Chi Gung and Yoga
T
he traditional classical teachings of the achieved yogis was that asana [Hatha yoga] was but a single component of the path to union with the nameless. Inherent in Taoist teaching is the understanding there is no single path. Taoist and yogic practices have existed for thousands of years and during that time there have been radical changes to teaching methods and in the last few score years, to who has been qualified to teach.
Both chi gung and yoga share a heritage that is common: there is conflict about the sages who sponsored the early teachings, even whether they existed. The finest common part is that the body is the temple through which the soul can pass towards immortality; if not so far, then at least the arts can promote good health, positively heal sickness, develop the mind, even resolve the fancifully termed ‘bad karma’.
We cannot really argue about a style’s superiority over another. What is important is the attitude of the practitioner and the quality of the teacher.
To the yogi, control over the body is prerequisite to mastery of the mind. How else could sustained physical stillness be achieved in order to shut down the sense doors and approach concentration [samadhi], the essential tool for direct perception, union with god, the one or the Tao?
To the practitioner of chi gung, such things may not be emphasised. Inevitably, in Taoist practice the mind becomes more subtle, concentration develops and improves; oneness with the tao becomes a gradual realisation rather than an idea. Both types of practitioners pass through the same inverted gateways: in the pursuit of stillness one finds much movement; in movement, particularly in tai chi, ba gua, one must find stillness.
On the purely physical level, yogic and taoist arts contain fluid as well as static forms; they contain elements of breath work, invite the body to be directed by the mind and that the mind arise in the body with different qualities dependent on the specific practice. The yogi’s tendency is towards an understanding of the chakras, the energy centres that run vertically up the body, the much fancied kundalini—the rising serpent—and the sushumna, reminiscent of the central channel are some of the pathways the yogi will use to develop the subtler qualities of mind for higher practice.
The different styles of yoga and Taoist art reflect history, culture and predisposition of the masters.
Taoists may prefer the central channel, the meridians and dan tiens. Although the terms differ, both yogis and taoists recognise and work with the subtle bodies. Naturally the path of the taoist will be towards the softer styles because they more comfortably accommodate mental subtlty, agility & better reflect the natural order.
The different styles of yoga and Taoist art reflect history, culture and predisposition of the masters. We cannot really argue about a style’s superiority over another. What is important is the attitude of the practitioner and the quality of the teacher. The mindfulness of the teacher, the joy of the practitioner, these are as important as any form.
Yoga is often described as a fire method, Taoist arts as water. Truly each art contains the other element. Laotzu found that water provided the best metaphor for the visible face of truth on earth; the yogis have such a pantheon of gods and graces, philosophy and methodology that it is easy to overlook the fluidity, which naturally flows through the best known of India’s spiritual arts.
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