 周树生
Wu Yihui
ParenthoodWudang quan
Olympic sportNo

Liuhebafa quan (Chinese: 六合八法拳; pinyin: liùhébāfǎ quán; lit. 'Six-Harmonies Eight-Methods Boxing') is an internal Chinese martial art. It has been called "xinyi liuhebafa" (心意六合八法拳) and is also referred to as "water boxing" (水拳; shuǐquán) due to its principles.

History

[edit]

The Song dynasty Taoist sage Chen Tuan is often credited with its origin and development.[1] He was associated with the Taoist Monastery on Mount Hua in Shaanxi Province.[2]

The liuhebafa form zhu ji (築基; zhú jī) was taught in the late 1930s in Shanghai and Nanjing by Wu Yihui (1887–1958).[3] It is said he had learned the art from three teachers: Yan Guoxing, Chen Guangdi (who learned the art from a monk, Da Yuan and a Taoist, Li Chan), and Chen Helu.[4]

Many of Wu Yihui's students had martial arts backgrounds and modified the form to merge it with their own knowledge. This is one of several explanations for its similarities with other martial arts such as xingyiquan, baguazhang, tai chi and yiquan.

Six Harmonies and Eight Methods

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The Six Harmonies (六合) and the Eight Methods (八法) are the guiding principles of liuhebafa that give it its name.

Six Harmonies

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  1. Body and Mind Combine (體合於心; tǐ hé yū xīn)
  2. Mind and Intent Combine (心合於意; xīn hé yū yì)
  3. Intent and Qi Combine (意合於氣; yì hé yū qì)
  4. Qi and Spirit Combine (氣合於神; qì hé yū shén)
  5. Spirit and Movement Combine (神合於動; shén hé yū dòng)
  6. Movement and Emptiness Combine (動合於空; dòng hé yū kōng)

Eight Methods

[edit]
  1. Qi (氣; qì)
  2. Bone (骨; gǔ)
  3. Shape (形; xíng)
  4. Follow (隨; suí)
  5. Rise (提; tí)
  6. Return (還; huán)
  7. Retain (勒; lè)
  8. Conceal (伏; fú)

There are other translations and links possible

Forms

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The system of liuhebafa, called huayue xiyimen, as taught by Wu Yihui contains several forms, including bare hand and weapons forms as well as qigong methods.[5]

Hand forms

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  • 三盤十二勢 Sān Pán Shí Èr Shì – 3 Divisions, 12 Spirits (1. Dragon, 2. Phoenix, 3. Tiger, 4. Crane, 5. Leopard, 6. Ape, 7. Bear, 8. Goose, 9. Snake, 10. Hawk, 11. Roc, 12. Kylin)
  • 築基 Zhú Jī – Discovering the Foundations
  • 呂紅八勢 Lǚ Hóng Bā Shì – 8 Essences of Lu Hong's Fist
  • 龍虎戰 Lóng Hǔ Zhàn – Dragon and Tiger Fighting
  • 螫龍遊 Zhē Lóng Yóu – Coiled Dragon Swimming
  • 螫龍拳 Zhē Lóng Quán – Coiled Dragon Fist

Weapon forms

[edit]
  • 心意棍 Xīn Yì Gùn – Heart of Intent Staff
  • 露花刀 Lù Huā Dāo – Dew Mist Broadsword
  • 玉川劍 Yù Chuān Jiàn – Jade River Straight Sword

Internal exercises

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  • 韋佗功 Wéi Tuó Gōng – Standing meditation
  • 太陽功 Tài Yáng Gōng – Solar Meditation
  • 一杰混元功 Yī Jié Hún Yuán Gōng – Primary Definitive Force
  • 先天座 Xiān Tiān Zuò – Pre-Heaven Meditation
  • 三盤推手 Sān Pán Tuī Shǒu – 3 Divisions Push Hands

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Liuhebafa

View on Grokipedia
from Grokipedia
Liuhebafa (六合八法), also known as Water Boxing (水拳), is a rare internal Chinese martial art that emphasizes fluid, adaptive movements to harmonize the body, mind, and spirit while cultivating () for , health improvement, and spiritual development. Derived from Daoist philosophy, it integrates elements of other internal styles such as Taijiquan, , and , resulting in over 700 techniques that prioritize softness, yielding, and explosive power when needed. The art's foundational principles are the Six Harmonies (Liu He), which promote internal and external coordination: body with mind, mind with intent, intent with , with spirit, spirit with movement, and movement with emptiness (void). Complementing these are the Eight Methods (Ba Fa), practical guidelines for application including (energy circulation), gu (bone structure), (form and feature), sui (following), ti (lifting), huan (return), le (retain), and fu (conceal), which enable practitioners to respond dynamically in combat or daily life. These principles are embodied in its primary form, often divided into two sections and comprising sequences like "Three Divisions and Twelve Spirits," alongside supplementary weapon forms such as staff and sword practices. Liuhebafa traces its origins to the Daoist sage Chen Tuan (c. 871–989 AD), a scholar and hermit on who reportedly received the art through divine inspiration and integrated it with and exercises. It was later rediscovered in the (1279–1368 AD) by Li Dongfeng, who found ancient manuscripts on the mountain and transmitted it secretly to select disciples, blending it with external styles like Shaolin and Praying Mantis. The modern lineage emerged in the early through Grandmaster Wu Yihui (1887–1958), who studied under masters like Yan Guoxing, Chen Guangdi, and Chen Helu before popularizing it in and , establishing it as one of the preeminent internal arts. Today, Liuhebafa is practiced worldwide for its benefits in enhancing balance, focus, stamina, and overall vitality, though it remains less widespread than its sister arts due to its secretive transmission history.

History

Origins and Legends

Liuhebafa is legendarily attributed to the Taoist sage Chen Tuan (c. 871–989 CE), a reclusive scholar and practitioner who resided on (Huashan) in Province, China, during the . According to tradition, Chen Tuan synthesized elements of Daoist philosophy with martial techniques, drawing inspiration from his studies of cosmology, , and natural phenomena to create an internal art emphasizing fluidity and internal harmony. The art's foundational legends portray Chen Tuan as a visionary who received guidance through dreams and meditative states, including encounters with ethereal figures such as the "Green Dressed Lady," who imparted knowledge of ancient texts like the Yijing (Book of Changes) and Daodejing. These narratives highlight Daoist principles of aligning with nature's rhythms and cultivating , with early symbolic elements manifesting in the "water style" metaphor, which embodies adaptability and seamless flow inspired by Chen Tuan's observations of rivers, streams, and clouds during his youth near water sources. Specific legends recount Chen Tuan's transmission of the art to select disciples, such as Jia Desheng, whom he instructed to prepare a secluded cave for deeper practice; after Chen Tuan's passing, his body reportedly remained warm for months, accompanied by auspicious clouds, underscoring his immortal status in Taoist lore. The teachings were preserved secretly among Taoist monks on and later rediscovered by Li Dongfeng (c. 1279–1368 CE) in Chen Tuan's cave, ensuring the art's esoteric continuity through oral and manuscript traditions within Daoist circles. This legendary framework influenced later transmissions, briefly extending to historical figures such as Wu Yihui in the early .

Historical Development and Transmission

Liuhebafa, also known as xinyi liuhebafa or "heart-mind six harmonies eight methods," emerged during the Ming and Qing dynasties as an internal martial art influenced by both Shaolin external techniques and Wudang Taoist principles, emphasizing fluid, harmonious movements akin to water flow. This synthesis positioned it within the broader landscape of Chinese internal arts, though it remained relatively obscure compared to contemporaries like taijiquan. Transmission accelerated in the late 19th and early 20th centuries through key figures in northern . In , Chen Guangdi and his son Chen Helu taught the art, preserving its core forms and adapting it for regional practice amid social upheavals. Similarly, Yan Guoxing in played a crucial role in maintaining the lineage, passing down detailed methods to students who bridged rural traditions with urban dissemination. These efforts culminated in the 1930s popularization by Wu Yihui (1887–1958), who reorganized Liuhebafa as the "Huayue Xiyimen" ( West Gate School) and taught publicly in and , incorporating influences from baguazhang's circular footwork and taijiquan's yielding energy. Wu's demonstrations, including at the 1936 Wushu College where he served as Dean of Studies, elevated its status and attracted diverse students before disruptions. Following the 1949 establishment of the , Liuhebafa faced severe suppression during the (1966–1976), when traditional were labeled feudal superstitions and many lineages were dismantled or driven underground. Revival began in the late 1970s and early 1980s with China's post-Mao reforms, as family-held transmissions resurfaced in provinces like and , supported by government recognition of . Emigration of practitioners to the West, particularly through students of Wu Yihui's disciples, further spread the art internationally, establishing schools in the United States and by the late 20th century.

Core Principles

The Six Harmonies

The Six Harmonies (Liu He) form the foundational concept in Liuhebafa, representing the integration of body, mind, and spirit to achieve unified coordination and harmonious movement. This divides into three internal harmonies, which focus on the subtle connections between mental and energetic states, and three external harmonies, which emphasize physical and dynamic alignments. By cultivating these harmonies, practitioners develop a state of wholeness where internal intent seamlessly guides external action, enabling efficient energy flow () and balanced execution. The internal harmonies begin with the unification of the body and the heart-mind (xin), where physical form aligns intuitively with emotional awareness to eliminate disjointed effort. Next, the heart-mind harmonizes with intent (yi), balancing intuitive feelings with deliberate focus to stabilize mental direction. Finally, unites with , allowing conscious will to channel vital energy without force, fostering a directed flow that nourishes the entire system. These internal connections prioritize mind-body synergy, creating a receptive state for deeper cultivation. The external harmonies extend this unity outward: qi aligns with spirit (shen), where energy enhances awareness and vitality, bridging the internal to the expressive. Spirit then harmonizes with movement (dong), guiding actions with clarity and precision for fluid, responsive execution. Lastly, movement unites with emptiness (kong or wuji), embodying a state of dynamic stillness that allows effortless adaptation, akin to water yielding yet persisting. Together, these external principles ensure that physical motions reflect inner harmony, promoting resilience and adaptability. In practice, the Six Harmonies enable of softness overcoming by coordinating subtle elements like breath with limb extension, generating power through relaxation rather than tension—for instance, a gentle extension of the arm synchronized with exhalation can redirect incoming force effectively. This approach transforms rigid opposition into yielding redirection, enhancing both and benefits. The Six Harmonies interconnect briefly with the Eight Methods to apply these alignments dynamically in movement. Philosophically, they are rooted in Daoist texts emphasizing yin-yang balance, where opposing forces (such as stillness and motion) interpenetrate for harmony, alongside the five elements' cyclical interactions that underpin natural equilibrium.

The Eight Methods

The Eight Methods in Liuhebafa represent action-oriented principles that operationalize the foundational Six Harmonies through dynamic movement, fostering a wave-like power generation essential for both application and internal cultivation. These methods emphasize fluid adaptation and internal cohesion, enabling practitioners to transition seamlessly between defense and offense while cultivating circulation and structural integrity. Building on the harmonies' unity of body, , and spirit, the Eight Methods guide the execution of techniques in a continuous, undulating flow reminiscent of water's natural motion. The specific methods include , which involves circulating to unify the body with the and enable instantaneous responses in combat; , focusing on condensing power into the skeletal structure for concealed and potent strikes; and , which adapts postures to mimic natural forms while achieving formlessness to confound opponents. Follow entails adhering to and yielding against an opponent's , such as in defensive maneuvers where the practitioner discerns and redirects incoming without resistance; Rise lifts the spirit through relaxed suspension of the head and spine, enhancing and posture for upward spiraling ; Return facilitates circular redirection of in cyclic patterns, reflecting the Dao's perpetual renewal; Retain preserves internal power through mental stillness amid motion, maintaining calm for strategic restraint; and Conceal hides within unpredictable, fluid actions to create openings for attack. In practice, these methods integrate into techniques like fajin, the explosive release of internal power, where coordinated circulation and bone alignment amplify strikes through spiraling energy from the . They also underpin silk-reeling (chan si jin), a spiraling motion that alternately opens and closes the body, rises and sinks, and forwards and backwards in continuous circles, promoting whole-body connectivity and power issuance. For instance, the Follow method exemplifies yielding to an attack by connecting to the opponent's , allowing redirection via circular return rather than direct opposition, as seen in applications where force is dissolved into the practitioner's undulating flow. Collectively, the Eight Methods create a holistic system of continuous, adaptive motion described as "like a swimming in ," where power emerges from relaxed, wave-like undulations rather than rigid exertion, distinguishing Liuhebafa from more linear external styles. This integration ensures that movements remain spontaneous and efficient, harmonizing internal storage of with external expression for both benefits and efficacy.

Practice and Training

Bare-Hand Forms

Bare-hand forms in Liuhebafa Quan consist of choreographed sequences designed to cultivate fluid, continuous movements that integrate internal and external harmonies. The foundational and most central form is the Liuhebafa Quan, a comprehensive routine comprising 66 named postures, each embedding multiple techniques to total over 500 distinct motions. These postures, such as "Stop Cart Ask Road," "Rein In Horse Cliff Edge," "Close Gate Push Moon," and "Stir Clouds See Sun," emphasize seamless transitions that mimic natural flows, fostering whole-body coordination. Key bare-hand forms include the Three Divisions and Twelve Spirits, also known as the Twelve Animal Form, which emulates the essences of animals like the dragon for coiling and rising-falling energies, the tiger for explosive pouncing and ferocity, the leopard for whipping agility, the snake for penetrating flexibility, the horse for stable charging, the monkey for deceptive grabbing, the crane for graceful distance control, the eagle for sharp swooping grips, the bear for rooting pushes, the swallow for darting evasion, the phoenix for spiraling hooks, and the ostrich for pecking alertness. This form develops specific tactical energies and body mechanics through animal-inspired strategies. The Zhu Ji form serves as an introductory foundation-building sequence, focusing on basic stances and movements to establish root and alignment before advancing to complex routines. Lu Hong's Eight Essences, or Lu Hong Ba Shi, comprises eight foundational fist patterns that emphasize momentum and situational power, often integrated early in training to build essential striking dynamics. Additional forms include Dragon and Tiger Fighting, a dynamic partner-oriented sequence highlighting combative interactions and explosive exchanges, and variations of the Coiled Dragon Fist (Pan Long Quan), which refines spiraling, coiling techniques for evasive and entangling applications. The structure of these forms follows a progressive approach, beginning with simpler routines like Zhu Ji and Lu Hong's Eight Essences to ingrain basics, then advancing to the full Liuhebafa Quan and specialized sets such as the Twelve Animal Form or Dragon and Tiger Fighting. Practice incorporates circling footwork reminiscent of for evasion and encirclement, combined with linear thrusting power akin to for direct penetration, all executed in a unified, wave-like manner. This progression ensures practitioners master foundational stability before tackling the intricate, multi-directional flows of advanced forms. The primary purpose of these bare-hand forms is to develop the coordination of the Six Harmonies—internal alignments of mind with and with strength, alongside external pairings of shoulders with hips, elbows with knees, and hands with feet—and the Eight Methods of (energy), gu (bone), xing (form), sui (following), ti (lifting), huan (circling), le (twisting), and fu (stability) through deliberate, slow practice. By prioritizing internal power generation over rapid speed, the forms cultivate profound rooting, sensitivity, and explosive potential, transforming practitioners' movements into adaptive, water-like responses in application.

Weapon Forms

In Liuhebafa, weapons training extends the foundational principles of the art into armed applications, refining practitioners' precision, power, and adaptability through the use of long and short instruments characterized by flowing, circular motions that emulate water's fluidity. This component emphasizes the integration of () with weapon handling, allowing students to apply the Six Harmonies and Eight Methods in combat scenarios while maintaining balance and intent. The primary weapon forms in the system are the Heart of Intent Staff (Xīn Yì Gùn), Dew Mist Broadsword (Lù Huā Dāo), and (Yù Chuān Jiàn). The Heart of Intent Staff focuses on intent-driven strikes and coiling techniques that mimic a dragon's movements, promoting explosive yet controlled power delivery. The Dew Mist Broadsword employs sweeping, arc-like motions to control space and disrupt opponents, highlighting coordination between body rotation and blade trajectory. Meanwhile, the combines linear thrusts with spiral deflections, fostering precision in point control and harmonious flow along the weapon's edge. These forms adapt bare-hand sequences from Liuhebafa's core training, transforming empty-hand postures into weapon-specific actions, such as staff rotations that echo dragon coiling patterns for enhanced leverage. A key emphasis lies in seamless transitions between "empty hand" and "full weapon" states, ensuring practitioners can shift fluidly during engagements without disrupting momentum or harmony. Training typically progresses from solo practice of these forms to partnered drills, where emphasis is placed on distance management, timing, and weapon-aligned harmonies, such as synchronizing blade orientation with internal circulation to amplify strikes. This structured approach builds upon bare-hand fluency, gradually incorporating resistance to develop practical combat efficacy while upholding the art's internal cultivation focus.

Internal Cultivation Exercises

Internal cultivation exercises in Liuhebafaquan emphasize the development of (vital energy) through static and partnered practices, fostering health benefits, internal power, and a deeper comprehension of the art's core principles such as and natural flow. These methods, often performed in stillness or with a partner, prioritize the integration of body, breath, and mind to cultivate rather than external movement. Rooted in Daoist traditions, they draw from foundational and systems attributed to the sage Chen Tuan, who is credited with creating exercises for that enhance and martial efficacy. Key practices include standing meditation, known as , which builds structural alignment, rooting, and circulation through prolonged static postures. Practitioners adopt positions that embody the six harmonies, such as aligning the body to promote effortless stability and energy gathering. Breath control, or tu na, is coordinated with these postures to regulate flow and concentrate the mind (shen), often involving deep abdominal breathing focused on the lower for energy storage. Partnered sensitivity training, such as push hands (tuishou), develops ting jin (listening energy) for yielding and adapting to force, applying principles like sui (following) and huan (rolling back) in a controlled, circular manner. Techniques incorporate visualizations, such as imagining as flowing water or natural elements, to guide energy emission from passive holding to dynamic projection. Progression typically advances from solitary static holds to interactive drills, refining internal coordination over time. These exercises are grounded in Daoist internal alchemy (neidan), aiming to refine the internal three treasures—jing (essence), qi (energy), and shen (spirit)—for holistic transformation. Jing provides the foundational substance, qi circulates as vital force, and shen elevates awareness, collectively promoting resilience, mental clarity, and extended vitality. Benefits include improved physical balance, reduced stress, enhanced joint health, and martial spontaneity through effortless power (fajin), all while embodying wu wei (non-action) for inner harmony.

Lineages and Practitioners

Historical Masters

Chen Tuan (c. 871–989 AD), a renowned Taoist sage also known as Chen Xiyi, is traditionally credited as the legendary founder of Liuhebafaquan, synthesizing its core principles during his seclusion at the Taoist monastery on in Province. He developed the foundational concepts of the Six Harmonies and documented the art's methods in 134 five-word poems, which were later discovered in his cave and formed the basis for the style's theoretical framework. Chen Tuan's contributions extended to related practices like Taiji Ruler exercises and , emphasizing internal cultivation and harmony with Daoist philosophy. The transmission of Liuhebafa from Chen Tuan's era is attributed to Li Dongfeng (c. 1279–1368 AD), a figure who explored , discovered Chen Tuan's hidden manuscripts, and mastered the art. Li Dongfeng integrated the principles into his practice and taught them to select Daoist disciples on Mount Yun, preserving the style through secretive oral and written lineages during a period of dynastic upheaval. By the , elements of were incorporated into Liuhebafa by practitioners in Hebei Province, enhancing its explosive power and linear techniques while maintaining its fluid, internal essence. Wu Yihui (1887–1958) emerged as a key modernizer of Liuhebafa in the early , learning the art from three prominent teachers: Yan Guoxing and Chen Guangdi from Province, and Chen Helu from . He reorganized the tradition into a structured , including the foundational zhu ji form, and authored influential texts that systematized its methods for broader study. Wu publicized Liuhebafa by opening public instruction in and during the late 1930s, serving as dean of the Wushu College in 1936, and establishing schools that trained numerous students, thereby elevating the art's profile amid China's revival. His efforts marked the shift from esoteric transmission to accessible teaching, blending rigorous internal training with practical applications. Among Wu Yihui's teachers, Chen Helu (active early 20th century) particularly emphasized the internal dimensions of Liuhebafa, focusing on and to cultivate flow and mind-body unity. As a Beijing-based grandmaster, Chen Helu instructed Wu for two years, imparting a lineage variant that prioritized subtle work over external forms. His approach influenced Wu's synthesis, ensuring the art's emphasis on harmonious internal development. Wang Anni, a direct student of Wu Yihui, further advanced the art's components in the mid-20th century, specializing in exercises that enhanced health and meditative aspects of Liuhebafa. Her teachings preserved and adapted the internal cultivation methods for practitioners, contributing to the style's continuity through focused practices.

Modern Practitioners and Variations

Following the end of the , the Chinese government began promoting traditional in the 1980s as a means to foster cultural pride and tourism, contributing to the revival of Liuhebafa alongside other internal styles. This period saw increased public instruction, with Grandmaster Liang Shou-Yu playing a pivotal role by introducing Liuhebafa to broader audiences through his teachings and demonstrations starting in the late 1970s and 1980s. Students and indirect descendants of the influential 20th-century master Wu Yihui, such as those in the Huayue lineage, further sustained the art's transmission during this resurgence, emphasizing its integration of xingyi, , and taiji principles. Liuhebafa's international spread accelerated in the late , reaching through dedicated organizations like the North American Tang Shou Tao Association (NATSTA), where the form was transmitted by Dr. York Y. Loo in the 1980s in , drawing from his teacher Pan Yenlew in Canton, . In the United States, institutions such as the YMAA Publication Center and the SYL Wushu Taiji Qigong Institute have promoted the art under masters like Liang Shou-Yu and his daughter Helen Liang, offering structured training that requires prior experience in other internal styles. European schools, though fewer in number, have adopted the system via similar Western transmissions, maintaining its focus on fluid, water-like movements for both martial and health applications. Variations of Liuhebafa have emerged in diverse cultural contexts, including the pronunciation "Lok Hup Ba Fa," which is prevalent in overseas Chinese communities and retains the core emphasis on six harmonies and eight methods while adapting to local linguistic traditions. Modern integrations often blend Liuhebafa with taijiquan in fitness programs, leveraging its flowing sequences for enhanced balance and vitality training. A distinct branch known as xinyi Liuhebafa highlights mind-intent (xinyi) coordination, prioritizing internal focus and energetic alignment over external power, as taught in select lineages that view it as a synthesis of with practical cultivation. In contemporary practice, Liuhebafa holds cultural significance for , with its gentle, undulating forms designed to strengthen the body, dispel illness, and cultivate through Daoist principles of . It appears in Wushu competitions, such as national events in , where performers demonstrate its sixty-six-posture routine to showcase internal power and precision. Philosophically, it supports meditative study of yin-yang dynamics, though challenges arise from , which can prioritize performative aspects over traditional depth and ethical transmission in global markets. As of 2025, Liuhebafa maintains a niche but global presence, with practitioners concentrated in and scattered through Western schools and associations. Ongoing international workshops and online classes, such as 4-day intensive sessions and winter programs, continue to promote its principles for and development. Resources for study include practitioner-authored like Liuhebafa Five Character Secrets, which translates and comments on foundational texts by Li Dongfeng, offering insights into the art's precepts for internal power development.

References

  1. https://ymaa.com/articles/2019/07/brief-history-of-liu-he-ba-fa
  2. https://www.dmaa.co.uk/styles/liu-he-ba-fa-water-boxing/
  3. https://wudaojournal.com/history-of-liuhebafa-the-water-style-boxing/
  4. https://www.plumpub.com/kaimen/2010/liu-he-ba-fa-or-water-boxing/
  5. https://www.tandfonline.com/doi/full/10.1215/s12280-009-9073-x
  6. https://ymaa.com/articles/2019/06/liuhebafa-for-beginners
  7. https://violetlitaichi.com/xin-yi-liu-he-ba-fa-san-pan-shi-er-shi-also-known-as-mind-intention-six-harmonies-eight-methods-three-stances-twelve-postures/
  8. https://liuhopafa.com/article-4
  9. http://www.natsta.org/martial-arts/liuhebafa/
  10. https://static1.squarespace.com/static/56845565b204d5d8d5239c90/t/5717cccd60b5e908dfb9213d/1461177549218/LiuhebafaQuan+Posture+Comparison+%28with+Intro%29.pdf
  11. https://sjfkungfuschool.com/what-is-the-liuhebafa-martial-arts/
  12. https://waterspirit6x8.tripod.com/id21.html
  13. https://www.mariolam.com/?p=4960
  14. https://www.natsta.org/martial-arts/liuhebafa/
  15. https://neijiatao.wordpress.com/2010/05/30/lok-hup-ba-fa/
  16. https://ymaa.com/sites/default/files/book/sample/Liuhebafa.pdf
  17. https://www.truegongfu.com/stylevs-style-decoded/liu-he-ba-fa-quan-the-daoist-microcosm-in-motion-where-six-harmonies-meet-eight-methods.html
  18. https://www.scribd.com/document/195573438/Internal-Theory-of-Liuhebafa
  19. http://www.wushu001.cn/home.php?mod=space&uid=244269&do=blog&id=107
  20. https://sites.google.com/site/worldmartialartsstyles/kung-fu/liuhebafa
  21. https://www.shaolin.org.gr/index_us/library_item_us/the_rescue_of_the_shaolin_arts
  22. https://www.sylwushu.com/liu-he-ba-fa/
  23. https://www.moytaichi.org/lokhup
  24. https://traditionalwushu.com/blog/f/liu-he-bafa-quan
  25. https://chinesemartialstudies.com/2014/06/23/global-capitalism-the-traditional-martial-arts-and-chinas-new-regionalism/
  26. https://taichinuances.com/4-Day-Liuhebafa-Workshop
  27. https://www.commelesnuages.com/news/online-lok-hup-ba-fa-classes-the-six-harmonies-and-eight-methods
  28. https://ymaa.com/publishing/book/liuhebafa-five-character-secrets
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