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Baguazhang\\'s beginnings are obscure as the I Ching itself. Legend surrounds the famous Dong Haiquan, and many practitioners often hold him up as the "father" of their art. However, circle walking was a part of many early Daoist meditative practices as well as external arts -- especially early forms of Eagle Claw Kung Fu. More importantly, while Baguazhang's beginnings may be obscure, the origins of the two main symbols of Bagua, Pre-Heaven and Post-Heaven, are ancient. They are mentioned in early texts such as, "The Yellow Emperor's Classic on Medicine," the "Dao De Qing," and the "Hua Hu Jing."

The main styles of Baguazhang practice as we know it today can be traced directly to Dong Haiquan. However, there are Baguazhang systems that are newer and are not as clearly connected to Dong Haiquan since they were developed long after his death; one of the newest -- Emei Baguazhang was developed in 1960 from a combination of popular Bagua Schools from Dong Haiquan and Emei Mountain Wai Jia (External) Kung Fu. (This history of Emei Baguazhang has been documented and is available through the Traditional Wushu Association of Chongqing in Sichuan Province, where Emei Mountain is located.)

One of the most fascinating aspects of the styles that emerged from Dong Haiquan's direct teaching is that no two are alike. In many instances, they are very different interpretations that look like completely different martial arts. This multifaceted development seems to have taken place because Dong taught each of his students based on a combination of their desires, what he thought their strengths were, and what he may have personally felt would serve them best. In turn, this lead to the plurality of what we see from the legacy of Dong's teachings. It obscures the art that Dong himself practiced.

Not surprisingly, the developments Dong Haiquan made from those that proceeded him are a mystery. It is quite difficult to track the historical development between the different styles of Baguazhang from Dong Haiquan. For example, it has been said that one of Dong's students, Zhang Zhao Dong (Jiang Rong Qiao's teacher) learned from another student of Dong, Cheng Ting Hua at one point. However these teacher's styles emerged, Cheng Ting Hua's style and Jiang's style seem to lack any specific connection. Certainly there is little connection between these styles in the area of symmetry as they are practiced today. Jiang's Baguazhang is much more symmetric then Cheng's. This schism can be found in a comparison of the palms and in weapons practice (including the sword, axe, and spear) and even in Jiang's approach to the two man practice.

These symbols are central to understanding Baguazhang as a martial art. The Pre Heaven generally presents a polar view that brings Heaven and Earth meet together on the horizon creating a continuous line and a broken line, thereby giving birth to Yin and Yang; Fire rises to Heaven while Water falls to Earth. (Sometimes Fire and Water are referred to as the Sun and the Moon respectively.) Thunder and sudden movement stirs the Winds of spring. Lake is concave in the Earth's crust while Mountain elevates from the Earth. The Post Heaven symbol, or Cyclical View places the basic eight symbols in a circle with their corresponding properties aligned with the seasons. Most significant to the Post-Heaven symbol is the replacement of Heaven in the Pre-Heaven with with Fire (Sun and Summer), and the replacement of Earth in the Pre-Heaven with Water (Moon and Winter).

Around 2200 B.C. legend has it that the moderate climate of Fu Hsi\\'s world began to change and flooding was more prevalent along the banks of the Yellow River. Also at this time, a new symbol emerged that offered answers and explanations concerning the changes that were happening. The Emperor Yu claimed he could predict the climate and by doing so, advise his subjects how to better utilize the turbulent changes along the Yellow River. The knowledge and magic afforded him by this new symbol helped the Emperor Yu supposedly predict occurrences in the future, and better utilize the talents of his leadership to support and develop a more advanced society. This fresh symbol revealed a magical numbering system arranged on the back of a tortoise (later known as a Magic Tortoise). A system which became a grid to efficiently organize and calculate a society that adjusted and benefited from the cyclical observance of the seasons instead of fearing them and their "turbulent" changes. This new symbol derived from the back of the "Magic Tortoise" became known as the Post-Heaven symbol of Bagua.

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