Students of Tang Soo Do typically begin learning the Pyung Ahn series of forms at Orange Belt (8th Gup). These forms are an important part of our Moo Do (martial discipline) development.
The modern Pyong Ahn forms were introduced as a series of five forms in 1901 by Itosu Yasutsune (1831 – 1915), a Shorin-ryu Karate master on Okinawa. The words Pyong Ahn translate to "Peaceful Confidence". The diagrams of the forms resemble a balanced scale. There is some differing opinions as to the exact history of the forms. Some claim that they originated in China and exemplify the southern regional style (Nam-Pa); that they were created by a Chinese military leader named Jeh Nam and were once known as the Jeh Nam Hyungs till late 1800. Others would argue that they originated in Okinawa and were adapted by Itosu from older forms such as Kusanku and Gojushiho into forms suitable for teaching karate to young students and introducing martial arts practice into school systems.
The modern Pyong Ahn forms were introduced as a series of five forms in 1901 by Itosu Yasutsune (1831 – 1915), a Shorin-ryu Karate master on Okinawa. The words Pyong Ahn translate to "Peaceful Confidence". The diagrams of the forms resemble a balanced scale. There is some differing opinions as to the exact history of the forms. Some claim that they originated in China and exemplify the southern regional style (Nam-Pa); that they were created by a Chinese military leader named Jeh Nam and were once known as the Jeh Nam Hyungs till late 1800. Others would argue that they originated in Okinawa and were adapted by Itosu from older forms such as Kusanku and Gojushiho into forms suitable for teaching karate to young students and introducing martial arts practice into school systems.
Both theories presume the basis for the movements came originally from the southern region of China. Forms introduced from this region are said to be of the Weh Ga Ryu (Outside/External House Style). Weh Ga Ryu came from Southern Chinese Schools emphasizing speed, aggressiveness and dynamic action. Examples of the Weh Ga Ryu style are the Gi Cho Hyung, Pyung Ahn Hyung, and Passai.
The exact history behind the origin of the Pyung Ahn series aside, there is great benefit to practicing these forms. These forms were introduced into the Tang Soo Do curriculum by Hwang Kee, who made the turtle the symbol of the Pyung-Ahn Hyungs. The turtle bears a special significance in Korea culture comparable to that of the dragon in China. Throughout Korea, in gardens and temples especially, one sees turtle sculptures dating from historical times to the present.
In his book Tang Soo Do (Soo Bahk Do), Hwang Kee states (page 350):
The exact history behind the origin of the Pyung Ahn series aside, there is great benefit to practicing these forms. These forms were introduced into the Tang Soo Do curriculum by Hwang Kee, who made the turtle the symbol of the Pyung-Ahn Hyungs. The turtle bears a special significance in Korea culture comparable to that of the dragon in China. Throughout Korea, in gardens and temples especially, one sees turtle sculptures dating from historical times to the present.
In his book Tang Soo Do (Soo Bahk Do), Hwang Kee states (page 350):
"Perfect form, exquisite fusion of mind and body, is a high art and a thing of beauty."
"The practitioner cannot remember only the order of the form. It is more important for him to concentrate on balance, rhythm, breathing control, variation in speed and power control. It is vital to pay attention to these things so that the form is presented as an approach to a living ideal."
"The practitioner cannot remember only the order of the form. It is more important for him to concentrate on balance, rhythm, breathing control, variation in speed and power control. It is vital to pay attention to these things so that the form is presented as an approach to a living ideal."
The series of forms Hwang Kee introduced to Tang Soo Do are very similar to those introduced earlier by Itosu. Itosu's innovation when presenting the series for practice in public schools may have been to restructure the form by making it much more symmetrical than the Chinese version. Nearly every movement performed by the left side of the body is repeated on the right. This works both sides of the brain and makes the form's external movements and directions more consistent with the Um-Yang theory. The Pyung Ahn Hyungs have as their purpose the cultivation of harmony between Um and Yang in those who perform them. This entails more than just ability to execute the physical movements involved; a deeper knowledge behind the movements must be explored. Physical techniques must be complemented by spiritual wisdom (Duk), just as Um is balanced with Yang, if we are to find peaceful confidence in practicing the forms. The goal of the Pyung Ahn Hyungs is precisely this integration of contrasting force-um and yang, body and spirit-into a harmonious whole.
When practicing these Hyung it is natural to find defensive applications in the movements. Continuous practice of the forms develops confidence to performing the movements properly and by extension be more effective applying them defensively. Understanding these applications, how and when to apply them, cultivates wisdom in the student. This development of body and spirit occurs naturally. Having developed confidence and wisdom the student will feel at ease, at peace, in mind and body regardless of the situation. This is the feeling of Peaceful Confidence and the reason behind the name for the series of forms. The Pyung Ahn Hyung's ideal is equanimity and peace.
In Hwang Kee’s book we find the following passage on page 372:
When practicing these Hyung it is natural to find defensive applications in the movements. Continuous practice of the forms develops confidence to performing the movements properly and by extension be more effective applying them defensively. Understanding these applications, how and when to apply them, cultivates wisdom in the student. This development of body and spirit occurs naturally. Having developed confidence and wisdom the student will feel at ease, at peace, in mind and body regardless of the situation. This is the feeling of Peaceful Confidence and the reason behind the name for the series of forms. The Pyung Ahn Hyung's ideal is equanimity and peace.
In Hwang Kee’s book we find the following passage on page 372:
“by completely mastering the pyong ahn forms one can develop a feeling of pyong ahn in your mind and body regardless of the situation. This feeling is attained because of the self defense ability developed by practicing the pyong ahn forms.”
References:
Hwang Kee (1978). Tang Soo Do (Soo Bahk Do). United States: Sang Moo Sa.
http://www.sfts.edu/faculty/noel/taekwondo/korean.asp
http://blog.wasatchmartialarts.com/pyung-ahn-hyung/259
http://en.wikipedia.org/wiki/Pinan
Hwang Kee (1978). Tang Soo Do (Soo Bahk Do). United States: Sang Moo Sa.
http://www.sfts.edu/faculty/noel/taekwondo/korean.asp
http://blog.wasatchmartialarts.com/pyung-ahn-hyung/259
http://en.wikipedia.org/wiki/Pinan
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