A Korean-Taoist Path of Self-Inquiry and Spiritual Return
Introduction
Within the quiet intersections of Korean martial arts, Seon Buddhism, Taoist inner alchemy, and indigenous contemplative practice, there exists a lesser-known meditative path called Chamsa (참사). Translated loosely as “true reflection” or “sincere contemplation,” this practice involves a series of inner visualizations that begin with the face and end with formless awareness. It guides the practitioner from physical identity, through spiritual regression, and into the vast, unconditioned presence that many traditions call enlightenment, nirvana, or union with the Tao.
Chamsa serves not only as a vehicle of personal transformation but also as a symbolic journey through layers of ego, memory, and form, toward a realization of the true self that was never born and never dies.
I. Origins and Conceptual Foundations
1. Linguistic Meaning
In Korean, Cham (참) means “true” or “authentic,” while Sa (사) may refer to “thought,” “contemplation,” or “reflection” (Kim, 2018). Thus, Chamsa points to a practice of authentic inward reflection, aligned with the spiritual aim of uncovering the nature of self and reality.
2. Syncretic Influences
The practice bridges three major influences:
Seon (Zen) Buddhism: Emphasizes hwadu (Kōan-style inquiry), non-dual awareness, and meditation as a route to awakening (Aitken, 1990; Dumoulin, 2005).
Taoist Neidan (inner alchemy): Employs visualizations, energy return, and prenatal regression to restore original spirit (Komjathy, 2013; Yang, 1997).
Korean shamanic mysticism: Embraces spiritual vision, ancestral awareness, and altered states as portals to insight (Kim, 2018).
II. The Stages of Chamsa Practice
Chamsa is typically taught as a stage-based meditation, though advanced practitioners may cycle through its phases in a single session. Each stage builds upon the last, guiding the practitioner from concrete visualization to subtle realization.
Stage 1: Face Visualization
Description: Eyes closed, visualize your own face in full, accurate detail, every wrinkle, mole, and asymmetry. Include features such as the slope of the nose, eyebrow placement, asymmetries, scars, skin texture, color, and even the micro-expressions of your resting face. The image should be as vivid and lifelike as if one were looking into a mirror with eyes open.
Purpose: Strengthen shen (spirit), develop internal focus, and anchor awareness in the “mind mirror.” This aligns with Taoist inner vision practices (nèishì), projecting awareness from the third eye center or upper dantian (Kohn, 1993; Yang, 1997).
Stage 2: Dissolution of the Face
Description: Allow the mental image of the face to gradually blur, dissolve, or melt away without force. Observe any resistance or attachment as the image fades.
Purpose: Cultivate detachment from personal identity and begin breaking down the egoic image of the self. This mirrors both Zen and Taoist instructions for letting go of attachment to form (Dumoulin, 2005).
Stage 3: Witness Inquiry
Description: With the face gone, turn awareness inward and ask: “Who is seeing this image?” or “What remains when the face disappears?”
Purpose: This self-inquiry parallels Seon (Zen) Buddhism’s hwadu method and Taoist “reflection on the void.” It shifts attention to the formless witness, revealing the distinction between perception and identification (Aitken,1990).
Stage 4: Womb Regression
Description: Begin to visualize yourself in the womb. Sense the floating, fluid warmth of the pre-birth state. This visualization is not merely symbolic; it is a meditative immersion into pre-verbal, pre-identity awareness.
Purpose: Return to the state of yuan qi and yuan shen (original energy and spirit), reconnecting with the undisturbed potential of consciousness prior to conditioning. This corresponds to Taoist embryonic breathing, and the process of returning to the origin (Komjathy, 2013).
Stage 5: Original Face
Description: Let go of all visualizations. Abide in spacious presence. Ask: “What was my original face before my parents were born?”
Purpose: This stage reflects the heart of Zen realization. All form, memory, and thought dissolve, revealing emptiness and unconditioned awareness (Aitken, 1990).
Stage 6: Return and Integration
Description: Slowly bring awareness back to the breath, body, and senses. Open the eyes and re-engage with the outer world from this clarified state.
Purpose: To integrate realization into daily life. The clarity cultivated through chamsa should inform one’s behavior, relationships, and presence, aligning with both Taoist spontaneity and the Zen Ox-herding picture of reentering the world with open hands (Dumoulin, 2005; Yang, 1997).
III. Practice Progression: Gradual vs. Cyclical
Progressive Practice (for most practitioners)
Stage
Timeframe
Developmental Aim
Face Visualization
1–2 weeks
Image clarity, stillness
Dissolution
1–2 weeks
Letting go, self-inquiry begins
Inquiry
2+ weeks
Direct experience of the observer
Womb Regression
Variable
Comfort with silence and non-conceptual being
Original Face
Ongoing
Insight into emptiness and non-duality
This mirrors the traditional model used in both Zen training and Taoist alchemical refinement (Komjathy, 2013; Dumoulin, 2005).
Cyclical Practice (for advanced practitioners)
Experienced meditators may move through all stages in a single sitting. This is often employed in advanced neigong, zazen, or during spiritual retreats (Yang, 1997).
IV. Chamsa and Enlightenment
1. As a Route to Enlightenment
Chamsa progressively dismantles the layers of self-identity. It leads to direct realization of formless presence, making it consistent with both Zen’s gradual approach and Taoism’s return to source (Aitken,1990; Komjathy, 2013).
2. As an Expression of Enlightenment
At deeper levels, the practice becomes a reflection of the awakened state. It is used not to attain enlightenment, but to maintain presence and live from insight (Dumoulin, 2005).
“The enlightened one returns to the marketplace with open hands.” — Zen Ox-Herding Picture #10
V. Comparative Models of Enlightenment
Aspect
Chamsa
Zen Buddhism
Taoist Alchemy
Tibetan Dzogchen
Starting Point
Visualization of face
Hwadu or breath focus
Jing → Qi → Shen transmutation
Rigpa recognition
Key Turning Point
Dissolution and womb regression
“Great doubt” or koan resolution
Return to origin
Breakthrough to spontaneous presence
Final Aim
Witnessing the “original face”
Satori, then integration
Unity with Tao
Recognition of non-dual awareness
Method
Visual inquiry & regression
Self-inquiry & zazen
Breath, energy, visualization
Direct pointing-out instruction
Expression
Calm presence, embodied wisdom
Actionless action, compassion
Spontaneity, longevity, clarity
Effortless awareness, freedom
VI. Conclusion: Returning to the Formless Mirror
Chamsa meditation is both a method and a metaphor: a way of seeing the self by watching it dissolve. It begins with the familiar image of the face and guides the practitioner back to the unconditioned awareness before identity, thought, and time.
Whether used as a route to insight or a means of stabilization, Chamsa bridges Korean, Taoist, and Buddhist traditions. It reveals that the journey inward is not a retreat, but a return to that which has always been present.
“To know the self is to forget the self. To forget the self is to be enlightened by all things.” — Dōgen Zenji, Genjōkōan
A Detailed Review of Long-Form Practices, Cognitive Limits, and Contemporary Application
With nearly 45 years of continuous study, practice, and teaching in the internal martial arts, I offer this article as both a practitioner and researcher deeply immersed in the tradition of Baguazhang. My experience spans several influential branches of the art, including Sun, Cheng, Emei, and Chung styles. Each has contributed to my understanding of the circular, spiraling, and dynamic principles that make Baguazhang a unique and profound martial system.
While I have not personally trained in Qing Gong (known in some Korean traditions as Kyong Gong Sul Bope), I have invested considerable time researching its historical claims, theoretical foundations, and relationship to internal martial development. My aim is not to present mystical exaggerations, but to critically examine the structure, feasibility, and legacy of extensive martial systems—particularly those that claim hundreds of forms, internal skillsets, and unique training regimens.
This perspective is informed by decades of firsthand teaching experience, cross-style comparison, academic inquiry, and dialogue with both traditional lineage holders and modern researchers. The views presented here are grounded in practice, supported by analysis, and guided by a sincere respect for the martial arts as a lifelong path of cultivation.
I. Introduction
Throughout the world’s martial traditions, extensive sequences of linked movements commonly referred to as forms,kata, hyung, taolu, or jurus, have been used as vehicles for transmitting fighting techniques, internal energy development, and philosophical insight. While some of these forms are brief and focused, others contain hundreds of techniques, and some practitioners claim that it may take 1 to 5 hours to complete in a single execution. This essay examines:
The global context of long-form martial arts
The feasibility of attaining proficiency in complex systems
The practical application of such training in today’s fast-paced world
Whether it is realistic or even possible for one or a few individuals to retain and transmit massive bodies of knowledge like 640 foundational sets and 108 BaguaZhang transitions
And whether this model can thrive in modern martial arts culture
II. Global Martial Arts Traditions with Long-Form Practice
Numerous systems around the world preserve extended forms or sequences. These practices vary in complexity, purpose, and duration, but share the intention of transmitting depth of method and cultivating physical and internal mastery.
Chinese Martial Arts
Yang-style Taijiquan: The traditional long form consists of 108 postures, often practiced in 30–60 minutes, or up to 2 hours with slow breathwork.
Chen-style Taiji Laojia Yilu: A spiral-based internal form with 74–83 postures, taking about 45–90 minutes.
Shaolin Luohanquan: Includes 18, 36, 72, or 108 movement forms, sometimes representing stages of internal/spiritual development.
Baguazhang: Features 64 or 108 palm changes, practiced with circle walking and flowing transitions, often extending practice well over 1–2 hours.
Japanese Martial Arts
Karate Kata: Systems like Shotokan include forms such as Kanku Dai, Unsu, or Suparinpei, each with dozens of transitions.
Koryu Bujutsu: Ancient samurai traditions preserve long weapon kata or omote, ura, and kumitachi, each embedded with strategy and timing.
Aikido: Though less formalized, Aikido includes long paired exercises with weapons like jo and bokken.
Korean Martial Arts
Taekwondo (Poomsae) / Tang Soo Do (Hyung): Structured sequences like Tae guk or Pyong Ahn, progressing in complexity and coordination.
Kuk Sool Won: Incorporates striking, joint locks, acrobatics, and traditional weapon forms.
Indian and Southeast Asian Systems
Kalaripayattu: Utilizes meypayattu(body flows) and kalari vaittari (commanded sequences) for strength and agility.
Silambam: Weapon forms with long rhythmic staff patterns.
Pencak Silat: Includes complex jurus and langkah systems.
Internal Cultivation & Daoist Systems
Yi Jin Jing / Xi Sui Jing: Monastic routines of 49–100+ stages, possibly performed over 3+ hours.
Neigong & Dao Yin: Breath-driven meditative movement sets that stretch across 1 to 2-hour daily sessions.
Baguazhang Switching Drills: 108 transitional palms (Top, Middle, Lower, with 36 each) used in continuous combat flow.
III. System Outline: Time and Structure
The following system components were provided from a particular lineage that I am quite familiar with. Each one has been analyzed based on estimated duration and modern feasibility.
Training Duration Feasibility
Training Aspect
Duration
Feasibility Summary
Short Hyung(Dan Hyung)
5–35 minutes
✅ Very feasible with focused repetition. Excellent for limited-time sessions.
Middle Hyung(Joong Hyung)
10–45 minutes
✅ Highly feasible for modern practice. Allows depth, review, and memorization.
Long Hyung(Chang Hyung)
1.5–5 hours
⚠️ Feasible only in segments. Full-form execution is rare in modern life. Requires commitment and memory structuring.
Ship Pal Gae(18 Weapons)
30–90 minutes each
⚠️ Possible with rotation and yearly focus on 1–2 weapons at a time. Full mastery over a decade+ is realistic.
Wae Gong, Nae Gong, Kyong Gong Sul Bope (640 foundational sets)
Variable
⚠️ Theoretically possible but better approached modularly. Depth over breadth. Grouped by body type or principle.
Bagua Zhang Switching Drills (108)
1 sec per transition
✅ Very feasible. Develops into fluid combinations. Excellent daily integration into circle walking and form.
IV. BaguaZhang Switching Techniques (108 Foundational Switches)
The “Eight Mother Palms” form the basis of Bagua internal development, practiced typically during circle walking. Each palm emphasizes body alignment, spiraling technique, and transitional mechanics (Chu, 2019).
Expanded traditions (e.g., Yin or Gao styles) systematize palm changes into upper (top), middle, and lower transitions related to spiral alignment, kinetic linkages, and combat application.
Historical Context & Lineage
Founder Dong Hai Chuan’s students (Yin, Cheng, Gao lines) diversified the core palms into extensive sequences (e.g., 64-, 108-, or even 192-palm sets) (Chu, 2019).
Practical Execution & Spiral Mechanics
Palm change drills remain central to Bagua’s characteristic evasive and spiral movements. They are practiced either as stand-alone drills or integrated into walking the circular pattern.
Overview of Switching Techniques
In BaguaZhang (8 trigram palm) “switching” refers to the palm change, which is the fundamental dynamic movement that allows a practitioner to alter direction, intent, angle, or application while walking the circle. These palm changes are typically modular, allowing them to be strung together like language.
Traditionally, Bagua styles such as Sun, Cheng, Yin, Gao, and Liang develop 8 core palm changes, which expand into multiple permutations and footwork variations. Advanced lineages (especially in Gao-style) systematize palm changes into top (Sung, middle (Jung), and lower (Ha) body initiations.
Structure of 108 Switching Techniques
36 Top Switching Techniques (Sung)
Initiated from the upper body:
shoulders, arms, hands, and upper spine
Often involve:
Overhead swings
Downward palms
Cloud hands
Strike deflections
Rotational arm/shoulder mechanics
Head-level entries or wraps
These are closely tied to Yang-like motion: expansive, expressive, outward
36 Middle Switching Techniques (Jung)
Centered on the torso, hips, and waist
Focus:
Spiral rotations from Dantian
Mid-line redirections
Coiling waist motions to project energy
Interception and bridging techniques
36 Lower Switching Techniques (Ha)
Originate from the legs, footwork, stances, and dropping mechanics
Include:
Sweeps, low kicks, stepping traps
Cross-stepping, deep pivots, root shifting
Defensive dodges from low angles
Tend to reflect Yin-like qualities: inward, sinking, re-directive
Integration into Practice
Switching techniques may be performed as:
Standalone drills (e.g., 5 switching drills per session)
Embedded in circle walking routines
Linked into forms or paired drills
Many practitioners organize them seasonally (e.g., focusing on a layer for 3 months)
Some styles break 108 into 3 series of 36, which are further divided into 8-technique families, often linked to elements or trigrams.
V. Wae Gong, Nae Gong, Kyong Gong Sul Bope (640 Foundational Sets)
These three terms of Wae Gong(external power), Nae Gong(internal cultivation) (Wikipedia contributors, 2024), and Kyong Gong Sul Bope(aerial or mystical skill), represent progressive layers of skill development. The inclusion of 640 foundational sets, divided by 8 hereditary types × 80 subsets, supports a detailed, modular training system.
Qing Gong translates literally to “light skill” or “lightness technique.” It refers to the ability to move the body lightly and rapidly, with agility and grace. While some Korean traditions refer to this as Kyong Gong Sul Bope, the broader and more recognized Chinese equivalent is Qing Gong, emphasizing aerial mobility, lightness, and rapid footwork to:
Evade attacks
Traverse difficult terrain
Jump long distances or scale walls
Appear to “float” or “glide”
Documented Components
Component
Function
Modern Analog
Weighted step work
Builds leg power for jumping/landing
Plyometric training
Low stance work
Improves tendon recoil and gliding mobility
Isometric holds and tendon loading
Breath synchronization
Matches inhale/exhale to movement rhythm
Neigong, internal energy pacing
Climbing drills
Simulates wall-scaling, aerial coordination
Parkour, tactical wall-scaling drills
Each body type would ideally have 80 tailored micro-sets, designed to:
Compensation for biomechanical challenges
Enhance strengths
Reduce injury risk
Maximize fluidity and function for that build
Each 80-set group may include drills or sequences from multiple domains. Asample distribution might look like:
Breath-body integration, dantian rotation, meditative form
Kyong Gong Sul Bope (Aerial/Light Skill)
~10
Leaping drills, evasions, sudden weight shifts
Conditioning & Recovery
~10
Joint prep, tendon strength, recovery movement
Specialized Drills (Hybrid)
~10
Blending categories, such as explosive internal transitions
Format of Each Set
Each “set” may be:
A short form (30 sec to 2 minutes)
A paired drill
A static posture with breath regulation
A moving neigong routine for soft-tissue engagement
A dynamic jump/evasion/fall drill for Kyong Gong
These are not isolated movements but often sequential flows, comprising 5–12 linked actions, possibly with an internal theme or breathing rhythm.
Teaching and Rotation Strategy
Given the vast number of sets, a realistic teaching and retention method would require:
Rotational cycles, focusing on 10–15 sets per quarter
Tracking logbooks for both teacher and student
Core sets used for all types (e.g., the “seed drills”)
Some sets exclusive to a body type (e.g., “Overweight” sets avoid deep stances early on)
VI. Training Frequency and Feasibility Over Time
✅Ideal Scenario (1–2 hrs, 5–6 days/wk)
Entire system could be internalized over 20–30 years
Structured cycles (e.g., seasonally rotating weapon or form focus)
Internal cultivation and external technique blended over time
⚠️Modern Constraints (1 hr, 3–4 days/wk)
Prioritize core sets over totality
Short and middle hyung are realistic anchors
Bagua transitions and foundation sets can be explored in small segments
Weapon work limited to 2–3 tools over 5–10 years
Best Practices
Modular training: Break long forms into repeatable segments
Cyclic review: Return to previously learned sets on a schedule
Specialization: Focus on the sets or weapons that resonate with your goals or body constitution
Documentation: Journaling and visual diagrams to reinforce memory
Teaching: Sharing builds retention and embodiment
VII. Cognitive and Cultural Considerations
Cognitive Feasibility
Human experts can recall and perform thousands of patterns over decades (Ericsson et al., 1993)
Long-term memory improves with emotional connection, repetition, and teaching
Martial knowledge is embodied, or stored not just mentally but within somatic muscle memory and rhythm
Cultural Challenge
Modern society favors speed, variety, and instant results
Systems requiring 20–50 years of investment are often devalued
Traditional transmission (oral, demonstrated, internalized) is at odds with certification-based or commercialized martial arts
VIII. Can One or a Few Masters Truly Preserve a System This Vast?
✅ Yes – Extraordinary but Not Fantastical
Many monastic, Daoist, orclassical lineage systems have survived due to one or two deeply committed masters per generation. This requires a lifestyle, not a hobby. It is not for the casual martial artist—but it is possible and historically supported.
Feasible if the practitioner:
Lives in immersion
Teaches regularly
Revisits the material cyclically
Structures forms by thematic grouping
However:
System survival depends on generational transmission
Modern students may need a modularized curriculum to digest the material
The original system may evolve, fragment, or reduce as common in many traditions
IX. Hereditary Body Types: Intelligent Design or Marketing Gimmick?
An important aspect of the system under discussion is its claim to include 640 foundational sets distributed across eight hereditary body types. This principle asserts that different forms, drills, or techniques are tailored to suit constitutional differences, physiological predispositions that affect movement mechanics, balance, and energy expression.
8 Different Hereditary Types:
Tall
Small
Overweight
Thin
Tall and Overweight
Small and Overweight
Tall and Thin
Small and Thin
This categorization may seem simplistic at first glance, but it reflects a long-standing tradition in systems such as:
Traditional Chinese Medicine (TCM): Uses somatotype constitution in diagnosis and qigong prescription.
Martial Lineages: Where forms were adapted to suit a practitioner’s build, power-to-weight ratio, and flexibility.
Biomechanical profiling in sports science
The claim that each of these eight types has access to a specific family of foundational sets suggests a physiologically intelligent system. However, it requires rigorous documentation and consistent application to be credible.
In martial arts and indeed any traditional system, the sheer number of levels, forms, sets, movements, and training layers may raise skepticism, especially when:
“Extraordinary claims require extraordinary evidence.” Popularized by Carl Sagan, this principle remains relevant when evaluating martial systems. If a school or master claims:
640 unique foundational sets
108 specialized Bagua transitions
Dozens of long forms taking hours to complete
Then, the burden of proof falls upon the claimant to:
Produce lineage records
Provide structured curriculum or teaching materials
Demonstrate practical proficiency in said material
This isn’t to challenge the sincerity of the tradition, but rather to reinforce credibility and transparency in a world where esoteric claims are often made without accountability.
XI. The Problem of Deception: Buyer Beware
There are, unfortunately, martial groups and individuals who leverage the allure of ancient, secret, or overly complex systems to:
Elevate their authority
Shield scrutiny through obscurity
Create dependence among students
⚠️ Red Flags in Questionable Systems:
Inability to demonstrate claimed techniques
Unverifiable lineage (or lineage constantly evolving to fit narrative)
Overuse of mysticism or secrecy to justify lack of transparency
Commercial exploitation (e.g., charging for levels with no meaningful advancement)
✅ Student Guidelines for Due Diligence:
Ask for documentation (written, photographic, curriculum outlines)
Observe public demonstrations or request private proof of capacity
Cross-reference claims with outside martial scholars or historians
Follow your intuition. If something feels manipulative, it likely is
True mastery does not hide behind jargon or cult-like authority. It is revealed in clarity, function, humility, and the ability to teach and demonstrate.
XII. Reinforcing a Balanced Perspective
While skepticism is essential, we must not lose sight of this:
Some traditional systems do legitimately carry vast knowledge, passed from generation to generation, often in difficult-to-document formats.
However, those systems tend to demonstrate:
Consistent internal logic
Observable results
Coherent pedagogy
Recognition from external peer groups, even across style lines
In today’s environment, a balance between open-mindedness and critical thinking is necessary. One must neither accept everything at face value nor reject ancient systems outright simply because they differ from modern expectations.
XIII. Conclusion
The legacy of massive martial systems, with hundreds of forms and transitional movements, is not a fantasy. A martial arts system that claims hundreds of techniques across hereditary types, multi-hour forms, and internal training deserves to be listened to, but not blindly believed. If it stands up to scrutiny, produces capable students, and provides reproducible results, then it should be valued as part of our shared martial legacy.
It is an extraordinary path, one that demands lifelong dedication, deep internalization, and cultural adaptation. While the complete memorization and performance of such a system is unlikely for the average modern student, it is feasible for a dedicated practitioner or lineage holder, particularly if approached intelligently and methodically.
In today’s world, success lies not in grasping everything at once, but in embodying a part of the system deeply enough to preserve its essence. If not, then as always: Caveat emptor: Buyer beware.
(Chow & Spangler, 1982)
References
Chinese martial arts training manuals : a historical survey : Kennedy, Brian, 1958- : Free Download, Borrow, and Streaming : Internet Archive. (2005). Internet Archive. https://archive.org/details/chinesemartialar0000kenn.
Chow, D., & Spangler, R. (1982). Kung Fu: History, Philosophy, and Technique.
Ericsson, Karl & Krampe, Ralf & Tesch-Roemer, Clemens. (1993). The Role of Deliberate Practice in the Acquisition of Expert Performance. Psychological Review. 100. 363-406. 10.1037//0033-295X.100.3.363.
Across cultures and centuries, legends of warriors moving so swiftly they appear to multiply or vanish, have captivated imaginations. In Korean and Chinese martial lore, tales of masters performing techniques like Kyung Gong Sul Bope (light body skill) or the enigmatic Sam Shim U Gye describe practitioners moving so quickly or unpredictably that they seem to split into several forms. Similarly, certain Australian Aboriginal traditions tell of “shadow walking” or “mist walking,” where skilled individuals could move in ways that made them appear as multiple figures or become nearly invisible to those pursuing them. These stories share a common thread: extraordinary mastery of timing, movement, and the environment, combined with a keen understanding of human perception.
Years back, I witnessed a live performance of Shaolin monks demonstrating extraordinary feats of physical strength as well as a level of self-discipline that I have never seen before. On another occasion, I attended a Bull’s basketball game where Michael Jordan on numerous plays demonstrated his seemingly unique ability to walk on the air beneath him. These are examples of real people demonstrating extraordinary abilities. The late Bill Moyers, a renowned and respected journalist, composed a five-part television series (Healing and the Mind, 1993) where he investigated and reported his findings on Traditional Chinese Medicine and the concept of qi. Moyers was quite surprised at the efficacy of TCM in spite of his initial skepticism (Moyers, 1993).
Martial Arts Legends of Walking on Air
Kyung Gong Sul Bope (Korean), equivalent to the Chinese Qing Gong, is more clearly represented in martial records. These techniques developed from agility training involving explosive jumping, low stances, and breath control, often practiced by monks or guards (Shahar, 2008). The goal was not supernatural flight but increased speed, evasiveness, and physical control. There are some interesting demonstrations available online at: https://www.youtube.com/watch?v=Obx6zXADsVQ, https://www.youtube.com/watch?v=1GKwlfVCD2M, https://www.youtube.com/watch?v=hGtrZKir7sY
In Daoist literature and Chinese mythology, the concept of fenshen, meaning “dividing the body,” is found in classical texts. For example, Ge Hong’s Baopuzi (c. 320 CE) describes adepts capable of appearing in multiple places simultaneously. Similarly, Hui Jiao’s Memoirs of Eminent Monks recounts stories of Buddhist practitioners performing multilocation or form-division feats (Hui Jiao, 1976). These accounts reflect a symbolic, ritualistic interpretation of spiritual multiplicity, rather than physical duplication.
In East Asian martial arts, the idea of Sam Shim U Gye is poorly documented but sometimes passed along in oral tradition. It is described as a principle allowing a practitioner to move so fast they seem to be in more than one place. Though not part of recognized martial literature, it echoes legends of shadow-splitting (fen shen) in Chinese folklore (Wikipedia, 2025).
The illusion of multiplicity arises from:
Misdirection and broken rhythm
Diagonal and lateral footwork
Manipulation of the observer’s focus and peripheral vision
Exploitation of low-light conditions
While no martial artist has physically been proven to have multiplied themselves, highly trained practitioners can create confusion and overwhelm opponents through rapid, deceptive movements (Henning, 1999).
Aboriginal Shadow Walking
Among Australian Aboriginal groups, oral traditions describe “shadow walking” or “mist travel,” where an individual may disappear into the landscape or appear to be more than one person. These stories, often rooted in Dreamtime cosmology, reflect actual survival and tracking expertise (Rose, 1992). Aboriginal trackers are renowned for nearly supernatural ability to read signs invisible to outsiders and move through terrain undetected.
Shadow walking includes:
Mastery of terrain and environmental blending
Controlled, timed movement
Predictive awareness of pursuers’ behavior
Use of visual and auditory manipulation
These techniques are deeply practical, even if they appear mystical to outsiders (Chatwin, 1987).
Perception and Illusion: The Neuroscience
Human perception is imperfect, especially under stress. Several neurological and visual factors can explain illusions of multiplicity:
Persistence of vision: brief visual impressions can linger, making movement appear blurred or doubled
Attentional blindness: the brain struggles to register abrupt directional changes
Tunnel vision: high-stress or fight-or-flight responses narrow focus
Such phenomena mean that highly skilled martial artists can exploit these perceptual gaps, creating the illusion of multiple attackers or vanishing movement.
Dim Mak: Myth, Medicine, and Martial Mystery
Another layer of martial myth surrounds Dim Mak, often called the “death touch.” This practice, tied to dian xue (acupoint striking), claims that precise strikes to certain points can disable or kill. Stories extend to “delayed death,” pressure paralysis, or even non-contact knockouts.
While Dim Mak is thematically linked to Traditional Chinese Medicine (TCM), its more mystical claims lack scientific support:
Acupuncture points do not correspond with discrete anatomical structures (Langevin et al., 2001)
Striking vital areas (e.g., carotid sinus, liver, solar plexus) can incapacitate, but this is anatomical vulnerability, not energetic disruption
No-contact or delayed effects have failed empirical testing
Dim Mak demonstrations often rely on:
Suggestibility and peer expectation (nocebo effect)
Compliant students and dramatized reactions
The absence of controlled or blinded trials
Such claims are best understood as cultural mythology rather than proven combat methodology (McCarthy, 1995).
Wuxia Cinema: Martial Fantasy on Film
Crouching Tiger, Hidden Dragon (2000) exemplifies the cinematic portrayal of these legends. As part of the wuxia tradition, the film depicts martial heroes performing:
Light-body leaps and treetop duels, a visual extension of qing gong
Acupressure-induced paralysis during combat
Delayed death from poisoned needles
These elements, while fictional, reflect deeper cultural themes of spiritual cultivation and moral transcendence. Wuxia films stylize martial ability to express inner mastery and dramatic stakes (Shahar, 2008).
There are very talented and gifted people among us. However, if someone has been investing decades of their lives with the ambition of being able to jump from rooftop to rooftop, land safely from jumping off an eight-story building, or being able to project their inner vital force and have not achieved or come closer to obtaining these abilities, maybe it is time to reassess the difference between myth and reality. If your lineage or course of learning claims to teach extraordinary, supernatural or miraculous feats, it may be prudent to respectfully ask your teachers to demonstrate their claims. Proof in still photograph images from decades long past, do little to exude credibility in the here and now.
Modern Performance and Extraordinary Claims
In today’s digital era, video footage showcases athletes, martial artists, and performers achieving astonishing feats. From Bruce Lee’s lightning-fast punches to parkour practitioners scaling rooftops, we witness the real potential of human movement. These skills are remarkable but remain within the bounds of physics and biology.
As physicist Carl Sagan aptly stated, “Extraordinary claims require extraordinary evidence“ (Deming, 2016). Martial arts traditions deserve respect for their transformative value, but supernatural interpretations must be held to the same standard of critical inquiry.
Conclusion
The legends of Kyung Gong Sul Bope, Sam Shim U Gye, Dim Mak, and Aboriginal shadow walking offer rich cultural insights into human potential, narrative tradition, and symbolic expression. While these phenomena are not supported by scientific evidence as literal realities, they reflect the enduring fascination with mastery, perception, and the boundaries of possibility.
Rather than diminishing these stories, understanding their metaphorical and psychological dimensions can deepen appreciation for the disciplines they arise from. In that light, they continue to inspire, challenge, and elevate the art of personal cultivation.
On a personal note, I have firsthand experience of various presentations of internal power (qi and/or neidan, nei gong) where I have felt an increase of warm vital energy through my own body. I have witnessed an individual (and not a grandmaster at that) be able to noticeably move internal energy and circulation to one arm, where their arm did become somewhat “puffy” compared to their other arm. I have seen and myself applied acupressure on numerous occasions, in specific sequences on others to both revive and incapacitate another person; first-aid and self-defense.
References
Chatwin, B. (1987). The Songlines. Viking Press.
Chinese Myths 101. (2025, February 17). Does Chinese Lightness Skill really exist? Qing Gong – Supernormal Abilities in Kung Fu [Video]. YouTube. https://www.youtube.com/watch?v=1GKwlfVCD2M
Ge Hong. (trans. Ware, J. R.). (1966). Alchemy, Medicine and Religion in the China of A.D. 320: The Nei Pien of Ko Hung. Dover Publications.
Henning, S. E. (1999). Academia encounters the Chinese martial arts. China Review International, 6(2), 319–332. https://www.jstor.org/stable/23732172
Hui Jiao. (trans. Link, A.). (1976). Lives of Eminent Monks. Berkeley Buddhist Studies Series.
Langevin, H. M., Churchill, D. L., & Cipolla, M. J. (2001). Mechanical signaling through connective tissue: a mechanism for the therapeutic effect of acupuncture. The FASEB Journal, 15(12), 2275–2282. https://doi.org/10.1096/fj.01-0015hyp
McCarthy, P. (1995). Bubishi: The classic manual of combat. Tuttle Publishing.
Moyers, B. (1993). Healing and the mind [Television series]. Public Affairs Television.
Mr. Y Talks. (2023, July 22). Unveiling the mysteries of Qing gong: the Gravity-Defying skill of Chinese kung fu [Video]. YouTube. https://www.youtube.com/watch?v=hGtrZKir7sY
Rose, D. B. (1992). Dingo makes us human: Life and land in an Australian Aboriginal culture. Cambridge University Press.
A Detailed Summary to Daoist Alchemy from Chinese and Korean Internal Arts
Traditional Chinese internal arts offer a rich system of physical, energetic, and spiritual practices. Key concepts include Wei Dan (外丹), Qigong (气功), and Nei Dan (内丹). Understanding these three terms alongside their Korean martial arts parallels, clarifies important distinctions in the pursuit of health, self-mastery, and spiritual growth.
Wei Dan (外丹) – External Alchemy
Definition: “Outer Elixir.” Wei Dan refers to ancient Daoist alchemical practices that sought to create physical elixirs for longevity or immortality by processing minerals and herbs externally (Pregadio, 2018).
Methods: Involves chemical experimentation with substances like mercury, arsenic, and cinnabar, (often highly toxic) which were ingested or used topically in pursuit of physical immortality.
Goals: Attain longevity or immortality by altering the body through external means.
Philosophy: Belief that the secrets of life and transformation can be discovered and harnessed in the material world outside the practitioner, reflecting an outward search for transcendence.
Qigong (气功) – Energy Skill
Definition:“Energy Work.” Qigong encompasses practices that combine breath control, movement, visualization, and meditation to regulate and cultivate qi, the vital energy believed to animate life (Jahnke, 2002).
Method: Includes dynamic routines (e.g., Ba Duan Jin), static postures (e.g., Zhan Zhuang), breath regulation, and mental focus to circulate qi along the body’s meridians.
Goals: Promote health, increase vitality, balance emotions, and prepare body and mind for advanced practices.
Philosophy: The human body is a microcosm of the universe, and by harmonizing breath, movement, and mind, practitioners align themselves with natural laws (Yang, 1997).
Nei Dan (内丹) – Internal Alchemy
Definition: “Inner Elixir.” Nei Dan is the highest level of Daoist internal cultivation, dedicated to refining one’s essence (jing), energy (qi), and spirit (shen) through advanced meditative and energetic practices (Mitchell, 2011).
Method: Involves breath retention, microcosmic orbit meditation, sexual energy control, visualization of energy flows, and progressive transformation of jing → qi → shen → emptiness (xu).
Goals: Achieve spiritual immortality, realization of one’s true nature, and union with the Dao.
Philosophy: Transformation must occur internally; by purifying one’s own mind-body-spirit, practitioners embody the Daoist ideal of returning to original emptiness and harmony with the cosmos.
Comparing Chinese and Korean Terms
Korean martial arts use similar-sounding terms of Wae Gong, Gi Gong, and Nae Gong, which overlap but don’t always match the Chinese Daoist meanings:
Korean Term
Hangul / Hanja
Similar Chinese Concept
Same Practice?
Notes
Wae Gong
외공 / 外功
Wei Dan (外丹)
No
Refers to physical conditioning in martial arts, not Wei Dan’s alchemy
Gi Gong
기공 / 氣功
Qigong 气功
Yes
Practices are nearly identical; focuses on breath, energy, and movement
Nae Gong
내공 / 內功
Nei Dan 内功
Partially
Internal energy work similar to Nei Gong; not necessarily advanced Nei Dan alchemy (Yang, 2007).
Etymological Breakdown of Chinese Characters
Understanding the roots of the Chinese characters deepens appreciation of these arts:
气 (Qì): 4 strokes. Ancient forms depict swirling vapor → breath, vital energy.
内 (Nèi): 4 strokes. 冂 (enclosure) + 人 (person) → shows a person inside boundaries → introspection.
These etymologies reflect core Daoist themes of balancing inside (内) and outside (外), and cultivating qi (气) to align with the Dao (Qiu, 2000).
Integrated Comparison Table
Aspect
Wei Dan (外丹)
Qigong (气功)
Nei Dan (内丹)
Meaning
External elixir/alchemy
Energy skill/cultivation
Internal elixir/alchemy
Method
Chemical concoctions
Breath, movement, meditation
Advanced meditative transformation
Goal
Physical immortality
Health, vitality, stress relief
Spiritual immortality/enlightenment
Korean Parallel
Wae Gong (not equivalent)
Gi Gong (equivalent)
Nae Gong (partially equivalent)
Conclusion
Wei Dan, Qigong, and Nei Dan represent distinct layers of Daoist health and spiritual practices: Wei Dan’s external focus, Qigong’s energy cultivation, and Nei Dan’s profound internal alchemy. Meanwhile, Korean martial arts terms like Wae Gong, Gi Gong, and Nae Gong reflect overlapping ideas but emphasize martial conditioning, energy work, and internal strength, respectively.
Understanding these differences empowers practitioners to choose a path aligned with their goals, whether health, martial skill, or spiritual awakening.
References
Jahnke, R. (2002). The Healing Promise of Qi: Creating Extraordinary Wellness Through Qigong and Tai Chi. Contemporary Books.
Mitchell, D. (2011). Daoist Nei Gong: The Philosophical Art of Internal Alchemy. Singing Dragon
Pregadio, F. (2018). The Taoist Alchemy: Nei Dan and Wei Dan in Chinese Tradition. Golden Elixir Press.
Qiu, X. (2000). Chinese Writing. The Society for the Study of Early China & The Institute of East Asian Studies.
Yang, J. M. (2007). Qigong for Health & Martial Arts: Exercises & Meditation. YMAA Publication Center.
Note: I could find no single authoritative English-language source compiling the terminology of Wae Gong, Gi Gong, and Nae Gong. These terms are part of Korean martial arts oral traditions and school teachings, with meanings overlapping but not identical to the Chinese concepts discussed here.
The historical narrative of martial arts in China is deeply interwoven with spiritual cultivation, particularly through the legendary influence of Bodhidharma (Damo), the Indian monk credited with introducing Chan (Zen) Buddhism to the Shaolin Temple. His teachings are widely regarded as the seed of Shaolin martial arts, combining meditative discipline with physical conditioning through systems such as the YiJin Jing (Muscle-Tendon Changing Classic) and the 18 Luohan Hands. These practices, over centuries, evolved into the sophisticated combat and wellness system now known as Shaolin Kung Fu.
Bodhidharma’s Contributions
Bodhidharma’s arrival at the Shaolin Monastery in roughly the 5th or 6th century CE introduced transformative practices focused on both internal and external cultivation. He is traditionally credited with teaching three major systems:
Chan meditation – promoted inner stillness and enlightenment through direct experience and introspection (Red Pine, 1987)
YiJin Jing (Muscle and Tendon Changing) and Xisui Jing (Marrow Cleansing Classic). Which the two were physical regimens aimed at strengthening the body, improving Qi circulation, and preparing monks for long periods of seated meditation (Shahar, 2008).
YiJin Jing: Conditioning the Body for Higher Purpose
The YiJin Jing consists of dynamic tension exercises that train the musculature, tendons, and fascia, preparing the body not only for martial use but also for maintaining vitality and structural integrity. These exercises, according to tradition, were prescribed by Bodhidharma to enhance the monks’ endurance and resistance to fatigue and essential for rigorous spiritual practices (Henning, 1999). Movements from YiJin Jing later evolved into practical combat sequences, emphasizing controlled breathing, rooted stances, and explosive force, characteristics now central to Shaolin martial arts.
YiJin Jing (Muscle & Tendon Changing)
18 Luohan Hands: The Proto-Forms of Shaolin Kung Fu
The 18 Luohan Hands are a set of Qigong-like movements, traditionally considered the earliest structured exercises linking health cultivation and martial efficacy. These forms included basic palm strikes, circular motions, and integrated breath control. These elements would later become foundational for Shaolin fighting systems. Over time, they were elaborated into more complex forms such as Luohanquan (Arhat Fist), a style known for its precise, direct strikes and meditative underpinnings (Shahar, 2008).
13 Luohan Qigong: Bridging Internal and External
A related tradition, 13 Luohan Qigong, comprises a sequence of exercises that further integrates internal energy development with martial readiness. Each of the 13 movements targets specific energetic pathways and anatomical functions. For instance, “Luohan Draws the Bow” emphasizes lung expansion and Qi projection, while “Luohan Stands on One Leg” cultivates balance and stability. These movements not only reinforce martial mechanics but also nurture internal harmony, resonating with Taoist and Buddhist philosophies on health and enlightenment (Yang, 2010).
The Synthesis into Shaolin Martial Arts
The transition from static Qigong forms to combative martial art forms at Shaolin was catalyzed by the necessity of self-defense and discipline. The YiJin Jing provided the physiological robustness and tendon strength required for explosive movement, while the 18 Luohan Hands offered the basic motor patterns and coordination that could be adapted into fighting techniques. By combining these with Chan Buddhist principles and eventually incorporating external influences such as Chinese military tactics and folk styles, Shaolin monks developed a comprehensive martial system.
This system expanded into various forms and weapons styles, each integrating internal power (Nei Dan), structural integrity, and mental discipline. Notably, Luohanquan emerged as a canonical representation of these origins, continuing the legacy of the original Luohan exercises through its focus on both spirit and technique (Wong, 1996).
Conclusion
The legacy of Bodhidharma at Shaolin Temple is not only spiritual but deeply physical. Through systems such as YiJin Jing, 18 Luohan Hands, and 13 Luohan Qigong, he set in motion a lineage that would unite body, mind, and spirit into one of the world’s most enduring martial traditions. Today, practitioners of Shaolin arts continue to embody these principles, integrating ancient wisdom with modern discipline in the pursuit of balance, strength, and self-realization.
References:
Henning, S. E. (1999). Academia encounters the Chinese martial arts. China Review International, 6(2), 319–332. https://www.jstor.org/stable/23732172