The Pyung Ahn Hyung (平安), a classical representation of the southern Chinese Ha Nam (河南) style, traces its origins to the military leader Jeh Nam (濟南) of China. Initially referred to as the Jeh Nam Hyung, these forms were later reorganized into five distinct forms by Okinawan Master Idos (糸洲 安恒) in the late 19th century, following their introduction to Okinawa from mainland China. Subsequently, they became known as the Pyung Ahn Hyung (Pinan in the Okinawan dialect), or the Forms of Peaceful Confidence.
Moo Duk Kwan founder Hwang Kee integrated the Pyung Ahn Hyung into his curriculum, utilizing these forms to instruct beginner students in fundamental stances, strikes, blocks, kicks, and turns. Hwang Kee further adapted the Hyung to reflect the Moo Duk Kwan style, and this modified version continues to be taught within the World Moo Duk Kwan today.
The turtle, a symbol of great cultural significance in Korea, was designated by Hwang Kee as the symbol of the Pyung Ahn Hyung. Similar to the Chinese reverence for the dragon, turtle sculptures can be found throughout Korea, dating from historical times to the present, prominently featured in gardens and temples. The turtle’s head signifies the earth, its claw represents the heavens, and its body embodies water. Serving as the intermediary between heaven and earth, water also symbolizes humanity. Thus, the turtle embodies the three primary elements of the universe: Chun (heaven), Ji (earth), and In (humanity). As a living representation of the unity of these three elements, the turtle becomes an enduring emblem of longevity.
A primary objective of training in the Pyung Ahn forms is to build technical prowess by cultivating the harmony of Um Yang, which is symbolized by the turtle’s head (earth) and the turtle’s claws (heaven). Practitioners represent the turtle’s body, symbolizing their individual journey to maintain longevity as they strive to cultivate harmony of Um Yang. The repeated practice of the five Pyung Ahn forms in Soo Bahk Do contributes to enhancing physical performance. However, it is essential to note that physical techniques must be complemented by virtuous living, maintaining a balance of Um Yang—earth and heaven, and body and spirit.
A part of a virtuous life can be characterized by exemplifying confidence (Ahn) without arrogance and peacefulness (Pyung) without excessive submissiveness. This can be summarized by the term Neh Khang Weh Yu (內强外柔) or Inside Strong and Outside Soft. The ultimate goal of the Pyung Ahn Hyung lies in the integration of contrasting forces—Um and Yang, earth and heaven, hard and soft, body and spirit, internal and external, —into a harmonious whole. Finding this balance can be a pursuit of a lifetime. For the few who find it, discover one of the keys to longevity.
Hi Bri…just a question about the picture you used for this article. It’s one of my favorites, however, my picture does not have the top part included. What does the top represent? After reading this article, I realize I need a turtle to include in my garden….thanks! 🙂
Love you lots, Son!
Thank you Jang Sa Bom Nim for your continued teachings and wisdom.
Best regards,
Jay Tyzzer
The history seems a bit off with actual historical records.
The Pyung Ahn forms (also spelled Pinan in Japanese or Heian in modern Karate) were created by Itosu Ankō, a renowned Okinawan martial artist and pioneer of modern Karate. He developed these forms around the late 19th or early 20th century as simplified kata to teach basic techniques and principles to school children in Okinawa.
Itosu derived the Pyung Ahn forms from older kata, particularly Kushanku (Kanku-dai) and possibly Chiang Nan (a now-lost kata).
Hwang Kee and HC Hwang recognize Itosu Anko as the creator too.
You are correct. Idos is the Korean pronunciation of Itosu, and the way Hwang Kee referred to him. Chiang Nan is the lost kata (Jeh Name in Korean) referenced. Historians believe this is of Chinese descent. The older kata such as Kushanku also have older roots that date back to China. Some of this history gets confusing because of the different languages and dialects.It would have been good for me to include Kushanku as another likely influencer of the Pyung Ahn hyung.