How it is made
- Sit on a firm chair or a cushion with the back away from the support, feet flat on the floor, spine upright, hands resting lightly on the knees.
- Regulate the breath for one minute: slow inhale through the nose for a count of four, longer exhale through the mouth for a count of six, jaw and shoulders soft.
- Knock the upper and lower teeth together lightly thirty-six times, rest the tongue on the palate, and swallow the saliva in three slow mouthfuls.
- Turn the head gently to the right and stay for a slow breath, then to the left, six times each side, keeping the shoulders still.
- Massage the lower back with the palms in slow figure-eights for about one minute, until the area feels warm.
- Raise both arms overhead with palms up, then press down toward the floor on the exhale, six slow repetitions.
- Clench the fists lightly at the sides, then release on the exhale, six times, finishing with the palms resting in the lap.
- Breathe quietly for two minutes with the hands cupped in the lap, then stand slowly when ready.
When it is made
Baduanjin is documented in Chinese qigong sources from at least the Song dynasty, with the tradition attributing the set to General Yue Fei, and is recorded in Ming and Qing medical texts alongside the yijinjing and the five-animal frolics of Hua Tuo. The seated set belongs to the same lineage and is the version most often taught to older practitioners and to anyone recovering from illness or fatigue. In modern China the standing set is practiced at dawn and dusk in public parks, and the seated set is reserved for evenings when the day needs a quieter closing. The tradition reads the form as a way to gather scattered attention rather than as exercise, and the same hour across a season is what the practice expects.
Disclaimer
The seated Baduanjin is a gentle practice, with a few cautions worth knowing. People with uncontrolled blood pressure, glaucoma, recent abdominal surgery, or acute neck and back injuries are usually guided by a qualified teacher rather than learning the form from a screen, because some of the bends and breath patterns load the lower back and the eye. Pregnant practitioners are usually taught a shortened set by a teacher rather than the full eight forms. The form is traditionally not practiced on a full stomach; half an hour after a light meal is the usual starting window. Within those notes, the breath stays soft and the range of motion stays within what feels comfortable.
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