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王 西 安
Chen Family Taijiquan Tuishou
Chenjiagou Wenxian County Henan, China
陈 氏 太 极 拳 推 手 技 法
Published by INBI Matrix Pty Ltd po box 775, Maroubra 2035 NSW Australia English Edition © 2009 INBI Matrix Pty Ltd Copyright © 1998 Wang Xi’an
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retreival system, without permissing in writing from the publisher.
First edition, 2009 Printed in China
王 西 安
Project management & design: Roman Mukhortikov Editors: Juliana Ngiam, Tom Watson Translation: Zhang Yanping
ISBN-13: 978-1-87693-500-6 ISBN-10: 1-87693-500-6
Thoughts on Taiji
Ever since it came into being, Taiji has been passed down from generation to generation. Foremost among many historic figures, was Chen Zhaopi (1893-1972), who stands out for his determination to train young successors. Thus, today we witness a substantial and energetic development of Taiji in the Chen Village, from where its reputation has spread worldwide, inspiring both young and old in the practice of Taiji. Chen Zhaopi was passionate in sharing his heritage and knowledge. My only regret is that I failed to be more focused and to practice more diligently. As a successor of the Chen family heritage, I have undertaken to continue his legacy by writing this book, but despite all best attempts, I struggle to reveal all the subtleties in this vast body of knowledge. I sit with a lonely lamp, recalling the past and sigh to the sky.
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法 王 西 安 vi .
newly written by Master Wang Xian. I look forward to Master Wang’s future works with great enthusiasm. is to be published. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. we believe that Taiji. More than ever. indubitably a result of the efforts of Taiji followers in both countries. belongs not only to China but to the rest of the world. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . One of the finished manuscripts resulted in this book.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. Indeed. ‘to exist everywhere. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. his high disciplinary standards and outstanding martial arts techniques serves as an inspiration to all Taiji learners in Japan and we greatly appreciate his tremendous contribution to Sino-Japan Taiji relations and the spread of Taiji knowledge all over Japan in years past. Tokyo. Atsuko Noguchi January 1998. an impressive feat of concentration and energy considering Master Wang’s teaching workload. as an expression of the profound spirit inherent in all human beings. In the spirit of Taiji’s original meaning. to consist of everything’.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
......... Tuishou: the Only Criterion to Judge the Gongfu of Taiji.................84 7...............18 3....................................................................................25 6...... Feet Practice .................. Reeling Silk ..............................72 6.................... Dongjin – Realization of Energy ...............10 5...............................21 4....................................................................... Lian Sui Energies ........................................................... Elbow Practice ....................................................................................................................................................... Misleading and Transforming Techniques ................................................................. Na (Seizing) Techniques ....................................... Listening to Energy ..........................................................................................................................................26 7..... The Relationship Between Three Stages of Taijiquan Practice and Tuishou ...........................................................................................................63 5.........................................................Table of Contents Chapter One: Introduction 1.................................................... Zhan Nian Techniques.................16 2............................. Na (Seizing) Practices .............................................................................................. The Origin of Taijiquan Tuishou ..3 Tuishou Practice – Going Inward....40 3..31 9.......................... Jietuo (Escape) Practices...............97 8.....................................................................38 2..............................................................105 9.................... 4.................................35 Chapter Three: Single Form Practice 1..............................................................................34 10.................4 The Core of Tuishou ........................... Energy Explosion .................................... Opening and Closing ....... Palm Practice ............................................................................... Fist Practice ...................................................................... Ti (Raising) Energy ...................... Kao (Push) Practices................... Introduction ....... 2..13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1..................29 8...................................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix ...................55 4.. 3...................................................................... Leg Practice ..................................... Step by Step .........23 5......................
....................175 4.............................................................................................203 8........197 6....................................................................................................... Introduction ..........................................................168 2........................................ Solo Wan Hua ........... 157 Chapter Six: Chen Style Taiji Tuishou Categories 1.............. Tuishou Steps ....................... Classifications of Tuishou ...240 王 西 安 x ..................................................................................... Single-hand Horizontal Wan Hua in Pair Practice .........200 7.................171 3............... Tuishou Handwork Techniques ....... Tuishou Footwork Techniques... Solo Double-hand Wan Hua in a Vertical Circle .............................................................................................. 133 3........................... 183 Chapter Seven: Solo Practice in Tuishou 1.......... Pair Practice in Shun Bu Tuishou.......................................... Pair Practice in Luan Cai Hua Tuishou......154 Chapter Five: Practice for the Buttocks and Crotch .. Hunyuan Zhuang (Circle Posture) ................. Shun Bu Tuishou .............................................................................. Single-hand Vertical Circle Wan Hua in Pair Practice ................................210 Chapter Eight: Pair Practice in Tuisho 1...............................149 7..................................................................................................................... Pair Practice in Da Lü Tuishou . Introduction ............................214 2.............................132 2....... Shuang Shou Li Yuan Wan Hua..................................................................146 6.......... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) .................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1................................................ Introduction ..220 5................................................... He Bu-Tuishou ............ Solo Luan Cai Hua Tuishou .....................................218 4.. Solo Double-hand Flat Circle Wan Hua .......................... Solo Tuishou With Static Footwork ...........................................195 5...............................209 9...........................................230 8..................................193 4........................................................................................142 5.............. 138 4.......239 9............... Hand Techniques in Tuishou Reeling...179 5........... Kai He Zhuang (Opening and Closing Zhuang) .....187 3....................................224 6..... Wu Ji Zhuang (Wu Ji Posture). San Ti Shi (Three Postures)..................................186 2............................. 215 3............ Solo Ping Yuanwan Hua ...............227 7................................................................................................................................................. Shuang Shou Ping Yuanwan Hua ................................... Solo Danren Da Lü Tuishou ........... Chan Si Zhuang (Reeling Silk Posture) ........
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
Its creator. location or access to equipment. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. and he was recognized as the creator of Chen Family boxing. the ‘Book of Changes’). gender. China. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. throwing and striking. reducing illness and prolonging a healthy life. it helps build health and defence as well as to develop a sensitivity to movement. Chen Wangting. originally known as Jieshou or Dashou.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. Henan Province. agility and flexibility. transforming. Chen Wangting. In doing so. in the period between the Ming and Qing Dynasty. ‘The Family Tree of Chen’.1. As it is not stressful to the body. Tuishou. it helps maintain fitness. With the accelerated pace of modern life. Wenxian County. (also known as Zouting) was a famous martial arts master. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. he drew on the theories of the Yijing (I Ching. as well as the principles of Yin and Yang. As a combat techniqiue. Taiji Tuishou practice is not restricted by a practitioner’s age. was the creator of Taijiquan and 9th generation head of the Chen Family. catching. is a practical combat technique based on grabbing. and will continue to do so in years to come. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . sword and stick routines. According to the book.
‘From the familiarity of forms. Less well known is Tuishou’s other application as a technique for internal transformation. sTep-by-sTep To practice Tuishou. With sustained practice over a period of time. you will be able to release explosive energy to both small and large targets. Literally. with greater efficacy and subtlety. A Taijiquan proverb pertains also to Tuishou. hard/ soft. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. to the realization of Jin. followed by the double hand horizontal and vertical practice. and do not disconnect or oppose your partner’s energy. Relaxation is fundamental. Follow the circling movements with the whole body.陈 氏 太 极 拳 推 手 技 法 1. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. Initially. or appreciate the interplay of the slow/quick. so much that you will be able to apply combat techniques. enabling you to throw opponents meters away without hurting them. transformation is the basis. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. and striking. be relaxed. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. 王 西 安 4 . that is. Become familiar with the single hand horizontal and vertical practice. intuitive and subconscious. throwing. nor will you be able to intuit your opponent’s energetic intention. listen to each other’s energy flow. Tuishou practice should be soft and modest. catching. you must know its significance. and what it consists of. You will not realize inner transformation.2 TuishOu pracTice – gOing inward. from the realization of Jin. As you reach the level of adept. such as grasping. an athletic activity based on mutual pushing. pacing your learning step-bystep. to the Deity’. principles. Tuishou translates as ‘push hands’.
mind and spirit with determination. As long as you practice persistently and make progress. force and speed in your actions. your intention and commitment must be deeply held.Remember that ‘inner listening’ is the one essential skill required to improve your technique. combining your heart. imagine a partner practicing or competing with you. Practice makes perfect. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . Skill arises from consistent and accumulated practice. In solo practice. you will ultimately enhance your health and combat techniques. but never practice just in order to practice. be calm and concentrated in your demeanour. To cultivate ‘inner listening’.
At a more advanced stage. Lian. . You will learn to follow your partner’s intention and forget your own. Nian. Qing (light) and Zhong (heavy). gathering or exploding. Kuai (quick) and Man (slow). Movements alternate freely between Gang (hard) and Rou (soft). your partner’s weight. Tuishou practice is based on thirteen ‘forms’ or energies. follow) and Chansi Jin (Reeling Silk).陈 氏 太 极 拳 推 手 技 法 1. distance and direction of energy. upward or downward movements.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. while its theoretical basis builds on the philosophies of Yin and Yang. attacks or retreats. which are also the essential elements of Taiji. opening or closing. it will enable you to feel. you will develop the capacity to subconsciously anticipate quick or slow changes. When you can control these energies within yourself. Sui (stick. continue. and so on. speed. adhere. The thirteen forms are: • Ward off • Roll back • Press • Push • Pull down • Split • Elbow strike • Shoulder strike • Advance forward • Retreate back • Look backward • Gaze forward • Central equilibrium Peng Lü Ji An Cai Lie Zhou Kao Jin Tui Gu Pan Ding 王 西 安 6 Tuishou flows seamlessly between the application and combination of opposites. with the lightest of touches. actions to the left or right.
王 西 安 7 . Attack the opponent’s centre of gravity Use techniques such as ‘control a stronger opponent with weak force’ and ‘defeat weak points with a stronger force’. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. move before they do’ etc. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. it is the force of friction that enables you to hold and seize their arms etc. Use the forces of elasticity and friction Use these forces when applying techniques such as ‘draw the opponent into one’s orbit to destroy their centre of gravity’. ‘if the opponent moves slightly. don’t move’. stretching. expansion.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). this energy refills automatically to its original ‘full’ state. or other deformation. When releasing explosive energy. ‘follow slow attacks unhurriedly’. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. ‘if the opponent does not move. concentrate on one direction at a time. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. Like a balloon whose air has been exhausted. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. be calm and relaxed To release bursts of energy effectively.
when you move forward in your turn to press. I follow my partner. also states: “No one knows when I gather or stretch. utilizing the techniques of Kao. push or strike. Using this. I can conquer a force of a thousand jin with a tiny force of four Liang.” Chen Changxing. whether they strike or twist. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’.” This technique. I always follow their intention. The canon of Taiji teachings is rich with such sayings. whether ascending or descending. none of your opponents can defeat you. and is worth remembering. push or strike your opponent you do so without alerting them in order to capture their energy.陈 氏 太 极 拳 推 手 技 法 As stated in the General Song of Taijiquan by Chen Wangting (also known as the ‘Song of Taiji Practitioners’): “…remembering the principle of following. the 14th generation master. no matter how hard they press. I perform strictly to the principles so as to make me unassailable. known as Shang Long Xia Ti (which means to place the opponent in a passive position unawares by holding close to his or her upper body while lifting their lower body). 王 西 安 8 . Similarly. results in the shaking off of the opponent’s upper body and lifting of their lower body. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. Even if attacked by a monster.
Only one with five Yin and five Yang is called adept. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. Here. I sincerely hope Taijiquan followers will embark on a serious study of this art and strive toward the as yet unbounded acme of this science. requiring us to further our exploration and improve our practice of it. One with four Yin and six Yang is among the group of the adepts. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . As a science. In order to inherit and develop this Chinese cultural heritage.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined.
with fuller details available in Chapter Two of my book. Correspondingly. .陈 氏 太 极 拳 推 手 技 法 1. Dong Jin (realizing the inner energy) Qi drives outer form. 3. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. Zhong Quan (medium circle) At this stage. 2. Zhao Shu (familiarity with the forms) Outer form drives Qi. 2. still regarded hard’ turns into ‘fouryin six-yang. one comes into the group of the adepts’. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. ‘Chen Style Taiji Laojia’ (Old Routine). as stiff as a stick’ evolves to ‘two-yin eight-yang. The three stages of Taijiquan are: 1. ‘three-yin seven-yang. is San Shou’.4 The relaTiOnship beTween The Three sTages Of Taijiquan pracTice and TuishOu A brief description of the three stages of Taijiquan practice will be provided here. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang.
The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. Note that ‘no circle’ denotes a state of subtlety and skilfulness. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). the complete fusion of external form and internal spirit. as well as the combination of the respective techniques applied in the big. possess abundant internal energy. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. that is. random alternations between states of energy gathering and releasing within a relaxed and elastic body.3. Following a correct program of practice as outlined above. one is regarded as a Deity’. At the third stage of Shenming (deity). that is. an adept may say. We must pay attention to different methods during different stages of practice. all parts of the body become as highly sensitized as finger tips so that when competing. along with the Tuishou practice of Zhong Quan (medium circle). we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . enjoy a feeling of lightness. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. That is to say. By this stage. At the second stage of Dong Jin (realization of energy). along with the Tuishou practice of Da Quan (big circle). in addition to a diligent assimilation of knowledge. at the first stage. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). medium and small circles. and be able to achieve constant internal changes between Xu and Shi (void and solid). and does not mean total stillness.
even though I don’t know how I do it’. This is not unattainable. you surely go backwards. “Taiji practice is like rowing in the river. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void). Also known as ‘Five-Yin Five-Yang’.” 王 西 安 12 . if you don’t make efforts to go forward. as our ancestors tell us.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent.
陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . Skilled practitioners rely on a highly developed sense of touch. Remember too where your weight is placed to maintain control of your centre of gravity. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. tough energy. meaning ‘loss of energy’. the stronger force) also can defeat the weaker force. In other words. they are able to strike back instantly in response to an opponent’s movement using conditioned reflexes derived from highly sensitized skin alert to every minute stimulus. When forces are equally matched during competition. However. These reflexes are faster than thought and only come with constant practice.5 TuishOu. nor is it just a matter of pitting one’s physical force against others. Hence. Ding meaning ‘stiff resistance’). try to feel the extent and speed of your partner’s motions with your sense of touch while ‘listening’ to their stance and angles of movement. The Only criTeriOn TO judge The gOngfu Of Taiji Not only is Tuishou a reliable test of one’s level in any martial art form. It is this dynamic that we need to explore during practice. ‘Weak side strikes strong side. It simply requires practitioners to have sufficient physical force for competition. four Liang defeats thousands of Jin’. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. While appearing deceptively easy. Tuishou develops one’s sensitivity to others. no techniques can be executed. softness can break through hard. hence it is essentially a competitive activity. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice.1. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. Nevertheless. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. Without the latter.e. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. ‘thousands of Jin’ (i. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. This is called.
陈 氏 太 极 拳 推 手 技 法 王 西 安 14 .
CHAPTER TWO: inTeRpReTaTions on The Ten FoRCes oF Taiji 陈 氏 太 极 拳 推 手 技 法 王 西 安 15 .
What is listening with the skin? It means following the command of the heart and mind. The entire body surface of a high level practioner is highly sensitive. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. her changes in rotation. position and magnitude. a practioner’s body can react instantly with great accuracy and flexibility. ‘Without being known. but also with the eyes. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). adhere.陈 氏 太 极 拳 推 手 技 法 2. One’s skin is the key weapon. the act of ‘listening’ has profound resonances.1 lisTening TO energy In the context of Taiji and Tuishou. sensing through the skin enables reaction in any manner within the rules. when an opponent touches one’s fine body hairs. alluding not only to listening with the ears. Hence the saying. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. filled with abundant internal Qi. and taking Zhan Nian Lian Sui (stick. With your skin. the skin. I know others and sweep all enemies aside. squeeze and press. During Tuishou sparring. What is listening with the bones? It is the ability to anticipate an attack by listening through the skin and responding swiftly to an opponent’s attempt to seize. no matter if the changes are in the opponent’s rotation. a rise or fall in height or changes in weight. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. allowing both body and mind to enter into the level of deity and transformation. On receiving these signals. one’s force is injected into the marrow. Listening can be divided into three areas: listening with the bones. her body light and flexible. with the skin and with the fine hairs on the body surface. At this stage.’ 王 西 安 16 . Similarly. feel your partner’s movements. continue. follow) as fundamentals. and a highly-tuned awareness of sensations in the heart and nerves as well.
where every knot of one’s body opens and stretches without crude force. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. Only through accumulated practice can one’s sensations detect the smallest changes. which is essential for constant adjustments to frequently changing circumstances. descending. Your reactions will become slow. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. that is why it destroys the strongest of enemies”. leading only to failure. In all this. until it is too late to repel danger. As Sunzi Bingfa says. listening would be impossible. How good it would be to attain this level. opening and closing (快、慢、沉、稳、虚、实、 开、合). rising to the upper body. so a practioner cannot generate energy for sparring if he or she is unable to listen. You will look without seeing. defending and attacking blindly. blood and breath. your judgement confused. calm. special attention should be paid to ‘the intervals of fastness and slowness’. emptiness. Nervously. your listening untrue. making all one’s muscles stiff. let alone the attainment of energy for combat. solidity. While the majority of practitioners are able to listen with the bones. very few achieve the ability to listen with the skin. “The most super-human strategy is formless and soundless. ‘clear manifestation of emptiness and solidness’. listen without hearing. Just as a deaf person is unable to comprehend a conversation as he cannot hear. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 .Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. you fight back. ‘descending Qi and steady steps’. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. slow. Failure to do so will cause one’s energy to remain stuck in the chest. Listening is essential to Tuishou. Without this preparation.
王 西 安 18 . Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. this skill may eventually be attained with diligent practice and a good teacher. Shan (dodge or flash). Failure to overcome these shortcomings would be to fail to realize energy. await them. An (press). We call such shortcomings. “faulty palms” or “faulty body”. Ba (pull out). you cannot note any of the above changes in the oponent. magnitude and hitting point. Tui (push). Teng (jump). You may find yourself being too stiff (Jiang). Duo (escape). Fa (引yin – lead. A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Peng. your energy too resistant (Ding) or being lost unnecessarily (Diu). Shi (tight).2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Zhi (straight). new challenges such as ‘being too fond of competing’. Hun (mix up). Ba (seize by force). Meng (sudden). Cuo (rub). hardness and softness. Ji (hit). It is the ability to note present or potential changes in emptiness and solidity. Ya (push down). Gou (hook). 发fa – explode) at the appropriate opportunity. Without ‘hearing’ the energy of one’s partner. Zhuan (cheat). Ting (stick out). Pai (squeeze out). the ability to circle and the principles of Zhan Nian Lian Sui. Ling (pressing). Realizing energy is based on listening. While beginners may find this difficult to achieve. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. you cannot realize it. vertical axis and flexibility. Zhe (hide). 拿na – capture. speed. transform. direction. length. Na. Hua. Di (resist) and Gun (roll). that is. Ke (knock). your posture too straight (Zhi). Dang (block off ). Bo (move with hand). Ying (stiff ). Qi (insult). Qin (intrude). 化hua – change. Lou (hold). Gua (hang on). Be warned that mistakes will occur on this learning path. straightness and curvature. Jia (stiff ). Even for those who achieve this skill. Li (leave). Zhan (chop).陈 氏 太 极 拳 推 手 技 法 2.
When attacking. with Taijiquan. I always keep remembering to follow their intention.The practice for ‘realizing energy’ also tests one’s position. transforming. An. angle. Lie. look around and maintain an upright axis during Tuishou practice. Cai. but also in the combat arts and and Sanda (free sparring). Whilst acknowledged as a combat technique in its own right. they share the common practice of ‘realizing energy’. changing one’s centre of gravity and flexibility) in synchronous movements. twisting. dodging. I follow my partner. which is used not only in Tuishou. form and quality of Tuishou. and shares many common principles with Sanda (free sparring). Whilst all Chinese martial arts possess unique characteristics. relaxation and health practice for the old and infirm. utilizing the techniques of Kao in spiralling. Ultimately. Hence. Tuishou is the combat application of Zhan Nian Lian Sui. and also in one’s facilitiy with the eight energies or techniques (Peng. rather than use them as disparate forces to enhance one’s attacking prowess. falling. In fact. 14th generation Taiji master from the Chen family. jumping. says in a verse from his book. ‘The Taijiquan Formula’: No one knows when I gather or stretch. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . Zhou and Kao). ultimately. The quality of one’s form practice and Tuishou level speaks for itself – it is reflected in one’s ability to freely move forward or backward. these eight techniques form the method for Tuishou. Sanda can simply be taken as a higher evolution of Tuishou. the Tuishou practitioner must aim to apply these techniques (seizing. Lü. Concordant with the adage that ‘external forms are the method and the pathway’. Ji. striking. no matter if they use the technique of Kao or twist. In effect. the poplular stereotype of Taijiquan as a non-combat. Sanda complies with basic Tuishou principles. hence its continuing ties with Tuishou and. grasping. is misleading and does not take into account its fundamental role across the Chinese martial arts. As Chen Changxing. developed from further transformations of Tuishou routines.
yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . ‘listening and realizing energy’. press and hold back. fourth and fifth sentences refer to the application of Taiji Sanshou. The third. that is. Indeed. The attacks from me by twisting. adaptable to both Tuishou and Sanshou. Hence. until I come to the level of Deity”. The second sentence of the verse means to follow the other partner’s intention while circling them. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. Chen Xin once said. to act naturally and follow one’s intention. “From the familiarity of forms. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. leading to a wider understanding of the profound benefits and applications of Taijiquan. we can clearly see that in all movements. to the realization of energy. The author stressed the importance of ‘follow’. this verse confirms Taijiquan as a profoundly practical Martial Art. Everyone knows how to hook. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. to forget about one’s own intentions and follow the opponent’s. that is. In addition to applying Master Chen Changxing’s advice. the Chinese martial arts have evolved into health and fitness promoting practices. push or press. ward off. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. Li. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. Again. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. step by step. With the development of modern weapons. strike. and horizontal Cai are also irresistible. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. As mentioned.
in this way maintaining the upper hand at all times. capturing and transforming his energy and using it to attack at the first opportunity. and its natural and intuitive use. to one’s opponent. 2.3 zhan nian Techniques Zhan & Nian are forces directed forward. so that he finds it hard to escape. the adhesive force that allows a practitioner to become strongly attached. direction and the position of a partner’s energy flow. Ultimately. Zhan Nian energies work as a pair. “Form practice is the essence of Zhan Nian training. Through reeling-silk practice. It is commonly used in attacking strategies. At this point. extent. like glue. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice.effectively. Tuishou practice cultivates the capacity to know others. will be able to instantly sense the delicate changes in the movement. on reaching the final stage of ‘deity’. with which one’s opponent will find difficult to escape. Zhan Nian techniques develop one’s capacity for high precision. Only with the awareness of both oneself and others can others be conquered. Whilst it is said that form practice cultivates a capacity to know oneself. and come to realize the laws of movement and force. while Tuishou exposes the quality of Zhan Nian techniques. This is why it is said. Conversely.” Zhan literally means ‘stickiness’. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. This ability comes through great patients and a life-long perseverance of effort through the three stages. A practitioner. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . the first being ‘familiarity with form’ and the last being ‘realizing deity’. magnitude. that is. this results in a deeper and more precise understanding of energy. Nian means to chase and follow one’s opponent.
and so on. It is Zhan energy that envelops the body. Not an easy task for ordinary practitioners. ‘Fast reactions to fast attacks. During Tuishou. beginners find Zhan Nian energy difficult to comprehend let alone detect. and then through the entire body. flow up the arms to the shoulders and back. especially those who. ‘I win by striking after the enemy has struck (My fist starts late. inflexible muscles and joints. despite prolonged practice. Ultimately. slow reactions to slow attacks’. yet arrives at the hitting point earlier than the opponent)’.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). but certainly achievable for diligent practitioners with good teachers. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. continuous and diligent practice. as reflected in their stiff bodies and tense. but even many long-term practitioners find total understanding or realization elusive. an internal energy manifesting externally. Once the whole body is enveloped. one can never accomplish quality ‘chasing’ (Nian). as indicated by these teachings: ‘Follow my partner’s intention. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. This is why it is said that at this relatively high level. When Zhan Nian techniques are applied. ‘I don’t move if they don’t move’. have failed to attain high proficiency in the art. ‘I move before them on feeling their slightest motion’. the practitioner can exert Zhan Nian forces towards the opponent. Understandably. Simultaneously. victory or defeat is decided in an instant. Zhan Nian energies can be detected by sensations that start at the palms. 王 西 安 22 . the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. and forget my own’. contact with the opponent’s palms allows the practitioner to estimate the opponent’s circle of reach and the level of their energy for transformation. these techniques will lead the opponent into faulty moves.
Sui. taking any opportunity to attack. and can only exist in the presence of the latter. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. ‘to react while following’. fast reactions to fast attacks. It can be summarized as ‘co-relating to the opponent’. one observes and reacts to the opponent’s Zhan Nian techniques. Used in concert with Zhan Nian energies. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. continuity. slow reactions to slow attacks. including consistency. the opponent cannot escape because if one follows closely using Zhan Nian. emerges from the application of Lian. non-forcing. how can Sui be achieved? Sui technique means to react. Without Zhan’s adhesive force over the partner preventing escape. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. Unless one follow’s the opponent with Lian (co-relation). so that ‘as one falls. In so doing. and no chance to escape. follow and move in the same direction as one’s opponent. no resistance). 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . moving effortlessly between quick/slow and forward/ backward movements. Lian is dependent on one’s use of Zhan.2. non-pressing. another rises’.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. adhesiveness. can we execute Yin Jin Luo Kong efficiently. there can be no Lian. that is. Lian has a rich amalgam of meanings. ‘Bu Diu Bu Ding’ (no loss of energy. Once palms come in contact.
As the teaching says. successfully use Lian and Sui to attack and prevent escape. upper and lower coordinate any motion in the middle. Lian and Sui can never function without the other.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. Beginners may attain the preliminary stage of Lian Sui. applying Lian Sui provides a good opportunity to observe the partner’s weaknesses: “Lian and Sui are the means to mislead the opponent into our territory and to put them into a passive position. so that they can ascertain if their energy levels match the purpose and intention of their actions. therefore it is advisable to practice the combined application of both. whether through form practice or Tuishou”. on the other hand. Adepts. following their energy flow without interruption. It is vital that beginners are able to feel the movement of internal energy inside their bodies.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. the basic ability to follow the opponent’s movements. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. “The lower body automatically follows any motions of the upper body. without any break in flexibility or continuity. 王 西 安 24 . Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner.
one should avoid Diu and Ding (losing energy and resistance). and in this way mislead and neutralize your opponent’s energy. or feet to upset their centre of gravity. Use these principles whether you are going backward or forward. hands. we then use our shoulders. hips. I use Yin Jin Luo Kong to constrain my partner’s energy while simultaneously gathering energy carefully to prepare for an explosive release of energy at any angle or position. Literally meaning ‘to draw’ or ‘to lead’. A particularly effective combination is Luo Kong.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. For instance. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . When applying Yin. Using these complementary techniques. I apply Shun reeling downwards. Yin is the ability to draw the opponent’s energy into one’s control. As Chen Xin explains. if my partner presses my right arm with their palms. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). using Lian Sui to follow their energy flow. then gradually upwards. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). so as to mislead my partner’s energy and upset their centre of gravity. and cannot exist without Yin first being applied.2. the adept draws the opponent into his or her domain. palms. neutralizing any opportunity for attack. When we feel the changes in our opponent’s energy flow. elbows. legs and so on”. going up or down. we should apply She Ji Cong Ren without being detected. Hua is the transformative force. Note that while applying Yin and Hua forces. using our arms. reeling my back inward before suddenly striking outward. I lower my body then stretch my right foot toward his or her crotch. turning left or right. While moving. knees. Once neutralized. hence ‘misleading’ and transforming the opponent’s energy.
sweep.e. tie up. Instead. That is to say. my Taiji harmony within emerges so that even ghosts fail to predict my next move. In this way. However. 2. wrists or hands to inhibit their rotation or movement. just as one should attack forcefully without hesitation. i. When I attack. It is important to remember that one must gather energy well before misleading one’s opponent. meaning the direction which hurts the natural structure of joint. he or she can easily capture his opponent through the combined use of all .陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. As Chen Changxing advises. and hence the harder the opponent falls. they are conquered. hence rendering them helpless. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. look one way and go another”. one must cultivate the forces of Yin. destabilizing their centre of gravity and transforming their energy in order to conquer them. the more one stretches the bow.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. In Tuishou and San Shou. rotate an opponent’s joint towards its unnatural direction. the further one’s arrow flies. “gather energy as if pulling on the bow. depending on circumstances. shock. I “roll over. that of Taijiquan is accepted as the most refined. using all these techniques to mislead my opponent. so as to accumulate and release energy effectively. As Chen Xin suggests. dodge. I know my partner without being known. touch. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. Opponents will feel as if their tendons and bones are about to break. explode energy as if releasing the arrow”. elbows. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. Hua and Xu (gathering). and their pain penetrates right to the marrow. Any hard fan guanjie (joint twisting.
flexibility and skilfulness). agile. This is why it is said that Na is the pre-condition of Da. These recovery measures also depend on a light. in order to strike well. you still have the opportunity to move in quickly and seize them by their palms before they move away. so that I may capture my opponent without hesitation or detection. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . techniques such as Zhan Nian Lian Sui. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. I utilize Na to prevent my partner from escaping or from transforming their energy.’ as Sun Zi Bing Fa says. ‘is called the “best of the best”’. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. I move using the principles of Qing Ling Huo Qiao (lightness.their gathered forces. With the combined application of seizing. Zhua (grabbing). flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. a Tuishou practitioner can exert the invincible might of Taiji. Hua (transforming) are all preconditions for striking (Da). If you fail to attack lightly and skilfully and your intentions are detected. Indeed. Na (seizing). If he or she succeeds in escaping. To apply Na effectively. Tuishou accentuates Taijiquan’s martial power. agility. This is called ‘dual-utilization of seizing and gathering’. The seizing technique in Tuishou is very important. When utilizing Na. Shuai (throw). transforming and striking. There is a saying. ‘Na (seize) always goes with Da (strike). In Tuishou. you must react quickly and flexibly to any changes in your opponent. thus reaching their goal. you need to seize first’. applying the energy smoothly and judiciously without over-exertion. so that I can strike them cleanly and successfully. throwing. ‘Only this.
How then can you hope to seize another? Indeed.’ 王 西 安 28 . When relaxed. stomach and the protruding and concaved parts of the shoulders. Then strike directly forward in a spiral and hit your target accurately. Common problems. you have no option but to relax your joints.陈 氏 太 极 拳 推 手 技 法 When applying Na. in which case. Never let Qi float upward and never let your feet lose their roots. both palms covering his right wrist. Na is the synchronous manifestation of the internal and external. shoulders and crotch all gather downward in concert. hence it is advisable to heed the teaching. just as it is stated. stomach and legs. If Qi ascends. with no part tense. If you fail to Peng (ward off ) your opponent adequately. use the Na technique carefully to avoid hurting your sparring partner. your centre of gravity destabilized and you will find it difficult to protect yourself. your root will become unsteady. and your ribs. chest. seize him then guide his pressing force into your territory using Lü energy. By relaxing. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. Using this will overcome the opponent without fail. making sure your hitting points are clearly defined. ‘Never be rude and rash when you begin to practice Na. Exert your energy first lightly then with force. whether you exert Na by the co-ordination of your hand and chest or with your ribs. the targets for both being the arms. include controlling one’s speed and magnitude of attack. and all parts in a gathering motion. your chest rolls inward naturally. especially amongst beginners. Next. every part of your body works in harmonious cooperation. ‘No part of my body is not peaceful. twist his right arm inward with your left hand. he will be able to press forward. if you want to seize your opponent. In peace every part of my body moves at the time of movement’. and sensing the amount of force the partner’s joints can withstand. releasing your force like bullets rushing out of a gun. Miscalculations often result in injuries. Na technique works together with Cai technique. remember to maintain a relaxed state by lowering your whole body. application of appropriate angles and techniques. During practice.
gathering versus exploding. Sanda and form practice. Mengzi. In all Tuishou and Taiji movements. often meaning to ‘guide and attack’ in the martial arts. bend and gather. transform. Remember – to attack your target with agility and flexibility requires long accumulated practice. Indeed. Opening (Kai) means to stretch and reach. Even masters of Chinese philosophy – Kungfuzi. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. relax the shoulders. As complementary opposites. As Chen Xin says. every part of the body is engaged in the action of opening and closing. making sure all movements are steered by the waist. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. This is an important concept which bears deeper contemplation. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . Inhale from the stomach so that it remains solid. just as Chen Xin mentioned in his works. 2. are widely used in Tuishou. Gather the ribs. Keep every joint relaxed before you exert Na. Closing (He) means to draw in. opening and closing illustrate the subtlety of Taijiquan. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. one cannot ‘open’ without first being ‘closed’ and vice-versa. solid stomach and slightly concave chest. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. OpeningClosing techniques.7 Opening and clOsing In the martial arts. preserve.Work on your technique step-by-step: develop a closed crotch.
from the soles of the feet. In practice. grasp the floor with the toes and soles. Without closing well. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. muscle energy (Qi). As the saying attests. Thus positioned. so that all parts of the body work together. swift and powerful. Closing not only means to bend and withdraw your upper body. you will find your opening powerless. forceful. While standing. every part of your body follows suit. filling you with great vigor. crude and slow. external shape (Xing) and spirit (Shen). with the qualities of both solidity and emptiness. Yi moulds changes in external shape while Jin (force) rises with Qi. these changing motions. if your energy is gathered and conserved well. you will find that Qi penetrates your whole body more smoothly and powerfully. Likewise. so that your targets become accurately defined and attacks successful.’ Only diligent practitioners have the opportunity to experience this phenomenon. but also to coordinate the heart (Xin). the rebounding force exerted by the ground can be used to energise any upward movement. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. this means that one needs to be closed first before one can open.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. your intention (Yi). pressing the ground with your heels to empty the Yong Quan points. The Opening-Closing technique starts from the closed state. ‘Opening-Closing. since Yi (intention) follows wherever Xin (heart) goes. your ‘opening’ explosion will be natural. Kai (opening) energy originates in the root of your body. Your heart acts as the guide and leader during energy explosion – when your heart opens. that is. the louder the explosion. and sometimes they disappear. 王 西 安 30 . The quality of the effort you put in to closing determines your ability to open with power and effect. sometimes appear before our eyes. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled.
Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. Practitioners also need to build-up a reasonable level of muscular strength. the energy released unhindered. while being mindful of the adage. spirals up the legs to the waist control-center. After exploding energy.33 cm. This energy originates from the soles of the feet. presenting your partner with opportunities to attack. Exploding energy at close-range is best as Kai energy. To master this elastic force. then spiral your internal energy up the legs to the waist. roll your chest slightly inward. or you may find your Kai technique lacking in power and precision. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . and to develop high sensitivity and rapid responses to external stimuli. To gather energy of this quality. keep your elbows down.As you explode energy. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. you will need to drop and relax the shoulders. then to every corner of the body. land on the ground on your in-steps. flexible and compact enough to mislead and upset your opponent’s centre of gravity. Beyond this range. The explosion should be short. lower your waist and let Qi flow along the spine. albeit swift and powerful. The solution is to make your energy round. or worse still. strikes may not find their mark. the whole body returns to a state of softness and relaxation. 2. is limited by its short duration and small coverage which extends only as far as your body. which then distributes it to the other extremities. you need to train your muscles in relaxation and gathering.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). your centre of gravity may be lost.
The force that you and your partner exert on each other in Tuishou is external force. there are also a myriad of other forces which influence our bodies – supporting forces. abundant internal energy and intense physical and energetic concentration. not relying on rigid or crude force. However. Your performance in competition depends not only on the quality of your sensitivity. Constant diligence.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. it is necessary to distinguish clearly the respective functions of internal force and external force. flexibly and harmoniously. To combine the power of the three. counter forces. all these are prerequisites to “destroy something already in a state of ruin”. skilfully. Gathering. in effect. utilize. The external force of both parties affects each’s internal energy flow. Transforming and gathering are complementary and cannot function without each other. Transforming and gathering are preconditions for energy explosions used in attacks – striking without transforming energy leads to stiff explosions while transforming without gathering results in powerless ones. To do this. Without these. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. which manifests as our weight. horizontal forces and so on. and to explore the interactive relationship between them. though random wins may happen. but also that of your internal energy and combat strategy. that you are unable to neutralize. When doing Tuishou exercises. The main external force that we humans experience is gravitational force from the earth. and exploding energy with elastic vibrations. your opponent is vanquished. transforming and attacking are closely related. and with that outburst. you must practice Changjin 王 西 安 32 . which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. one must explode energy smoothly. spiral forces. consistent good performances will not be achievable. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. Failure to counter your partner’s force means. not strength”. straight forces. frictional forces. internal forces. dissipate or absorb her external force.
To reach this level. For example. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . imagine a line between the navel and Mingmen. beginners need to do the following: do the big circle practice. and the small or no circle practice. quick. the medium circle practice. By mastering the key points of energy explosion. Still Tough’ and ‘Four-Yin Six-Yang. and even when elastic cunjin (hitting a target at very close range) is executed. easy conquest of the opponent does not necessarily follow. leading to very smooth and swift responses. during Tiaozhou practice (upward strike with elbow). At this level of Gongfu. Continue developing these techniques step-by-step until the level of deity is reached. it is not advisable to exert Changjin (long energy). Only very high-level practitioners may achieve this. An attack. This means that if one finds it difficult to attack from a distance. as their attacks flow naturally from their heart and intention. you will find it easier to hit targets more accurately and swiftly. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. despite its ferocity. Alternate between these three with slow. At the transitional stage between ‘Three-Yin Seven-Yang.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. below which energy flows downward and above which energy flows upward. especially exhaling-inhaling and opening-closing motions. Good Hands’. the whole body moves as a synchronized force to follow the slightest movement of intention. one should not attack at close target. elastic or vibrating variations. there would be no striking the partner from one inch”. even with the slightest touch. instantaneous. will find the opponent flung far and wide. Upward energy and downward energy exist in opposition to each other. Close-range attacks require a high-level of competence. “Without striking the partner from a distance of three metres. As it is said. while downward flowing energy helps maintain a firm and stable root.
This means that no matter what Tuishou techniques you use. To conquer your opponent. and intention into one entity. Instead. your opponent’s upper body will shift out of their control. Remember to maintain full concentration. The rising force is difficult to use if forced. powered by upward spiralling energy. To lift your opponent up with Ti requires the combined effort of legs.9 Ti (raising) fOrce Ti means to ‘rise spirally’. As Qi flows up the spine. you need to destabilize your opponent’s centre of gravity by inserting one leg between your opponent’s legs and lifting it quickly outward using spiralling energy. Using Zhan Nian Lian Sui. First. keeping your axis upright and combine your eyes. never let your partner know your intention before you act. Even if not thrown completely off balance. rotate your Dantian so that your body lifts with greater speed and accuracy. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. When applying Ti.陈 氏 太 极 拳 推 手 技 法 2. waist and arms. To apply Ti successfully requires the whole body to work in coordination. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. combine your rising force with your elastic force. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. The arms and legs work together. while you keep your intentions and energy flow undetected. skilfully changing your tack to distract them from your true intentions until you have destabilized their centre of gravity and they are caught off-balance. Remember to maintain your centre of gravity with the coordination of the other leg. shadow your opponent with agile steps. then your instant and precise attack can never fail”. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. heart. At the same time. and may lead to loss of control. while you maintain a state of relaxation.
you will be able to transform energy while striking. you will come to sense it with practice. mislead. Do not try to strike others before you have attained a reasonable level of competence. reeling upward. as it emerges from the feet. go forward or backward. and manifests externally as it permeates through to the fine hairs on the skin. transform and defeat your opponent’s attacking energy. and not even know from whence your power emanates. follow the primary principles and develop your skills stepby-step. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . Mastering this energy requires much effort and practice. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. For beginners. your attacks will never fail. walk with such assurance as to shock evil spirits. on the verge of losing their centre of gravity. tie. touch or sweep in response to the circumstances and you remain always observant and alert. Attaining high-level skills will make you braver. Though undiscernible initially. their root and they will certainly fall. whether you rise or descend. so you feel able to “protect your descendents and kill the rebels”.10 reeling silk Reeling Silk is a spiralling.and power. You will attack like a flying dragon. but once attained. 2. passes through the legs up the spine and arms. until it reaches the fine hairs of the skin. your force will reach its target just with intention. reeling to the left or reeling to the right. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. You roll. revolving energy which originates internally in the body. Adequate practice will naturally lead to success. reeling outward. The Reeling Silk consists of great varieties: reeling inward. you will find it easier to follow. you will lose awareness of your physical body and location. When this happens.
reeling to the front or reeling aside. As for posture. focusing your energy internally and guiding the flow of your responses from Yin to Yang. When being utlilized. Be humble and respectful during form practice. Shun reeling (conforming) and Ni reeling (contrary). remember to keep your Zhongqi (energy to keep your axis upright). Yin (guiding. and apply opening and closing techniques. Keep a firm root. The solution lies in the middle path: keep a balance between softness and toughness. and thus renders you unable to react properly and to be easily manipulated by the opponent. reeling forward and backward. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. quiet and calm. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. While reeling. excessive toughness makes you get too rigid.陈 氏 太 极 拳 推 手 技 法 small circles. and so on. misleading) always comes with Jin (approaching forward or attacking) and vice versa. When using Reeling Silk energy. one must avoid being too soft or too tough. maintain the interplay between solidness and emptiness. collapse the waist and establish a stable centre of gravity in the legs. all these reeling movements are always comprehensively combined together and closely connected. 王 西 安 36 . reeling horizontally or reeling vertically. remain balanced. Excessive softness (Ruanshou or weak hands) makes you too weak to fight.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
陈 氏 太 极 拳 推 手 技 法 3. you need to execute Jin (go forward).1. Hua (transform) and Na. Faji (attack) effectively under any conditions. 3. 王 西 安 38 . full relaxation of the joints. Because Yilu lacks speed and Gang (tough) energy. Cai. movements gradually become agile and flexible. so the Single Form Practice and Erlu help to compensate for this disadvantage. This means that Yilu fosters Zhongqi so that. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. Tui (go backward). keeping your energy tracks undetected by the opponent. goes through the Sanguan (Three Gates). Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. It also demands a period of diligent practice to ascend gradually through the primary. Lü. as well as techniques focussing on various target areas of the body. Shuai (fall). if practice is diligent. A wide variety of single movements must be practiced repeatedly. Erlu and Single Form practice help to accumulate and strengthen Gang.’ In this way. Da. Ji. Zhou. Erlu explodes In this technique. for example. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. Ti. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Qi will flow around the body to the extremities and skin. Lie. Kao. An. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. Single Form practice is vital for hand-to-hand Gongfu combat. Zhan (battle). To win. and exerting energy too forcefully (Ding) while exploding energy. Shan (dodge).1 inTrOducTiOn This is a practical lesson in combat practice. This practice requires a solid foundation in preparatory exercises. where ‘Qi spreads to the whole body. As we know. who is then inevitably conquered. relaxed and soft.1 Yilu cultivates Qi. medium and high-level stages.
Well known examples include the foot techniques of Li Bantian. be they exponents in internal Gongfu or external Gongfu. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 .Gongfu masters. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. neglectful practice becomes increasingly difficult to rectify. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. 拴Shuan (tie). resulting in loss of vigor and effectiveness. such as: ‘Profound principles emerge by themselves. Significant gains may be attained by practicing the single forms step-by-step. ‘You practice. If prolonged. No matter how steady his partners stood in the beginning of a fight. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). He was known to say that he found throwing partners too easy. legs and hips using relevant principles. we have Master Feng Zhiqiang who is venerated for his steady. To do otherwise would be to ‘attend to trifles and neglect the essentials’. more like a relaxing stretch to enjoy the subtle. you harvest. ‘Skills come naturally when you are familiar with forms’. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. each have their own unique combat style drawn from continuous tempering in their practice. Chen Zhaopi was the undisputed master of 滚Gun (rolling). so that the path to deeper understanding and realization may be paved. back. they always got hit and thrown to the ground. you don’t. Hence. Lastly. elbows. sober movements and his relaxed yet vigorous energy explosions. after you practice the form ten thousand times’. Single Form practice is of vital importance. hands. the seizing techniques of Eagle Claw King. Though widely differing in style. 搭Da (touch) and 扫Sao (sweep). These clearly advise diligent practice of the shoulders. you fail’ and so on. inner meanings of the mysterious art rather than a competition.
With one hip relaxed and the opposite foot slightly touching the ground. horizontally. bend and raise your knee slightly.2. 3. stomach gathered and head suspended from above. pedalling forward. upwards and sideways. chest rolled slightly inward. 王 西 安 40 Fig. face to the front. trampling.1 .1 Exercise One • • Squat slightly. 3.2 feeT pracTice Feet practice includes the following movements. alternating between both legs: kicking forward.陈 氏 太 极 拳 推 手 技 法 3. swinging up and down and so on.
bend the other leg with toes grasping the ground to maintain a firm centre of gravity.3. • Relax the feet so energy can reach the toes where it is required. 3. make sure your in-step is stretched moderately tightly. pedaling. horizontal.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Roll the chest inward and aggregate energy with the whole body. feet hanging backward and so on. up and down. upward and downward swing. Descriptions of some of these exercises are provided below. collecting the energy at the abdomen. stepping. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. • Kicking smoothly.2. sideways.2 41 .
. Beginners should practice slowly.陈 氏 太 极 拳 推 手 技 法 Fig.4. 3. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). 3. for example. At this point. edges of the foot plate and the sole (Fig. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen.5). 3. On landing with either foot. 3. It should be practiced with both feet so that. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. your left foot prepares to kick with the toes or instep as the right foot lands.3 • This technique is applicable to the toes. they will be able to direct energy explosions to targets with precision and ferocity. if you kick with the right leg. use the rebounding force of the earth to bounce up and propel your kick (Fig.3).
4 Fig.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. 3. 3.Fig.6 43 .
flexible and quick.7 The Upward Kick is used for high targets. The Upward Kick should match the rhythm of the hands’ movements. There is no jumping in the Upward Kick. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. The kick should be light. . The whole body must be kept balanced and straight when kicking upwards. instead. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. usually the opponent’s chin. • Switch your centre of gravity to the left foot. practice kicking with each foot sequentially. a principle also applicable to the Double Kick (Er Qi Jiao). 3.陈 氏 太 极 拳 推 手 技 法 Fig.
standing with left leg. Then empty the Yong Quan point. As your right foot explodes energy stamping downward. exploding energy as quickly and fiercely as you can. raise the right knee gradually (Fig. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted.8). grasp the ground with the left toes and. feet firmly grasping the ground. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. all the while rolling the chest slightly inward. 3. keeping the right foot at the same distance from the left foot as before. 王 西 安 45 .• Bend the left knee. 3.8 • • • Then stamp your right foot on the ground. but try to keep some weight in the un-weighted side as well. 陈 氏 太 极 拳 推 手 技 法 Fig. cup your right fist and left wrist together in front of the chest.
3. and then withdraws elastically like a rubber band springing back into shape. practice with the left leg) (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 3.10). 王 西 安 46 . including the alternating use of the legs (Fig. 3. In Single Form exercise. remember to follow instantly and quickly with the other leg. The key points here are the same as those for the previous segments. The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. Kick as high as your opponent’s stomach and chest. e) Forward Kick This consists of a straight kick forward with the sole of the foot.9).9 Regardless of which leg steps forward first. you can practice with the alternation of legs (after praciticing with the right leg for a while.
with hitting points mainly on the inside of the foot (with the occasional use of the outside). f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. 3. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity. prepare well by relaxing the chest and stomach to ensure your kick is fast. 王 西 安 47 . sometimes with the soles. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. Before kicking. • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front.13).12) and the Outward Kick (Fig. 3. 3. As you reach a higher level of skill.11). 3.10 Fig.Fig. 3.11 Kick mainly with the heels. fierce and perfectly targeted.
this reflects the relationship between Yin and Yang’. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending.12 Fig. explode energy like releasing the arrow”. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. 3. 王 西 安 48 • . while the body becomes straightened when kick is streched). the whole body gathers together then opens up with an explosion of energy. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking).13 • The Outward Kick is executed outward and upwardly. In the Sideways Kick. with the hitting points mainly on the outside of the foot (occasionally inside). 3. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow.陈 氏 太 极 拳 推 手 技 法 Fig.
Before kicking. Squat slightly. 3.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. use the Gen Bu (follow-on Steps). 3.14). then bring it backward (Fig.15). toes grasping the ground and all muscles of the body relaxed. be it with the right or left foot. Eye your target and prepare for the kick by gathering your internal energy and lowering it. smack the foot with your hand to ensure the integrity of the energy. which allows you to use quick and continous forward steps. Your swinging foot is targeted at the back of the opponent’s head. Always coordinate the kick with your hands. then swing it outward in a natural arc. 3. While swinging outward to the level of the shoulder.14 49 . If kicking with the right foot. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. while your hands are targeted at the face. Kick upward with the back foot.
王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility. . I smack in the air by switching into the track of a swing arc. And smash enemies to pieces.15 With openings and closings. And kick upward along with palms coordinated with Lü. 3.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. I take the back of the opponent’s head as target.
• Use both hands to execute Lü on one arm of opponent behind the body. coordinating both with Tou Bu (sneaking steps). • The action must be quick and powerful. No matter which you use. keep your footwork flexible and neat. palms facing outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . • Hang one foot backward. depending on the distance between you. You should finish Lü. • Hold the body in a squatting position for the next few movements. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. During solo practice. rotating it slightly so that it slants to one side. remember to balance upward Long (close) movements with downward Ti (raise). • The foot hangs to the calf suddenly to make the opponent lose his balance. Gua (hanging) and Gai (covering) in a second. • Swing both hands backward to the side of the back hanging Foot. • Pay attention to that you finish this action with the guiding of the waist and back. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. The powers of hand and foot combine together. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward.
As a Tuishou poem states: With Yin and then Jin techniques. 王 西 安 52 The secret of Back Hanging Foot is to plot the method to seize the opponent down and to fiercly bring him under your control without detection. Move forward with Tou Bu (Sneaking Steps). I take the opponent’s upper body and chest as target.16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. .16). 3. And kick upward along with palms smashing downward. I explode my energy with the rotation of my waist. And enemies fall to the ground with face to the air. 3.陈 氏 太 极 拳 推 手 技 法 Fig. your face looking upward. Then lower your foot to the ground. twisting the waist and rotating the back to exert more power (Fig. Hold your position and collect yourself enough to kick upward then swing downward.
3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 .19). mindful that while one is in the air. Note that while weight distribution ratios may be used as a guide (e.17). 40:60.18.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3.g. 30:70. the other should not leave the ground until the centre of gravity is transferred to the heel of the front foot to lighten its weight. since these are in a constant state of flux depending on the circumstances. 3. 20:80). 3. The attacking leg must be flexible enough to swing to the left or right.Fig. Use Front Bow Steps to practice this movement (Fig. Practice this transfer of weight by alternating the legs.. these may not provide an accurate picture of weight changes required in practice or combat.
shock their lower limbs and unbalance their upper body with my feet. 3. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles.陈 氏 太 极 拳 推 手 技 法 Fig. so that the strikes are as rapid and powerful as possible. Short energy attacks are often used to ‘give a shock to the lower limbs’. I explode and shock the ghosts. waist and hands. making your intention easily anticipated.19 Using Short Energy: Short energy should be used in both inward and outward kicks. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. 3. As one master said: 王 西 安 54 I move my centre of gravity.18 Fig. .
3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). Keep your legs reeling from left to right. When the right foot lands fully on the ground. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. repeating the movements while keeping reeling from the left to right. Move the left foot half a step to the left. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. Lihe Tui (Inward Knee Strike). Begin with slow practice. then squat and step out with your right foot. Waibai Tui (Legs Swinging Outward).1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. step your right foot 40 cm forward to the right. just as in form practice. Practice continuously alternating both legs. Use intention (Yi) rather than physical force (Li). 3. Change your weight to the left. that is. Lower the tip of the toes of your unweighted right foot to the ground. change the weight to the right and step out with the left foot. making sure your leg is no higher than 15 cm above the ground.3. Nichan Tui (Legs Reeling in Ni Circles). a shoulder width apart from the left foot. ‘Yong Yi Bu Yong Li’. working up your speed in gradual stages. toward the target. 王 西 安 55 . Xiacai Tui (Downward Cai energy). look in the direction of the moving leg.3. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). As the toes touch the ground.
step forward 40 cm with the right foot. Step the right foot forward. 王 西 安 Fig. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. Inner knowledge can only develop with concerted. striking to both sides with each leg. transferring all your weight to the right.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. 3.3. transferring all your weight to the left. You also need to practice Nichan and Shunchan with both legs. rotate to the left forward at an angle of 360o. 3. remembering that the inner side of the heel is the striking point. then step forward 40 cm to the left. and then rotate 360o left stepping on the toes (Fig. Practice these steps in continuous alternating cycles. Raise the left foot.陈 氏 太 极 拳 推 手 技 法 3. continuous practice.20 56 .20). Next.
change your weight to the front foot. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg. practice with both legs and with change of directions.21 Fig. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Stand at attention.3. In Huobu Tuishou (Tuishou while walking).22). then transfer your weight to the left before moving the right foot forward (Fig. 3. we usually attack with Lihe Tui using the right leg. 3.22 57 . As such. 3.21).3 Lihe Tui … Inward Knee Strike Lihe Tui is an inward strike using the inner side of the knee and is widely used in Qian Gong Bu (Front Bow Steps) and Ban Gong Bu (Half Bow Steps).3. • While practicing. • Combine Lihe Tui with the rotation of the waist and spine. attack with Lihe and then move 90% of your weight to the back leg (Fig.
陈 氏 太 极 拳 推 手 技 法 3. regardless of whether you practice day and night (Fig. step forward with one leg and swing the other outward and then closing inward.3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). and requires a sudden outward swing of the leg as weight is transferred.24 58 . 3.23 Fig. 3. Being content with a superficial understanding is fruitless.24). Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. During practicing Waibai Tui. 3.23). Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. practitioners will come to realize the deep significance of their efforts. Waibai Tui is usually applied during Da Lü (Lü in large scale movement) and the best way is to seek out opportunities for attack is while moving. Through diligent solo Tuishou practice. 3. 王 西 安 Fig.
Cai to the right.3.5 Xiacai Tui … Downward Cai Energy Cai means to pull down. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent. • To do Ni Cai: move the back leg forward. 3. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles). Shun Cai and Ni Cai are based on Front Bow Steps.3. placing your toes slightly outward. The outer side can also be targeted once your ability improves. • Start with your centre of gravity at the back leg. placing your toes slightly inward.25 Fig. Xiacai Tui consists of Cai to the left. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles).26 59 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.
keep ankles relaxed and Qi descending (Fig. Train your body to understand the meaning of ‘stretching consists in bending. bending consists of stretching’.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right.26).3. 3. 王 西 安 Fig. 3. 3. Bend your knees about 40o – more than this and you will lose your centre of gravity. 3. striking inward and striking outward.25). 3. Deepen your understanding of Jin Li (energy and force distribution).陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). you can enter the opponent’s territory (Fig. striking to the front. With a spiralling move forward.27 Fig. Practice with alternating legs during Single Form practice.28 60 .
• • •
All the above incorporate shifting of weight forward and back. Move the left foot forward then strike out the right knee, aiming it at the partner’s crotch (Fig. 3.27). While striking forward, roll the chest slightly inward and gather energy in the abdomen. Also, keep the hip and ankle relaxed, focusing your energy exertion on the target. Change your weight to the front, raise the knee, then strike it with an open palm (Fig. 3.28).
Li He Bu (Tuishou with Static Footwork) requires you to bend your knee, strike to the left, hit the inner side of partner’s right leg or the outer side of his left leg. (Fig. 3.29). Striking up and outward is called Waizhuang (Striking Outward). Key points are the same as in the previous striking practice (Fig. 3.30).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.29 Fig. 3.30
陈 氏 太 极 拳 推 手 技 法
3.3.7 Houbai Tui … Backward Swinging Kick
This is a wide-spanning movement and beginners are advised to imagine an opponent or target as they perform the technique during solo practice. • Lift the right foot to step forward and as you lean forward, swing the right leg backward using both the waist and spine. • As the right leg swings backward, fend off the opponent’s arm and attack with both hands. This technique of ‘attacking the upper parts and shocking the lower parts’ is often used to throw opponents to the ground (Fig. 3.31). Key points to remember are the same as in preceding techniques, all of which require whole body involvement.
王 西 安
3.4 fisT pracTice 3.4.1 Shangchong Quan … Fist Striking Upward
This technique consists of striking either fist spirally upward. • Step forward with the left leg, bending your knees slightly to transfer your centre of gravity to the left leg, then strike with the right fist using the ‘Ligou Quan’ (Fist Hooking Inward) technique, taking care not to overshoot your blow above the opponent’s head. • Simultaneously, use your bent right knee to hit at the opponent’s crotch (Fig. 3.32). • Integrate both fist and knee strikes with practice principles of rolling the chest slightly inward (Hanxiong), lowering the waist (Tayao), relaxing the stomach (Songfu), and drawing up the anus (Tigang). • Strengthen your centre of gravity to improve your accuracy by ensuring your left leg is slightly bent with toes grasping the ground (Fig. 3.33).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.32 Fig. 3.33
陈 氏 太 极 拳 推 手 技 法
3.4.2 Xia Zai Quan … Fist Striking Downward
This technique encompasses a downward strike with either fist at any angle. For example: • If the right leg goes forward, transfer your centre of gravity from the right to the left leg. • Clench the right hand into a fist, thumb tucked inside neither too tightly nor too loosely. • Strike the opponent’s upper body with the right fist, using your left arm to balance your movement. • You can also use the Bei Kao technique or attack with the elbows as well. • Again, effectiveness of this technique requires involvement of the whole body in the movement: ‘once you move, your whole body follows’ (Fig. 3.34).
王 西 安
3.4.3 Shuang Fen Quan Splitting Fists or Double Bursting Fists
• • • •
Take a half-step to the left (or right). Bend your knees slightly and gather both fists to the chest, centres (Quanxin) facing downward (Fig. 3.35). Prepare to strike by gathering in the crotch and knees, and rolling the chest and shoulders slightly inward. To strike, transfer your weight to the right (or the opposite leg) and simultaneously split both fists explosively from the chest to either side of the torso, fists facing upward. As you strike, open the crotch, knees, chest and shoulders. Remember to keep the external and internal energy consistent, and the energy flow smooth (Fig. 3.36).
陈 氏 太 极 拳 推 手 技 法
王 西 安
there are three main distinctions: the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used. Rotate the body to the right then strike downward with the back of the right fist. Hold the right fist close to the left side of the chest. Rotate the right toes slightly outward as the foot lands. Next.陈 氏 太 极 拳 推 手 技 法 3. change your weight to the right leg and step your left foot forward. fist centre facing inward. at the same time hooking the left fist upward. 王 西 安 66 Fig.4 Xia Za Quan … Fists Smashing Downward Fists Smashing Downward shares many common traits with Splitting Fists: both strike with the back of the fists and require practitioners to look to the side of the stepping foot. • • • • • • Take a half step to the right with the right foot. However.37). Rest the left fist beside the left leg (Fig.4. 3.37 . 3.
as the left foot steps forward (weight on the right). step the left foot horizontally over the right one. 3. involve your whole body in the attack.39 • • • • • Again. For example. downwards on the right and upward on the left. the left fist rises above the right side of the chest and smashes down to the left. stepping the right foot forward and exploding the fists before landing. when the right foot steps forward (weight on the left). After striking. For each step. 陈 氏 太 极 拳 推 手 技 法 In summary. alternating both sides continuously (Fig. Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. Then repeat with the other foot. Practice these steps.38). 3. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. (Fig. Likewise. 3.Fig. 3. both left and right fists rise and descend at the same time. the right fist is raised above the left side of the chest for more power and then smashes down to the right. and lower the left fist from its upward strike position back to the left side of the body).39) 王 西 安 67 .38 Fig.
This counter-balancing movement helps to accelerate the punch of the right fist. 3. stretching the left hand upward. 王 西 安 Fig. • Sink your weight into the right foot and rotate the waist to the right to gather energy.41). Practice this technique on both sides. • Then fling the right fist forward in Ni reeling. concentrating your power in the Quanding (the front of the fist). then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. 3. 3. • Sychronise both arms so that while the right fist flings forward.40). Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power.4. avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig. • Step the left foot forward. fingers vertical. 3. • Gather the right fist under the right rib (Fig. the left arm gathers inward and strikes backward to the left with the elbow.41 68 .5 Dan Bi Zhi Chong Quan … Single Fling Fist Single Fling Fist is a forward punch unique to Taijiquan in that its power is generated by rotating spiral energy at the waist and back.40 Fig.陈 氏 太 极 拳 推 手 技 法 3.
43).4. Instead.3.42). only about 40% of the jin force generated is exerted as short rather than long energy. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). bringing the left palm to the front of the body (Fig. simultaneously gathering the right fist beside the right ribs. • • • • Step the right foot forward. 3. 3. energy does not manifest externally. Then step the left foot forward.42 Fig.6 Baokong Quan … Half-Moon Fist Baokong refers to the half-moon shape that is formed by the arms as you strike the centre of one palm with the other fist. 3. the main difference being that in the former. The power of this technique depends very much on the practitioner’s physical condition. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig.43 69 . Repeat with the other side. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. and practice alternating both sides.
• Clench your fist so the middle joint of the middle finger protrudes.陈 氏 太 极 拳 推 手 技 法 3. • Strike with force and ferocity with this fist using short energy.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force.4.44). • Attack to the left or right. using small agile steps (Fig. 王 西 安 70 Fig. • Brace the middle finger with the index and ring fingers. like hammering a nail.44 . This forms the ‘peak’ of the fist. up or down. 3. and press the tip of the thumb against the middle fingernail. This makes the fist ‘peak’ stable and solid. 3.
gather the ribs and lower your energy to the Dantian (Fig. Bring the fists together in the middle about 25 cm apart. Method 1 • • Method 2 • • • Step forward with either leg.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Roll the chest and shoulders slightly inward. 3. 3.46).3.45). Place your weight on one leg. 3. Bend the other leg then strike both fists upward together. Form two nail-shaped fists and strike from both sides using short energy.45 Fig. hence creating a dual attack with both fists and knee (Fig.46 71 . Guanyang means to hit the temples with two nails. Practice both methods using both legs. 3.4.
the chest rolled slightly inward and the spine slightly lifted. • Strike forward with both palms. transferring your weight to the front. • Step forward with the other leg. fingers pointing up (Fig. the ribs gathered. • Prepare for the strike by ensuring your axis is upright.48).陈 氏 太 极 拳 推 手 技 法 3. • Step forward with either leg. while making sure the chest is relaxed.47).5 palM pracTice 3. 3.5. palms facing forward. and lower the energy to the abdomen (Fig. 3. • Place your hands in front of the chest.47 Fig. 3. though in the initial stages.48 72 .1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. 王 西 安 Fig. thrusting them forward with explosive force. practice using long energy first. 3.
energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. a Double Palm Push needs to be sudden and exerted directly forward.52). using long or short energy (Fig. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. As the energy reaches the wrists. 陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 73 .51. • Repeat using the left palm. • At the same time step forward with the left leg.49 When practicing with short energy. Make sure your shoulder. 3. • Thrust the right palm forward or diagonally to the side.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). thrust your arms out about 50% (Fig.50. speed. Just before the explosive strike.49). 3. 3. To be effective. gather the chest and stomach like a cat stalking a rat. 3. 3. lower your energy abruptly and push forward with short energy using small steps.5. elbows and wrists are lowered.Fig. The power.
you will be able to explode energy with natural ease by combining both external form and internal spirit.52 .陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. 3.50 王 西 安 74 Fig. With continuous practice. gradually increasing the speed. and hence conquer your opponents without effort.51 Fig. 3. Fig. 3. abruptness and power of the push.
whilst using the other palm to push at the opponent’s chest or strike at their stomach.54). 3. enabling you to hit your target with more precision and power (Fig. while gathering the other hand beside the ribs (Fig.54 王 西 安 75 .53 Fig. • • Step one foot forward and ward off an arm attack with one hand. 3. This creates an energy balance that stabilizes your centre of gravity. 陈 氏 太 极 拳 推 手 技 法 Fig. 3. 3.3 Bi Peng Qiantui Zhang … Push with Ward-Off This technique is used to fend off an arm strike from the opponent with an upward hand strike.3.53). Direct energy above the waist upward and energy below the waist downward.5.
3. • As you push upward. and then straighten it while pushing the right palm upward. • To push with the right palm: bend the right knee. the stomach gathered and the chest rolled inward (Fig. 王 西 安 Fig. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). 3.5.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. while gathering energy on the left side. Explode this energy through the right side of body out through the right palm.陈 氏 太 极 拳 推 手 技 法 3.55 76 . • Keep the hips relaxed. open the right side of the chest and stomach.55). • At the same time. first at an angle then vertically upward.
58).56 Fig. rotate your body to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.’ Apply this technique during Single Palm practice.57). then quickly striking their chest with your right palm (Fig.3. 3. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3. stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’. • At the same time.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. 3. 3. Keep your body and energy lowered while doing this. Shun means ‘sequence’) (Fig. 3.56). • Then swiftly draw the opponent into your domain by touching their back with your left hand.57 77 .5.
if the opponent seizes your right hand and twists it outwards with Shun reeling. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. and gather the ribs and dantian. 3.陈 氏 太 极 拳 推 手 技 法 Fig. Coordinate the movements of your body with those of the palms. lower the shoulders. For example.5. 王 西 安 78 . This helps to concentrate energy in the palms. left and right.6 Shunni Tuo Yao Zhang Push Partner’s Waist with Shun or Ni Reeling This technique enables you to push the opponent to either side using both Shun and Ni reeling.58 • • Also apply the usual principles: roll the chest inward. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. • As you lower the body. moving the body quickly forward. 3.
lower your body then extend it forward with Shun reeling.59 Fig.Fig. 3. 3. extending the thumb and fingers (Fig. 3. thrust forcefully at the opponent’s ribs. • Again. Unify the three actions of stepping forward. inclining outward and exploding with the left palm (Fig. 王 西 安 79 . 3. • Key points are the same as with the left hand push above. Next. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. this time at the left side with your right hand.60).59). thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward. respond in this way: • Step forward with the left foot.60 • • • As you do this.
so that energy flows to the very tips of the body. coordinate the waist and legs when exploding energy. Relax your joints to enhance energy application.61). change your centre of gravity from the left to the right. Also. roll your chest slightly inward and bend your right arm inward. . as advised in an essay. goes through legs. • As you seize.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind.7 Danzhang Shunni Chan Fa Shun or Ni Reeling with Single Palm 王 西 安 80 This technique consists of using either hand to seize the opponent using Shun or Ni short spiralling energy. 3. 3. dominates the waist and penetrates to every part of body. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles.陈 氏 太 极 拳 推 手 技 法 Fig.5. especially when stepping forward and exploding energy (Fig. regardless of the technique or force used. “Energy comes from heels.” 3.
王 西 安 81  ‘Dai’ means to lead. palm open. To speed up your response.63). change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. Change your right hand to Shun reeling and your left to Ni reeling.62 Fig. Thus. 3. guide or bring along . 3. 陈 氏 太 极 拳 推 手 技 法 3. If the opponent escapes.62). practice alternating the seizing between right and left hands. reach under your opponent’s front arm.Fig. • At the same time.8 Shuang Dai Zhang Danshi Yanlian Fa Double Dai Palms Single Form Practice Step your right foot forward and transfer your centre of gravity to the front. listening closely to your partner as you do so.63 • • • With your right arm.5. you are able to use both palms to seize the opponent (Fig. 3. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended. 3.
palm up. 3. 王 西 安 82 3. Transfer your centre of gravity to the front.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. Bend your right arm 90o inward and form a fist with your right hand. fingers up. Change your weight to the back and turn to the right. 3.65 • • • • • Extend your right arm forward.64 Fig.65). As your step forward. 3. . gather the right hand beside the ribs. moving your arms to stabilize this rotation. 3. 3.陈 氏 太 极 拳 推 手 技 法 Fig. fingers pointing to the front (Fig.64). face the left palm outward.5. Then hit the opponent with the right arm (Fig. Clench the left hand into a loose fist and push it forward. Practice on both sides.66). fingers to the front (Fig.
3. Next. 3. place the left thumb and little finger in opposition while the remaining fingers face forward.66 Fig. To increase the precision and power of the fingers.67). move the left hand and foot quickly forward together. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. left under right and right under left (Fig. Return the hands to their original positions before the next energy explosion. to increase the speed and power of the explosion.67 • • • • • • Lift the left palm over the right. 王 西 安 83 . and then explode both palms forward with a piercing thrust. 3.Fig. coordinate the waist and spine when shaking the right palm forward in Shun reeling. As the right foot lands on the ground. Also. reel the right hand in Shun reeling to the right and step the right foot forward.
bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body.69). the left arm counter-balances the movement of the right. In this case. 3. 3. 3.6 elbOw pracTice 3. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot.69). Practice striking with both elbows with corresponding weight changes to either side. strike forward with the right elbow while hitting backward with the left elbow. At the same time. 3.6. As you change your weight to the front.68 Fig. palms facing in (Fig. Remember to apply long energy before you apply short energy (Fig.69 84 .
2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. step the right foot forward again and extend the left arm forward.71 85 . return the elbow to the right side.6. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. slap the right shoulder with the left palm. At the same. 3. wrist turned inward and the palm facing backward.70 Fig. At the same time. As the right elbow descends. Step the right foot forward and strike the right elbow down forcefully as the foot lands. Alternatively. and clench the right hand into a fist. bend the right elbow inward.70). palm up. After the strike. 3.3. 3. Then strike the right elbow down for the second time (Fig. take a small step forward with the left foot. 3.71). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Lift the left hand when the right elbow completes 90o of its descent. gather it close to the right ribs.
Rotate slightly to the left.6. 3.陈 氏 太 极 拳 推 手 技 法 3.73 Fig.72 王 西 安 Fig.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. then turn right with the right toes facing slightly out.74 86 . Fig. 3. 3.
王 西 安 87 . clasping the right forearm with the left palm. toe tips slightly touching the ground.74). 3. 3. Step the left foot forward. clasping the right forearm with the left palm. then step forward with the right foot. 3.4 Shun Lan Zhou … Smooth Elbow Block • • • • • 陈 氏 太 极 拳 推 手 技 法 Roll the chest slightly inward so that it is concave. Move the body to the left and transfer your centre of gravity to the right and back. 3.75).72). Gather the body to prepare for attack by lowering the body slightly (Fig.6. Remember that the right leg moves forward with the right arm and vice-versa. gather the ribs and lower your Qi. Turn to the left and strike out explosively with the right elbow. transferring your centre of gravity to the left.• At the same time. Gather the body by bending it slightly. Lower right fist to the left side of the body so that the right arm is held at 900 while stepping the left foot forward (Fig. so that both feet are approximately 50 cm apart.73). raise the right hand across the front of the chest to the left in an upward arc. palm facing in. Step the right foot to the left and bend the right arm. As you do this. as if warding off (Fig. clench the right hand into a fist. 3. • • • Practice with the other arm. Focus on ‘hitting upward’ with your right elbow so as to destabilize the opponent’s centre of gravity and lift them off from the ground (Fig.
turning the body to the right. Simultaneously. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block).75 Fig.76 • Spiral the right arm forward with Ni reeling. 3. Practice with both sides (Fig. practice with long and slow energy.76). balancing this movement with the left hand. with the following differences: . 3.陈 氏 太 极 拳 推 手 技 法 Fig. 3. palm down.6. 王 西 安 88 3. gathering it horizontally in front of the chest. Next. • In the initial stages. step right with the right foot. use short and fast energy.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. the right fist lowered to front of the left armpit. Once familiar with the practice. strike the right elbow to the right.
• Stand at attention with the arms relaxed at the sides.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. while Xin Zhou is targeted to the front (Fig. Touch the right knee with the right palm. 3.6.78 3. palm down.77). jump slightly with the right foot. • Turn the body to the right and reel the right palm across the chest to the right. Before the foot lands. palm facing right. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig.77 Fig. fingers pointing up. • Jump the left foot half a step to the left. 陈 氏 太 极 拳 推 手 技 法 Fig.78). • Simultaneously. 3. 3. extend your left palm forward. landing approximately 50 cm apart from the left foot. 3. toe tips on the ground.• • Shun Lan Zhou is aimed slightly to the back. 王 西 安 89 .
Instead. 3. then gradually using short and fast energy. starting with slow movements initially until the steps become familiar. followed by the right foot.陈 氏 太 极 拳 推 手 技 法 Fig. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). taking the waist as the dividing line. After the strike. step the left foot to the left.79 Fig. Return the left fist beside the right ribs (Fig. 3.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig.81). Practice on both sides. toe-tips on the ground. Also.79). balance the energy between the upper and lower body. 3. While striking on the right. bending the wrist before striking upward quickly with the back of the right fist. placing the left fist below the right. avoid letting all your energy flow upward as this will destabilize your root. Move the right fist toward the right shoulder using Shun reeling. step the right foot forward. Next. Look to the right side of body while striking upward. clench both palms into fists. As you change weight. then transfer your centre of gravity to the right. 3. toe tips touching the ground (Fig. .80). 3. 3.80 Fig.
7 Shuang Kai Zhou … Double Open Elbows This technique consists of striking simultaneously with both elbows by holding the arms in front of the chest.3. 3. In this position. • • • • Step to one side with either leg. If you stepped to the left. then exploding both elbows horizontally. while the left the supplementary strike. 3. then strike with the right elbow. 3. Practice alternating both sides. 3.83 王 西 安 91 . place the left arm inside the right. the right elbow executes the dominant attack.82).83).6. 陈 氏 太 极 拳 推 手 技 法 Fig.82 Fig. looking to the left and concentrating energy in the elbow tips (Fig. Change your weight to the left. Gather the fists close to the chest (Fig.
陈 氏 太 极 拳 推 手 技 法 3.85).8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows.84). 3. looking to the front and rolling the chest and shoulders inward. holding fists on either side of the ribs (Fig.85 . As your weight transfers to the front. 3. 王 西 安 92 Fig. 3.84 Fig. 3. • • Step one foot forward. Try to feel the effect of this preparation during practice (Fig.6. prepare for the stike by gathering the wrists inward. This increases the force of your attack.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. palm facing inward and inclining backward.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. 3. 3. palm to the front. As your centre of gravity shifts to the left. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side.86 Fig. clench the right hand into a fist. then lift it so that the right elbow is positioned over the right knee (Fig.6. Practice alternating both sides. rotate the body to the right. clench the left palm into a half fist and place it beside the left leg. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. Simultaneously. take a big step forward with the right foot in front of the left. 3.86). 3. As the weight shifts to the left.87 93 . At the same time.87).3.
88). • All movements are guided by the rotation of the waist and spine.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). palm up. 王 西 安 Fig. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). then lower it over the right knee. • Extend the right hand outward. • Change your weight to the left. 3. moving it beside the left ribs. shifting your centre of gravity to the front. • Shift your weight abruptly to the right and form a half fist with the left palm. strike forward explosively with the right forearm using a short-energy (Fig.88 94 . • After exerting Pie force. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. • At the same time. 3.陈 氏 太 极 拳 推 手 技 法 3. As one of the Eight Forces. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. Make sure both hands move and arrive at their destinations simultaneously.6. • Step the right foot forward. the legs should be parallel to each other. In this way.
palm up. both internal and external movements are integrated with the movements of the body and limbs. • Then. 3. Form a hook (Diao Shou) with the right hand with the little. Shift your weight more to the left as you do this (Fig.89 95 . closing it slightly. In this way.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. and extend the left hand forward to the right. 3.89). bending the elbow.6. lower the left hand from the front of the chest to the left ribs. using guiding energy from the little finger. The thumb and index finger form the character Ba ‘八’. • Keep the left hand open so the thumb is separated from the fingers. use Cai technique to strike out explosively with the outside of the right forearm and elbow. • Raise the right hand from the right side. ring and middle fingers. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. using downward Ni reeling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. • Step backward with the left foot shifting your weight to the left. • While lowering the left hand.
3. toes grasping the ground. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. 3. At the same time. and then. 王 西 安 96 Fig. While transferring weight. moving your weight to the right (Fig.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. 3.91). you raise the right hand in Ni reeling to descend the elbow (Fig. and extend the right leg backward.91 . Note: For maximum effectiveness. strike the right elbow backward at an upward angle (Shang Chuan Zhou). the right thumb guides energy flow.陈 氏 太 极 拳 推 手 技 法 3. especially useful as a defensive move when being attacked while in a passive situation.90 Fig. 3. • • • • Bend the left knee.90). make sure power is gathered properly through the whole body and that your timing is correct before you strike.6.
3. Xiong Kao. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm. The right foot and right arm should reach their positions at the same time (Fig.93 97 . As you shift your weight to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao.92 Fig.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward.92). Ying Men Kao.3. 3. 3. Shuang Bei Kao and Qi Cun Kao.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao.7. Ce Jian Kao. 3.
3. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). As the heel touches the ground. Then step the right foot forward again to execute Zai Kao for a second time.7. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. After executing the above.陈 氏 太 极 拳 推 手 技 法 • • • Then. . 3.93). you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. pushing it forward and down.94). On completion of the shoulder push. take care to maintain your centre of gravity by not stretching too far forward (Fig. step forward with the left foot and place it next to the right foot. if you find you get into an appropriate space for attacking. Note: Only push when you are in the correct position. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. Repeat these steps for both sides.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. Then take another big step forward with the right foot. use the outside of the right shoulder to execute Qian Zai Kao. As the body inclines forward significantly during this move. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. 3.
When firmly closed. lowering down but not stiff. 3. light but not floating” .3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. 3. conversely if one is able to ‘open’ the doors of the opponent.7. Dai (lead and pull) and Ji (attack) energies together. arms are a defense against attacks. 王 西 安 99 . Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose.Fig. then techniques such as Ying Men Kao can be used to penetrate defences and attack. This only comes with closely combining the Yin (guide).
Note: There are two ways your can attack with Ying Men Kao: • You can lower your power slightly so that the tip of the shoulder protrudes more. cross the hands in front of the chest.96). Separate the hands of the opponent to expose his chest (Fig.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. It is easier to hurt the partner using a narrower attacking surface. 3. 3. • You can use more of the shoulder surface in the attack.95). . fingers pointing up and palms facing the sides of the body. At the same time. Next.陈 氏 太 极 拳 推 手 技 法 Fig. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. move both arms to each side of the body and push the right shoulder forward in attack (Fig. 3. move the left foot forward parallel to the right foot and repeat the sequence for another attack. the right hand above the left. 3.95 Fig. Once the attack is completed. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed.
• Extend both arms from the sides to the front in an embracing gesture. can you execute it in actual combat (because you may easily hurt yourself ). 3. shifting your weight to the front.7. Only with a thorough mastery of this technique. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above.3.97 Fig. • Then roll the chest inward and shift your weight quickly from left to right. • After this move is completed. using this shift to deliver a sudden push with the chest (Fig. 3. A good sense of timing is essential for defeating the opponent.98). 3.98 101 .4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. Note: Focus on sharpening your sense of timing during practice. 3. • Step the right foot forward.97). • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. move the left foot parallel to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • To begin. the chest and waist are in a collapsed position.
3. • When the weight moves forward the chest rolls inwards.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. 王 西 安 Fig. 3. This technique also uses Duan Jing (short power). • When the whole body holds and collects to a moderate extent. • Stand with feet parallel. rebounding and shaking power).99 Fig.99). as the shoulders deliver Bei Kao backwards (Fig. Note: As mentioned in previous techniques.陈 氏 太 极 拳 推 手 技 法 3. You may lead with either leg.100). shoulders slightly concave and with power guided by the thumbs (Fig. take a sudden breath in and push the chest forward quickly. 3.100 102 . remember to gather and withhold energy before delivering the strike. a capability that comes only with extended Quan practice. 3.7. and the shoulders execute Bei Kao to the right . • Gently rotate backwards with both palms facing backwards. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short.
• Extend the right foot and arm forward. 3. • Once your root is stabilized.101). Find a stable centre of gravity with the body and gather your body in this position. • Turn the body slightly to the left as the right hand rises. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack.101 103 . 3. if further away. use short power in your push. continue to transfer your weight to the right. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. • Gradually move the right arm downward toward to the inside of the right leg. Note: If the opponent is at close-range.7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao.3. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. extend the distance of your Kao slightly. • Practice pushing from both the right and left sides. fingers pointing down.
王 西 安 Fig. Practice this sequence in rounds from left to right. 3. Incline the body forward in the same direction. • • • • Take a large step diagonally forward with the left or right leg. This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice.102 104 . 3. Note: Power applied in the initial stages should be slow rather than quick.7 Qi Cun Kao … Seven Cun Kao The name of this technique indicates that the body should be seven cun (approximately 23 cm) above the ground. Place the elbow below the knee (Fig. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing).102).7.陈 氏 太 极 拳 推 手 技 法 3.
draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig.103).104 105 . • Extend the left foot and left hand forward.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling.8. 3. 3. 3.104). • Relax the left side of the crotch and shift your weight forward to the left. 3. Fu Na. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. palm up (Fig.103 Fig.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. Tui Na. palm facing in. Diao gai Na. • At same time. Xiong Na. Chan Rao Na. • Rest the right hand near the right ribs. Shuang He Fu Cai Na. and Shuang He Na.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na.
you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. in order to block the opponent’s energy path. Repeat the above sequence. After seizing. Note: Shun and Ni reeling are interdependent and cannot be separated. tighten the ribs. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. Your moves will become more effective as your internal Qi integrates more closely with the external movements. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. then you must respond promptly by swapping the reelings to the opposite hands. lower the shoulders.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. and lower your waist and Qi. changing the weight from left to right. With practice. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. move the weight slightly backward then move forward again. 王 西 安 106 Closing with the left while seizing with the right and vice versa. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. i. you will be able to execute these changes quickly and smoothly. this time reeling in Shun direction with the left hand and Ni direction with the right. but she evades your attack by ducking down. When seizing. Shun reel with the right hand and Ni reel with the left. if you practice each side diligently.e. roll the chest in. Seizing techniques are quite difficult to practice. even though you deliver the power later than the partner. . drop the elbow. Try to relax at every step while applying the seizing action firmly.
106). 3. 陈 氏 太 极 拳 推 手 技 法 Fig. roll the chest in. and clench the right hand into a fist. relax the left side of the crotch and shift your weight to the left. 3. palm out. 3.107). Relax the left side of the crotch. 3.106 Fig. extend the left hand forward to rest in front of the body (Fig. 3.105). and shift your weight to the right side. placing it in front of the chest. tighten the ribs. The shift to the left enables you to hit the target clearly (Fig. Then rotate the right hand and body to the right. • • • • • Step forward with the left foot and move the right hand in front of chest to fend the opponent off upwards to the right at head level (Fig. Again. At the same time.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands.8.105 Fig. lower the Qi.107 王 西 安 107 .3. 3. Then lower the right hand to the right ribs. As you do this.
extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. roll the chest slightly inward and gather the ribs. palm facing left (Fig.109).” 3. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. the force of upward suspension maintains the axis. lower Qi to the abdomen in preparation for the inward roll and seizing. reel with both hands in a Shun direction. palm facing right (Fig. and gather energy in the ribs. The strike is actually applied by the left side of the chest. Relax the crotch. 王 西 安 108 . As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. The left hand leads by closing the power causing the right hand to follow. Match the speed of your movements to that of your partner. Draw the arc with the intention of meeting the opponent’s hand.陈 氏 太 极 拳 推 手 技 法 Remember that Qi gathers in the Dantian and the Three Powers (Jing Qi Shen) unify to become one power. rotate the body. while the two hands serve as supports. Move quickly and follow your partner but do not lose power. • At the same time. Move the whole body in a natural and relaxed state.108).8. the palm forming a “八” (Ba) shape. • Close the crotch. 3. • Step the left foot forward and extend the left hand to the front. 3. Shift your weight forward and accumulate power well. • As the weight shifts to the left.3 Fu Nang … Seize with the Abdomen This technique consists of seizing with the abdomen filled with descending Qi with the assistance of the hands. Make sure to keep your own axis when seizing the opponent. • Step the right foot forward and pass the right hand across the left side of the body.
Fig. 3.108 • • As the Qi descends. clench the left hand.110 109 . 3. The abdomen provides the main supporting element. seize with the right and roll the abdomen – these three actions combine to become one power. the left hand moves lightly and assists the right.110). whose movement is heavier (Fig. The eyes look forward and to the left. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.109 Fig.
gather the ribs and lower Qi to the abdomen so that internal strength flows through the Dantian and the Three Powers (Jing Qi Shen) may unify to guide the attack. do not be kind to the foe for the opportunity to attack comes just once. As your weight shifts. 3. extend both arms to the front. and commence shifting your weight forward. the right foot steps forward. move the palms up to chest level and seize the opponent’s elbows using Na power.112). palms about 10 cm from the lower abdomen. Continue to shift your weight forward. the right hand moving down while the left moves up. At the same time.8. facing in so that the fingers are directed towards each other. and gather them towards you (Fig.111). As you seize. whereby the abdomen gathers power to support the hands. keep your intention firm for victory or failure will be decided in a second. while the hands use Na (seizing) power to collect inward. and both feet standing steadily as the hands move. push the abdomen out suddenly (Fig. .陈 氏 太 极 拳 推 手 技 法 In summary. Both hands extend forward in sequence. Move swiftly without hesitation. followed by the left. bending them at the elbows. 3. Direct the eyes to the front. capture and immobilize the opponent. immobilizes their wrists by bending them outwards. Concentrate your energies then pounce on your opponent like an agile cat. 3. roll the chest slightly inward.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. • • • • 王 西 安 110 • • Take a half step forward with the right foot.
112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. 3. and lower Qi in your abdomen before protruding it forward.Fig.8. 王 西 安 111 . fending the opponent off upward to the right (Fig.5 Chan Rao Na … Seize by Reeling This technique uses the gathering power of one hand to seize while the other reels from the inner side of the opponent. Lower the right hand then cover it with the left. so that you respond by moving your weight forward. Step the left foot forward and shift your weight to the left. • • • • Step the right foot forward and pass the right hand across the chest.111 Fig. 3. 陈 氏 太 极 拳 推 手 技 法 3. supported by the warding right hand.113). Reel the left hand forward. 3.
113 Fig. Combine them with the power of chest to become one power (Fig. 3. Collect the body by rolling the chest slightly inward.陈 氏 太 极 拳 推 手 技 法 Fig. bones. gathering the ribs and lowering the waist and Qi. But remember: practice like an adept. Alternate practice on both right and left sides.114 • • • • Put your body in a squatting position by bending the knees slightly. . not like a thug. tendons and veins. 3. Step the right foot forward again and repeat the above steps. 3. Collect the hands inward to about 15 cm in front of the chest. this technique can be used effectively to break wrists. 王 西 安 112 Note: If Qi descends smoothly.114). by taking a step forward (Shang Bu) each time.
3. lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni reeling to seize downward from the right side. • As you step. 3.115 Fig.8. • Step forward with the left foot and extend the left arm to the front. • As the weight moves forward. 3. relax the crotch.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. Lower your Qi.115). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. shift your weight forward and bend the knees slightly so that the body squats like a bent bow. and move both hands to assist the left leg. In this way. roll the chest in and gather the ribs (Fig. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. • As soon as the right hand reaches the level of the left leg. The powers of the left arm and right hand unify as one. 3. • As the knee swings inward.116 113 . • Bend the left arm inward to gather both palms. fingers pointing forward. the Three Powers (Jing Qi Shen) combine to seize the opponent.
• At the same time.118 114 . guiding it to the right ribs for support (Fig.7 Diao Gai Na … Seizing with Both Hands This technique uses both hands to seize: the right hand moves up from the right to grasp the opponent’s arm from the bottom while the left presses down from the top. 3.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. 3.116). spiral the right hand up from the right side into an arc. 3. gradually guiding it inward to rest in front of the right ribs.8. As you step forward. 3. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig. • Then lower the right arm by executing Lü downward in Ni reeling. Then step forward with the left foot. shift your weight to the front and extend the left arm again to repeat the steps and seize once more. The changing of the legs happens quickly.117 Fig. • Step forward with the right foot. shift your weight quickly to the left and step forward with the right foot. 王 西 安 Fig. 3.117).
shift your weight to the right and step forward with the left foot. When the right hand moves up. shift your weight to the right and move the left foot and hand forward (Fig. 3. lower the shoulders. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. Continue to move the right hand and foot forward. 3.Fig.118). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 .119 • • • • • • As soon as the right foot touches on the ground.119). As the right foot touches the ground. As the hands move. roll the chest slightly inward and bend the knees slightly into a squatting position. the left palm moves down in Shun reeling to cover the the arm of the opponent so that the forces of both arms work as one. The intention is to have the whole body collecting and seizing together with the hands. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig.
3. Prepare for the seizing by lowering Qi to the Dantian. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig. This step marks the transformation of Peng (ward off ) to Na (seizing).陈 氏 太 极 拳 推 手 技 法 3. 3.120).121). then gather both hands and grasp the opponent’s wrist firmly downwards.120 Fig. Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. 王 西 安 Fig.121 116 . 3. At the same time. Combine this with the power gathered in both hands and seize with one force.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize. Bend your knees so your body squats like a bending bow. 3. step forward with the left foot and shift your weight to the front. strengthed by whole body coordination.8. rolling the chest inward and tightening the ribs.
the Guan Gong Jie Dai technique is said to be named after its creator. then the ring finger. such as a waist grasp from the rear to throw you down. 王 西 安 117 . Shan Jing Zhen Zhang Jie 8.122). Shan Jing Ce Jian Jie 7.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. middle finger. Diao Wan Qu Zhi Jie Tuo 3. Guan Gong Jie Dai 2. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. Guan Gong. • Inhale. Chuan Zhang Jie 5. eyes looking forward. shoulder-width apart. Qu Wan Fan Na Jie 6. • Hang the hands naturally at the sides.3. • Stand with both feet in parallel. Shuang Wan Zhi Jie 4. This technique enables a practitioner to avoid capture or break a hold. • Next.9. Fan Na Cu Bu Jie 9. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. 3. and finally the index finger. ‘Wars Among Three Countries’ by Guan Yu. • Move Qi in from the outside and lower it to the Dantian. then exhale as you bend the knees slightly to put the body in a squatting position (Fig.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book.
and also with the speed of Qi descending.123 • Synchronise the speed of this movement with that of the body.123). 3.122 Fig. hook the wrist and bend the fingers to escape. This technique becomes effective only after extended practice. . 3.2 Diao Wan Qu Zhi Jie Tuo Escape by Hooking Wrist & Bending Fingers This technique is especially useful to release a hand hold by an opponent. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip).9. otherwise it is not easy to unfold (Fig. If the fingers are being held. 王 西 安 118 3. the squatting of the body.陈 氏 太 极 拳 推 手 技 法 Fig. 3. the gathering of the ribs and the hooking of fingers should combine to become one unit. In this way.
125 • • • • • If the fingers of one hand are seized by the opponent. 王 西 安 119 . rolling the chest inward. By the end of your movement. 3. 3. Practice these steps with both hands in turn. 3. your conjoined fingertips and knuckles should be able to escape with ease (Fig. As you move. join the fingers of your hand together and point them diagonally upward to the right (Fig. 3. 陈 氏 太 极 拳 推 手 技 法 This technique is only to be used if you have become proficient in it after extended solo practice. unblocking the arm area being attacked. Move your body to transform the attacking power.124). and lowering your Qi as you do so.124 Fig. lowering the elbows.Fig. you relax and elongate your encaptured arm. so that Tuo (escaping) power can reach the fingers effectively. relaxing the shoulders.125). slowly bend the wrist and fingers. By doing this.
tighten the ribs. roll the chest inward.127 120 . Just focus on relaxing and lower the Qi. 3. then move your arms forward and upward as your weight shifts forward (Fig.126 Fig. 3.127). clench both hands into fists. While doing this.126). 王 西 安 Fig. closing your hands while opening the opponent’s. lower the shoulders and elbows. bend the arms.陈 氏 太 极 拳 推 手 技 法 3.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. • • • Step one foot forward and shift your weight to the other leg (Fig. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. and lower the Qi so that power can flow smoothly to the inner side of the wrists. At the same time. It is not necessary to use large movements in this technique.9. 3. 3.
tighten the ribs. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. elbows. 3.3.128 Fig. two eyes look forward horizontally. and lower the shoulders.4 Chuan Zhang Jie Tuo Escape by Crossing the Hands before the Chest This technique consists of crossing both hands before the chest when you move to the left or right to transform power. • Two feet stand flatly and the body stands straight.129 121 . placing the right hand on the left (Fig.128). • Bend both arms 90o inward and cross them in front of the chest. and Qi. • Bend the knees slightly to place the body in a squatting position. It is most often used in the transition between the Jin Gang Dao Zhui posture (Buddha’s Warrior Attendant Pounds Mortar) and the Lan Zha Yi posture (Lazily Tying Coat). and roll the chest inward.9. 3.
and move the right hand in Shun reeling while the left does Ni reeling.9. and lock the palms of the opponent.130 Fig. 3. If you choose to turn to the right: rotate the body to the right then left.陈 氏 太 极 拳 推 手 技 法 • • • If you choose to turn to the left: rotate the body to the left then right. 3. Do not rush forward but defend you territory in straight postures (Fig.5 Qu Wan Fan Na Jie Escape by Bending the Wrist and Seize the Opponent This technique is used to counter-attack a hold on the right fingers. then rotate forward again. 3.129). 3.131 122 . Then ward off (Peng) by pushing both palms outward. swapping the Shun and Ni reeling to the opposite hands. 王 西 安 Fig. then to follow your opponent by bending your wrist in Ni reeling while you rotate to the right position so as to extend the left hand and seize with the right. It requires you to twist the captured fingers outward in Shun reeling.
3.130). it will be difficult for opponents to overcome your attacks. 陈 氏 太 极 拳 推 手 技 法 Note: Use the waist as the boundary dividing rising energy above the waist and descending energy below the waist.133 • • • • • Extend your right arm forward.133). 3. raise the elbows. 王 西 安 123 . As the right toes touch the ground. relax the shoulders.132). wrist bent inward in readiness to seize and fend off danger (Fig. then bend it about 450.Fig. Your movements should be relaxed and executed with power at all times. 3. step the right foot forward (Fig. open the joints throughout the body and stretch the muscles so that power can flow through to the wrist and move to its end point more smoothly. Apply the principle of constant change and flexibility in Taiji circles. 3. Rotate the arm about 1800 outward in Ni reeling.132 Fig. While rotating the arm. palm facing left (Fig. As you do this. 3. extend the left hand forward to support the right hand as it seizes downward (Fig.131). If you practice diligently. 3.
palm facing right. • As the right palm reels outward. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). Next. coordinating it with the lifting of the back and the descending Qi. 3. then move swiftly to the right to destabilize the opponent. you should rotate externally and upward in Ni reeling. 王 西 安 Fig. 3. the palm gradually guided by Ni reeling to slant externally to the right.9.134 Fig. • Simultaneously. • The right wrist bends inward with the arm to rotate the hand in Ni reeling.陈 氏 太 极 拳 推 手 技 法 3. • Extend the right arm horizontally and bend it 900 inward. move the left hand rightward to the front of the chest.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. roll the chest inward. so that the power of the left hand combines with the right to become one. this sequence of movements make up the Shan Jing Ce Shen Jie technique. In response. Together.135 124 . right fingertips initially pointing downward.
then quickly step the right foot forward (Shang Bu). you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. 3. make a big step forward with the right foot. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy.135). shift your weight to the left . Use your whole body to collect energy and attack: the Yin force (guiding) from the upper body and Jin force (inserting and attacking) from the lower body. giving him a sense of losing of Qi. 陈 氏 太 极 拳 推 手 技 法 3. All the above movements of the hands. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). because with these. and thus enabling one to evade capture. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. 王 西 安 125 . touching the ground with the toe tips (Fig.134). Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. Note: Move in Ni reeling while the opponent moves in Shun reeling. The above movements of both arms and the right foot should occur in one very smooth and swift motion. So Shan and Jing serve as the pre-condition of escaping. Almost at the same time. 3.• • • As your left hand moves.9.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent.
136 Fig. step forward quickly and attack with the palm (Fig. palms facing up and eyes looking forward. 3.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time. This power should be quick and strong. and both palms draw inward. 3. At the same time.136). slowly raise both hands and bend them inward about 1800. 3. Simultaneously. Next. palms facing up and the two little fingers placed on the middle of each arm. 王 西 安 Fig.137). As soon as you surprise and destabilize them with your moves. 3. the body squats. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. 3.137 Fig.138 126 . 3. open both fists and shift them away from the sides of the body. then the whole body sends a Dou in a circle in Shun reeling (short power). clench the hands into fists and place them at the sides of the body (Fig.138). When the body and two hands send the Dou power. then Shang Bu (take a step forward). and the extending palm reaches the right position at the same time.
It is not wise to grasp the opponent’s elbow with your fingers. 王 西 安 127 . 3. Step diagonally right with the right foot.8 Fan Na Cu Bu Jie … Escape by Stomping This is a composite technique consisting of seizing and twisting the opponent’s joints (Fan Na) using the Fan Guanjie (Reverse Joints) technique. and attacking by the Cu Bu or Dun Bu technique (stomping). since he or she can easily twist your fingers and get you caught’. fingertips slanting up (Fig. holding and collecting a quicker speed. Bend the knees slightly to place the body in a squatting position. which is against principle. With Shan and Jing.It is just like the poem reads: ‘It is not a failure if you retreat your pace. thumb separated from the fingers (Fig. extend the right hand diagonally forward to the side. extend the left hand from left to right. you find escaping easy. because sometimes appropriate retreating gives one a closing power. 3. then shift your weight to the left and inclining the body to the right to hold and collect. As the right foot steps on the ground. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. At the same time. Then push the left palm to the right. 3. palm facing out. Two elbows draw inward and hands move outwards.9.140). first bending it inward then moving it outward to the right. the partner cannot reach you though his attacking power is strong.139).
139 Fig. Stand rooted like a big tree. Be patient and diligent with practice.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power.陈 氏 太 极 拳 推 手 技 法 Fig. Then you will free yourself from capture. the body should move from high to low. only by this will you increase in strength. 3. Incline your body and explode the energy with great unity by stomping with the right foot. 王 西 安 128 . paying attention to the upper and lower body and your surroundings. 3. do not react or become anxious but remain confident in your prowess. side pushing with the left palm and exhaling at one time. from long power to short power. This power can only be gathered with greatly unified power. During the practice. Even if you sense the opponent’s intention to move. from slow to quick.
• Step the right foot forward. 3. lower the shoulders and elbows.142 129 .3.141 Fig. palms facing in (Fig. the left hand in Ni reeling and the right in Shun reeling. bending inward about 90o.9 Shuang Shou Wai Fen Jie Escaping by separating hands This technique is used to wrest free of a double wrist grip by separating the arms. roll the chest in. eyes looking forward (Fig. exhale. 3. As you do this. • Next. 3. palms facing each other. the hands wrest free of the opponent’s wrist grip. • In this way. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. tighten the ribs and lower Qi to the Dantian. breathing in as you do this.142).9. • Extend both arms forward.141). separate the hands to the sides of the body. 3. • Then bend both wrists inward.
144 Notes The extent to which you separate your hands depends on the opponent’s grip. You can escape from seizing by one closing and one opening. Palm Inserting Down) (Fig. insert both palms downward (Xia Cha Zhang. then separate them to each side. then you transform and eliminate the seizing on your wrists. 3. finally returning them to the front of the chest to repeat the cycle (Fig.143 Fig. keeping both arms tightly together like pincers. 3. 王 西 安 130 . During practice. 3.陈 氏 太 极 拳 推 手 技 法 Fig. then raise your hands.144). If you still can’t free your wrists with this technique. If you cannot push the opponent’s hands away. 3.143). get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. Ji and An. each of which can be practiced individually or in sequence: 1. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. states: “If a tree has deep and strong roots. Lü. opening and closing. Kai He Zhuang (Opening and Closing Posture) 4. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3.陈 氏 太 极 拳 推 手 技 法 4. San Ti Shi (Three Postures) 5. Taiji Yangsheng Zengqi Gong can be divided into six postures. Wu Zhuang Huan Yuan Zhuang (Returning to Wu Ji stance) Diligent practice and application of all the postures in these six groups of Qigong practices will yield great results for Taiji and Tuishou practitioners. Wu Ji Zhuang (Wu Ji Posture) 2. These movements are applied throughout the whole system of Taiji and Tuishou practices. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. Chen Xin. its leaves and branches must flourish. Chan Si Zhuang (Reeling Silk Posture) 6. Peng. rising and falling.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). . As Qing Dynasty Taiji Master. unblocking the whole vessel system by enhancing Qi and blood flow through the body and helping the accumulation of Qi in the Yong Quan point (known as the ‘Bubbling Spring’ located on the sole of the foot).1 inTrOducTiOn Taiji Yangsheng Zengqi Gong is a collection of health and Qi enhancement practices essential for the formation of robust Taiji and Tuishou techniques.
feet parallel and shoulder width apart. 4. breathing gently and slowly.2 wu ji zhuang (wu ji pOsTure) 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2.4. keeping your mind relaxed. Open your eyes gradually. eyes closed. Hang both arms at the side of the body and relax.1 Postures a) Posture 1 • • • • Stand upright.1 133 . Concentrate your intention (Yi) in the Dantian.
do not do it so gently that Qi becomes too soft and weak to reach every part of the body. Maintain the hands at shoulder height. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet.2 Fig. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. the right over the left for male practitioners. 4. 4.3). Try to expand your arms moderately. the reverse for females (Fig.3 134 . Take care of these points and you will not lose power (Diu Jin) unnecessarily. palms facing downward and slanted diagonally (Fig. when it should actually be solid. On the other hand. 4. Lower the hands onto the abdomen. the right hand rotating in Shun reeling and the left in Ni reeling.2).陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. 4. 王 西 安 Fig.
so that the waist descends naturally.2. Your elbow joints should be lowered. Pay attention to the following points when practicing the Zhuang posture: 1. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 .3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). guiding the Qi and saliva through to the middle Dantian. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. The neck should be firm and straight. Lift the buttocks and anus up a little. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. Your shoulders should be loose and slightly lowered. The whole body will be steady if you gather the internal organs consistently. inhale and then swallow saliva down into the stomach. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling.2 The requirements for every part of the body 1. 2. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. 3. the mind and facial muscles naturally relaxed. 4. 4. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point.2. until they reach the lower Dantian.4. Gather the chest and ribs inward. lower it when exhaling. bend the knees slightly and grasp the ground gently with the toes.
up along the spine. Maintain your vertical axis. through the Wei Lü Guan point. so that they all have the same rhythm. roll the chest slightly inward. By practising the above key points. you will enlarge your vital capacity and exercise the diaphragm muscles.陈 氏 太 极 拳 推 手 技 法 2. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). While exhaling Lower every part of the body. Practice also enhances your ability to guide Qi with Yi (intention). Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. While lowering the internal Qi. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. across the Yu Zhen point. which will help with the distribution of Qi around the body. 3. leading to Qi filling and blocking the chest. 王 西 安 136 . Raise your Yi (intention) from the Hui Yin point (perineum). until it reaches the Bai Hui point. skin and fine hairs opening as the Qi rises. including the internal organs. While inhaling Gather your chest and abdomen inward while breathing in Qi. lower the waist and gather the Qi in the Dantian. Feel the sensation of all the body joints. keeping your body upright and lifting your back slightly.
Qi follows Yi. these can be accomplished only by hard learning. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . Qi cannot be separated from Yi (intention). patients and the correct mastery of key points. just as Xing (posture.2. However. external movements) follows Qi. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. quietude and concentration. Practitioners should modify the scope of their practice according to their level and progress.4. The key requirements for practice are relaxation.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. Only these can guarantee normal and healthy internal Qi circulation. consciousness. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. and achieve the smooth Zhoutian circulation and help with body combat. and emotions. Beginners generally find it difficult to remember the postures and key points. thinking. Only through mastering your mental activities such as intention. During Wu Ji Zhuang. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian).
1 Postures 王 西 安 Fig.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.5 138 .4 Fig. 4. is an important basic skill in Chinese Martial Arts.陈 氏 太 极 拳 推 手 技 法 4. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill.” Hence. 4.3 hunyuan zhuang (circle pOsTure) Zhuang skill. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation. 4.3.
if closed. 陈 氏 太 极 拳 推 手 技 法 4. with practice duration increasing gradually from short to long. 4.5). Execute the posture as if embracing a big tree. Lower the elbows and shoulders slightly. a little more than shoulder-width apart. Keep the fingers evenly open and slightly bent as if half grasping a sphere. focus on a static object at the same level as your eyes. the neck. Leave your eyes naturally open or close them. Next. 4.3. The old and weak may practice using a high body stance. fingers pointing at their counterparts about 30 cm apart. Stand with your feet parallel. focus your attention on the Dantian (Fig. The palms face each other. Bend the knees so that the body is squatting a little. If your eyes are open.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. shift your weight to the right and lift the left foot and take half a step to the left.4). then move them back to the middle. then lower the waist (Fig. Keep the head naturally erect. Relax the shoulders. The upper body should be kept upright. b) Posture 2 • • • Separate the hands when the left foot reaches ground. waist and back straight. 王 西 安 139 . waist and crotch. mid-level and low.
through the Ren Mai. graduating to midlevel. and slight trembling may occur. Du Mai. and guide the saliva down to the middle and lower Dantian. up the spine. The trembling may only be detected by touch or by close observation of the leg muscles. This relieves or may even stop the trembling for a period. Practice duration can last just a few minutes in the initial stages. Now lower the tongue and inhale. increasing to thirty or forty minutes at later stages. 王 西 安 140 . intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). although this may become more obvious with prolonged practicing at mid or low stances. touch the palate with the tip of the tongue. the thigh muscles and even the whole body may tremble rhythmically. At the same time. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. For example. Wei Lü Guan. becoming gradually longer. b) Rising and Falling Method This method refers to the subtle rise and fall of the body during Standing Zhuang following the rhythm of the breath. raise Qi from the heels up the legs. past the Yu Zhen point. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. Beginners will find that the thighs may ache after two weeks of practice. Inhale again as the body rises. then lower your body again. swallowing your breath with saliva. inhale slowly first. then a low stance. you should raise your stance slightly to rest. Que Qiao. In this case. Should this happen. when doing Standing Zhuang at a high stance. until it reaches the Baihui point. At this point.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. then bend the knees to lower the body until the buttocks are at the same level as the knees.
It rises and falls like a boat in the ocean. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. but the apparent non-activity is misleading. breathing motions and digesting processes. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . the body quivers in a relaxed and peaceful state of mind. Practice this process repeatedly. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. 4. like a wild goose flies off and falls.3. Zhuang skill is actually a practice using static strength and tension. The body weight is always subtly moving in various directions.3 Breathing Breathing is an important element of Zhuang skill. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. Standing on the ground steadily like a mountain.As you exhale slowly. as it responds to the circulating blood.
The only difference is that in this posture. the breath is usually short.8). 4. extend your breath slowly through the practice process. 王 西 安 Fig. 4. as are the requirements and key points for the body parts.6 Fig. 4.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. the palms face inward and the eyes are slightly closed (see Fig. Gather the chest and abdomen. 4. relax and open the internal organs.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. In the initial stages of practice. the middle fingers connect. the body rises slightly with the inhalation. At the same time. The distance between both arms starts short then grows longer.7 142 . The navel and Ming Men are in the same rhythm.4.陈 氏 太 极 拳 推 手 技 法 4.
Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. Focusing on your intention (Yi). Drop the wrists and hold the palms facing inwards in a concave shape. 4. Roll the chest slightly inward. Acting slowly. crouch down and lower the elbows. Qi appears between finger tips of both hands like a magnetic force. the navel and the Ming Men Mai swell out. Relax the body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. b) Posture 2 • • • • • • Exhale and gather the organs. All internal organs are filled with strength. At the same time. using your intention (Yi).8 143 . use your intention to guide the current outward. Do this practice slowly.Note: when you inhale and open up. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. lower the waist and gather the rib muscles.
陈 氏 太 极 拳 推 手 技 法 The main aim of practising Kai He Zhuang is to enhance the strength of the lower limbs and to promote the shrinking and expanding abilities of the navel and Ming Men. This is called. Qi here refers to the fresh air exchanged between the lungs and the outside. For example. as well as the internal Qi moving in the body with the guidance of your intention. then your strength must be soft. For example. intention and Qi. “the internal Qi moves inside”. In this way. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. 4. This practice also strengthens the practitioner’s ‘root’. as well as breath control.2 The relationship between Thought. .4. gentle and even. one’s thoughts need to implement intention consistently. and when Qi rises – the body and internal organs gather slightly. Qi and strength. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. and also helps the practitioner build skills in relaxation and quietness. the ebb and flow of Qi and strength (or power) are in synch with each other. Lastly. For thought (or attention) to combine with intention. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. it also helps increase internal strength and distributes Qi around the whole body. when extending the hands. if you require the breath to be slow.
you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. Its purpose is to stimulate the nerve system by muscle movement. With practice. Guided by intention. and are one of the main requirements in Zhuang skill. In particular.The relaxing and gathering of the internal organs mentioned here refers to the activities of the internal organs and the muscles around the midriff area – under the ribs. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. the chest. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . this movement becomes a conditioned reflex and helps move muscles which are normally static. abdomen and back.
then shift your weight forward from the left foot to the right knee.10). a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. Purify this saliva with your intention. When inhaling.9). This posture could also be called a sideways Bow Step (Fig. . suffusing it with saliva and Qi and lower it to the middle and lower Dantian. focusing your intention in the Dantian. then breathe it out slowly as you move forward (Fig. 4. Start the posture with your eyes closed. Expand the crotch like a circle.陈 氏 太 极 拳 推 手 技 法 4. Next.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. 4. the right hand in front of the left. At the same time. The fingers are poised as if grasping the air. Swallow the fresh air inhaled. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. then open your eyes and look into the distance. raise both hands above the right leg. When the weight shifts completely to the left leg. Gather the Lao Gong points of both hands inward. inhale and move your weight backward. The length of inhalation should match the speed of the weight shift. make sure your eyes are drawn inward to looking internally.
4.11). 4. 4. 4. As you exhale and shift your weight forward. close and fold your strength into your chest and waist.10 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig.9 b) Posture 2 • • As Qi is lowered into the Dantian. You need to have the feeling of closing before opening. then push both hands forward slowly (Fig.11 147 . Repeat this process alternating the left and right sides. lower the waist.
You can persevere only if you firmly believe in the benefits of Zhuang skills. with confidence and determination. and persistence. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. Only after prolonged practice can confidence be nurtured. practioners will make the expected progress. and hold firm to these attributes throughout path of practice and study. Indeed. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. leading to progress and experience of the benefits. If. confident and diligent practice. In sum. practitioners are required to cultivate their Three Spirits when they begin practice. Confidence in Zhuang skills grows with practice as difficulties are overcome. So where does confidence come from? From practice. your practice hesitant and inconsistent. With confidence comes determination. and great determination. your belief is half-hearted. confidence is a critical prerequisite. then your progress will be poor. determination.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. persistence may be engendered. on the contrary. Through serious dedication. 王 西 安 148 .
4. 4.12). 陈 氏 太 极 拳 推 手 技 法 The difference of this posture from that of San Ti posture is: • Both hands extend outward with Peng energy to prepare for the opponent’s Lü gesture. inhaling all the while (Fig. 王 西 安 149 . relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). 4. As you step forward. • At the same time. extend both hands forward with the right hand before the left. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. Peng force is maintained while the foundation of the body is reinforced as well.6. In this way.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. both palms facing forward. • The fingers of the both hands point to each other.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan.
13 Fig.14 . 4. 4.12 王 西 安 150 Fig. 4.陈 氏 太 极 拳 推 手 技 法 Fig.
rotate the left hand in Shun reeling in front of the lowered abdomen. you will lose your weight and axis). As the weight shifts. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. withdraw the right hand so it intersects the left.13). inhale and crouch the body slightly. step the right foot on the ground. gather and close the whole body so it forms a posture prepared for opening activities. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. drop the elbows. turn the waist and twist the crotch. As this happens. As you shift your weight. lower the shoulders. 4. suffusing it with Qi before lowering it down to the middle and then lower Dantian. keeping the left hand inside and the right outside (Fig. open both fists into palms facing inward.14). At the same time. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. you start to repeat the sequence. 4. When this happens. When the left hand executes Lü (roll back) to the middle of the body. Inhale and swallow saliva. otherwize.b) Posture 2 • • • • • • • Next. relax the right crotch and shift your weight gradually to the right. relax both arms. relax the left crotch and shift your weight to the left Move the left hand down in Ni (contrary) reeling and the right hand down in Shun (conforming) reeling. 王 西 安 151 . Both hands make a half fist when reeling. the right hand in front of the left.
you will feel your key joints and your arteries and veins become unblocked and re-connected. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. and comes only after accumulated practice. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. Ren Mai starts 王 西 安 152 . decreasing to seven or ten breaths per minute. When you practise Zhuang skills to a certain level. This helps in the exchange of carbon dioxide and promotes metabolism in the body. the breath can become slower and longer. Therefore. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. and even to one or two times per minute. Only by this can you avoid errors and side effects. This phenomena of “connected arteries.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). then to five times per minute. It is incorrect to exhale with a long breath and inhale with a short breath (known as “too much Yin”) or vice-versa (“too much Yang”). so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. your breath should be natural and of the proper duration so that it enhances body combat and health. you should focus on increasing the duration and depth of your breath. The normal breath frequency of adults is six to twenty times per minute.陈 氏 太 极 拳 推 手 技 法 4. After practicing Zhuang skills for a period. Inhalations and exhalations should be of proper length. This is a primary sign of beneficial Zhuang practice. inhalation/exhalation being one breath.6. Dual practice with Yi (intention) and Qi connects the whole body. After mastering the key principle of natural breath.
the five sense organs internally gathered. deeper. and Yu Zhen Guan. and Yi and Qi should move in the required routes. Jia Gu Guan. In Da Zhou Tian. all channels extended and unfolded. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. The whole process of moving Qi through Ren Mai and Du Mai. then infusing Qi into the Dantian. the difference being that Da Zhou Tian extends Qi to the lower limbs. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. except that the breathing in the former is longer. reaches the Bai Hui point through Wei Lü Guan. For both. the body should be relaxed. reaches the perineum through the Dantian and then connects to Du Mai. even and quiet. The Qi of Da Zhou Tian originates from the Yong Quan point. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. more gentle. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. Du Mai starts at the perineum.from the tip of the tongue.
15). then bring in the right foot so that both feet are a shoulder-width apart. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”.16 154 . a) Posture 1 • • • Shift your weight gradually to the left leg. 王 西 安 Fig. 4. bring in the arms and place both palms in front of the abdomen (Fig. close your eyes and inhale. then infuse it into the lower Dantian. Swallow Qi down with saliva and guide it down to the middle Dantian. At the same time. 4.15 Fig.陈 氏 太 极 拳 推 手 技 法 4. 4. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly.
4.18). finally placing them in front of the shoulders. pointing the fingertips upward. palms facing in (Fig. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. 4. 4. Then using the little fingers to guide the energy. Clench both hands into fists and lower them to ear level as the body lowers.17 Fig. fingertips pointing obliquely down.18 155 . separate the arms to the sides.17). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.16). lift both arms upright. 4. As the body lowers. palms facing each other.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. 4. swallow Qi and saliva and infuse them into the lower Dantian (Fig.
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c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
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5.1 pracTice fOr The buTTOcks
The requirements for positioning the buttocks in Taijiquan practice are very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the end of spine) in an upright position when practicing, gathering and raising it naturally so that the buttocks do not protrude nor swing too much, otherwise the buttocks will be unable to rise and lower naturally. Taijiquan novices sometimes err on over-gathering or raising the buttocks, which can result in various negative effects. For example, if the buttocks are gathered too far forward, the posture will become unnaturally stiff and not follow the natural straight alignment of the body; in addition, this posture may also impede natural breathing as it blocks smooth circulation of Qi throughout the body and may even destabilize the firmness of the weight of the lower limbs. Gathering or raising buttocks in routine and Tuishou practice must be applied in accordance with each specific practice and not generalized. For example, while relaxing the the joints and muscles in the Lan Zha Yi posture (Lazily Tying One’s Coat), the buttocks should be raised slightly as the waist is lowered so that Qi can descend smoothly into the Dantian. If the buttocks are pushed too far forward, the lowering of the waist is impeded and consequently, Qi cannot cannot descend through the Dantian and separate into two streams to flow through the Yong Quan point through to the legs.
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5.1.2 Application to Sparring: Bei Kao
An example of applying this principle in Tuishou sparring is as follows: if the opponent executes Lü on you, you need to relax, lower your Qi and gather your buttocks before executing the Bei Kao move (Kao with the back). In this move, gathering the buttocks helps to concentrate power drawn from the heels and transported up the legs before it is unleashed at the target. In contrast, raising rather than gathering buttocks at this point will hinder full release of striking power and thwarts any attempt to transform the opponent’s energy. Bei Kao is an opening-closing move, consisting of lightening-quick power exertion and rebound, during which you need to guide Qi upward to explode energy. To do this, you need to roll the chest slightly inward and bend knees a little, then stamp on the ground to generate rebounding power and ascending Qi. The gathering of buttocks at this point is essential so that Qi can descend instantaneously after energy release. Protruding the buttocks will impede Qi flow downwards, resulting in Qi blockage at the chest which affects the stability of a practitioner’s stance and may even be harmful to health. These key points in the above example need to be practised and applied assiduously during routine and Tuishou practice.
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5.2 pracTices fOr The crOTch (dang)
Dang refers to the crotch area where the legs connect to the body. To open the Dang area, the thighs need to be stretched apart as much as possible so that the waist and crotch can rotate freely. Any obstruction of Dang movement will negatively affect routine and Tuishou practice. The opening-closing of Dang, that is, the transition between emptiness and solidity of the crotch area, has a direct impact on the flexibility of the practitioner’s body and his or her ability to change speed and weight. The shift between emptiness and solidity of the Dang area is used as a measure to monitor and adjust movement and speed of movement, and also serves as the key point to increase the power to be exploded. The firmness of Dang relates to their exertion of power and resistance. Mastery of Dang power and posture in routine and Tuishou practice helps increase flexibility, emptiness and stability of waist and legs, reinforces the foundation and enhances your practice. Adjustments to the waist and Dang are usually the first steps taken when you feel there is something not quite right with your movements routine or Tuishou practice. As Master Chen Xin said, “When you attain realization of Taiji, even a bird cannot fly out from under you during Taiji movement.” In other words, the openingclosing of Dang is key to increasing and exerting power. When Dang is closed, the whole body is directed toward closing (He); when Dang opens, the body opens. Hence, Dang is essential to Xu (gathering), He (closing), Yin (guiding), and Fang (releasing) in routine and Tuishou practice.
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A brief introduction is provided below. a short introduction of key Dang movements. the left knee and ankle vertically aligned to each other and the ground. the weight distribution is 3:7. 王 西 安 161 . In Taiji practice. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. This realization caused the ancients to suggest that “the ground door should be always closed”. The right leg should be relaxed with the right knee inclined slightly outward and the Dang gathered inward so that both form a strong pair. This requires the left leg to be solid with the lower leg standing upright. Doing so over an extended period can have a positive effect in curing hemorrhoids. it was realized that the anus and perineum were two of the most vulnerable parts of the human body.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape.The Anus In the same way that the positioning of Dang is very precise. Ding Dang.2. are described below: 陈 氏 太 极 拳 推 手 技 法 5. anus contraction should only be slight and done in a natural way. womb and so on. In ancient times. For example. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. the positioning of the anus also needs careful attention. advocating contraction of the anus during physical exercise as a remedy. Yuan Dang. To help you master correct Dang postures in routine and Tuishou practice. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. womb prolapse and so on. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. Jian Dang and Tang Dang. After humans evolved to the upright posture and started to walk. rectocele. and it became difficult for vena blood to flow to heart.
In traditional teaching methods. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. there are many opportunities and responsibilities. Hence. innate talents. These traditional teaching methods should be changed as implied by the adage.陈 氏 太 极 拳 推 手 技 法 In this way. For example. A practitioner trying to eliminate the habit of Ding Dang in his or her postures will require a long period of re-adjustment as the new correct Dang posture will initially feel very uncomfortable. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. “closing in opening” and that “Dang should open in a full circle”. which means there will not be opening-closing power if he or she crouches in the Horse Stance. 王 西 安 162 . This should be corrected at the earliest stages of learning. the right knee should incline outward. That is. If a practitioner is advised to relax. and at this moment Dang should open in a circle so that both legs can support all parts of the body. Some perform better than others due to learning abilities. the body crouches as the right knee moves outward. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. the root of Dang should be relaxed. it is very difficult to correct bad practice habits solidified with prolonged practice.2.” Indeed. “It is easy to teach but hard to change what is learnt.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. energy in the legs is strengthened and the body is well supported. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. when the right leg moves to the side. As for practitioners. 5. at the end of the Dan Bian (Single Whip) posture.
and quality and length of practice, rather than due to a teacher’s attention. Some practitioners are happy to help the teacher out and teach others, their intention being to allow the teacher more rest. Students are also happy to learn from co-practitioners as this may help to accelerate learning.
5.2.4 Jian Dang … Sharp Crotch
In Jian Dang position, the Dang area is shaped like an inverted “A”, the bottom tip of the Dang area is tight and not relaxed. In this case, Dang cannot be lowered during routine and Tuishou practice, and Yuan Dang cannot be formed at all. Moreover, the Bow Step is hampered, one’s gait becomes unsteady, and the upper body becomes heavy while the lower body is unrooted, swaying to the right or left, while the feet are also unsteady. This mistake may be tolerated by the old and weak if their aim is just to improve health, but cannot be ignored by younger practitioners who want to improve combat skills. Because with Jian Dang, some get easily unrooted, some find they can’t get clear distribution of weight, some find it so hard to shift the weight because they put exceeded weight onto one leg. If the habit of Jian Dang is allowed to form over a period of time, practitioners will become used to it and feel comfortable in this incorrect stance, which should be avoided. On the contrary, one must learn to identify and cultivate the twin qualities of emptiness-solidity in the legs through the practice of Taiji routines. Novices practicing Dang will inevitably develop aching feet. This is no cause for worry, as these are normal physical indications of body development and they will disappear when you reach a certain level. For example, after a bout of Tuishou sparring, novice practitioners may feel a little ache in the arms and legs, and indeed, the whole body may ache after a little rest. This is because you are not used to the intense exercise and some capillary blood vessels may have been strained. This ache will lessen gradually after extended practise, as the body becomes stronger, blood circulation improves and lung capacity is increased. At this stage, any additional
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muscle ache resulting from further increase in practice will ease off more quickly. Hence, do not be deterred by any aches and apply Yuan Dang when practicing Taiji and Tuishou, so that Jian Dang may be prevented from developing. Without patience, Taiji skills cannot be improved.
5.2.5 Tang Dang
Tang Dang happens when the legs are spread too far apart, out of proportion to the weight distribution required on the legs and the lowered Dang. As a result, the movements of the legs are hampered as they are not able to move forward and back or turn to the sides with natural ease. This situation is also called Ta Dang, meaning collapsing Dang. The Taijiquan routine is a whole body practice, suitable for people of all ages, body constitutions and those engaged in mental and physical work. Typically, practice methods for Taijiquan routines start from large circle movements to smaller ones, then from smaller circles to no-circle movements. However, the opposite is true for Dang practice, which starts with smaller scale movements, growing to larger-scaled practice. This requires Dang to be positioned a little higher in the beginning before becoming lower and wider gradually. As with Ding Dang and Jian Dang, be careful not to form the habit of committing to Tuishou movements that bring a lot of pressure to the knee joints, as Tang Dang not only increases pressure, but may also cause harm. This results in chronically tight muscles which will eventually cause bad blood circulation in the legs. The Tang Dang posture has particular impact on the stimulation of the on the nerves in the knee joint, so hindering the supply and renewal of blood in the leg muscles. Prolonged Tang Dang positioning will result in aching knee joints and a very heavy feeling in the legs. In some large-scale movements, Tang Dang
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may actually be intentionally applied, such as in the Seven Cun Kao movement, that is Kao applied in the Xie Xing or oblique walk where the distance between the ground and shoulder is seven cun (about 23 cm). Yet even in this movement, heavy pressure on the legs last only an instant and the legs can recover quickly, so Tang Dang poses no real issues. However, large-scale movements cannot be applied to the whole practice; hence Tang Dang is considered harmful to health and body combat if applied for extended periods in routine and Tuishou practice. Generally speaking, Dang practice should begin modestly with a slight lowering of the body, gradually growing to bigger movements. Most importantly, it should match the physical conditions of the practitioner and the requirements of body combat so that the practitioner does not incur any injury.
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Chen sTyle Taiji Tuishou CaTegoRies
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王 西 安 168 . In this chapter. For example. if the opponent attacks using Jian Kao (Kao with shoulder). your opponent may respond defensively with Xiong Kao (Kao by chest). we will describe how to apply these eight Tuishou techniques in sparring practice. While the combinations of Tuishou moves are infinite. the attack-defense stances change dynamically.陈 氏 太 极 拳 推 手 技 法 6. then strike back with Jian Kao. Indeed. Tuishou is commonly divided into eight categories.1 Overview Within the Chen style Taiji routine. if you advance using Ying Men Kao (Kao diagonally to the front). practitioners may master its secrets and principles with serious study. For example. you can defend using An (pressing). since both the attacking and defensive movements are interrelated and cannot be separated. with attackers changing to defensive roles in an instant and back again without warning.
陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . Dan Wan Hua (Coiling Flower with Single Hand. He Bu Tuishou with static footwork.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. Shun Bu Tuishou (Tuishou with movable footwork. normally a forward step then a backward step) 6.1. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. Da Lü (larger scale movements) 7. and any movements can be exerted by intention. Luan Cai Hua (Picking Flower. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. silk reeling in the shape of a flower) 2. which is regarded as the highest level of Tuishou. where the the practitioners are no longer oblidged to the sequences or fixed routines. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. Jin San Tui San (both parities advance and then retreat for 3 steps. while Tuishou) 8. i.6.e.
陈 氏 太 极 拳 推 手 技 法 6. Dan Tuishou (Tuishou with single hand) 2. these consist of the Cai. Shuang Tuishou (Tuishou with double hands) 3. There are many categories of footwork techniques. Xuan Wan (rotating wrists) 4. feet placed together ) 7. novices should start by learning one set at a time. Zou. Duli Bu (standing on a single foot) 8. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. Ji.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. Bing Bu (step touch. Si Zheng Shou (Peng. Lü. Huo Bu (moving footwork) 3. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. or Kao hand techniques. Ding Bu (static footwork) 2. An) is usually applied. Dian Bu (stepping on toe-tips) . i. Cha Bu (inserting steps) 6.1. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. and not be limited to one or the other. Qie Zhang (palm chop) In static footwork. including: 1. as follows: 1.e. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. During sparring. Bie. However. Si Yu Shou hand techniques are always used.
2 171 . palm facing in.1). the four fingers extended and joined together to form a slightly concave palm (Fig. Shuan (bind). 6. 6. In this posture. Da (meet) and Sao (sweep) movements. roll the chest slightly inward and lower the waist and shoulders.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction.6. The roots of the fingers are relaxed.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. with the wrist lowered and fingers relaxed. 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. you need to place the body in a crouching position. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling.2. In single practice. when both players retreat after being mutually warded off.2). The elbow must be dropped. 6.2. it is also applied to Gun (roll). When cutting downward. one arm is extended horizontally sideways. 6. with the forearm bent toward the upper arm at an angle of 450.2 TuishOu handwOrk Techniques 6.1 Fig.
In this instance. During sparring. The palm posture during this direction change is called Xie Tuo Zhang. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig.4 Xie Tuo Zhan In this technique. As you rotate the hand downward or outward. one player may guide the other to reel first in the Shun direction. 6.2. 6. if the opponent executes Lü on you. 6. when hands are rotating horizontally in a circle.陈 氏 太 极 拳 推 手 技 法 6. 王 西 安 Fig. the hand is stretched upward to the sides (Fig. where the raised hand lies above the middle of the upper arm.3 Fig. For example. the little finger is used to guide energy and draw inward toward the thumb. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory).2. 6. Xie Tuo Zhang is also applied in the process of Big Lü. the power lies in the root of the palm. then reverse to the Ni direction when the hands arrive at his or her body. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward.3).4).3 Wa Long Zhang … Roof Tile Palm The Wa Long Palm is shaped like a Chinese roof tile where the sides curl upward and the middle is low.4 172 . 6.
Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above).5 Cha Zhang … Slanting Palm In this technique.2. Cha Zhang is widely used in Tuishou. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. as the hands insert downward. • In Luan Cai Hua (palms reel in non-predictable angles. and gradually press your hands toward the opponent.5 173 . the hand is inserted upward or vertically/diagonally downward. separate them and switch to Cha Zhang. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions.5). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6.6. 6. see above). see above). for example: • When you rotate both hands in vertical circles. fingers slightly parted (Fig. insert your hand downward and rotate it in the Shun direction. This technique is called Diagonally Upward Cha. then lower your shoulders and drop the elbows.
6). you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation. 6. Fig. and the little finger bending inward. you can rotate your arm with the middle finger. When you guide your partner via Shun reeling to the front of your chest. 6.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape.6 王 西 安 174 . it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. and your partner exerts An to your hand.陈 氏 太 极 拳 推 手 技 法 6.2. This way. the ring finger. while the thumb and the index finger form a “ 八” shape. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle.
6.3 TuishOu fOOTwOrk Techniques 6.3. 6. the Yong Quan point should be empty while the Dang is open with the intention to close. following the principle of ‘straightening in bending’.7). the thigh nearly parallel to the ground.7 王 西 安 175 . 陈 氏 太 极 拳 推 手 技 法 Fig. 6. the sole fully touching the ground. One knee is bent so that the body is in a half crouch. following the principle of ‘closing in opening’.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. The toe tips point slightly inward. This knee is turned slightly outward to provide a frame for all parts of the body. In this posture. the knee positioned approximately above the tip of the foot (Fig. toe tips bent slightly inward. The other leg bends with the intention to straighten.
the heel touches the ground with the toes pointing up at about 450 (Fig. knee bent slightly over the toe tips.9).3. When the weight is completely transferred. Position both feet fully on the ground. Fig.3 Qian Dian Bu … Forward Tipping Step In this step. 王 西 安 176 .8 6. if the opponent presses on any part of your body with his or her hands or arms. toes grasping the ground. straighten the front leg so that the back leg becomes the Bow leg. Keep the Yong Quan point empty so the straightened leg can be lifted later if the body weight is kept on the Bow leg (Fig. big Lü and Luan Cai Hua. you can move your the weight back to transform their power by raising your toe tip and hence causing the heel to touch the ground naturally. • This step is always used in Shun step. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. 6.3. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles).8). It is applied widely in Tuishou. 6. 6.陈 氏 太 极 拳 推 手 技 法 6.2 Hou Zuo Bu … Back Seat Step In this posture.
3. 6. followed by the sole then heel (Fig.10 177 .4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6.10). move your weight back and withdraw the front leg backward by stepping the toe tip back first. if an opponent applies Lü on you.Fig.9 6. 6. and Luan Cai Hua For example.
6. 6. 12). which now lies close to the ground. 王 西 安 178 Fig. Hence the name ‘Falling Step’. and is widely used in forward or backward movements (Fig. This posture is applied to Shun step.e. in the ‘Dragon sweeps ground’ form. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground.12 . 6. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg.11).11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. Big Lü and Luan Cai Hua. Lü applied through large-scale movements) (Fig. When the opponent applies Big Lü on you. 6. For example.陈 氏 太 极 拳 推 手 技 法 Fig.
spirals around the waist and shoulders. exerting Ji and Na in confronting reelings). you can use Shun Chan to gather energy and edge into the opponent’s territory. in Bei Zhe Kao (Lean with back). enters the bone marrow through gaps in the scapula and travels down the arms.1 Shun Chan … Conforming reeling In Taijiquan. the term ‘reeling’ means to spiral energy. 6.4 hand Techniques in TuishOu reeling 6.13 179 .e. you draw the opponent inward into your territory. where it returns to its original position of circulation. The principle of Shun Chan is that with the elbows guiding the hands.4. with the little finger guiding energy as it points to the thumb when it is drawn inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the shoulders guiding the elbows and the waist guiding the shoulders. while simultaneously executing Kao on the opponent. Shun Chan means to spiral energy from the outside to the inside. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory.6. This move is called Shun Ji Shun Fa (i. For example. with the other fingers slightly turned outward. power rises from the heels up the legs. In Silk Reeling technique. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. when the opponent executes Lü on you. In addition.
15 180 . 王 西 安 Fig. Ni Chan is used to open outward.陈 氏 太 极 拳 推 手 技 法 6. Here. while the other fingers turn out slightly (Fig.14). the thumb gathers inward and guides the little finger. concentrate you energy in the wrist.14 Fig.15). the shoulders to urge on the elbows and the elbows guiding the hands. In Ni Chan. shoulders and elbows. roll your chest slightly inward and lower your waist. by using the waist to urge the shoulder.4. Note: to apply this technique precisely. 6.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. Zuo Wan (descending wrist) technique is adopted (Fig. 6.4. In horizontal circle rotations with single hand. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside.3 Shun Ni Zuo Wan Wrist descending in Shun and Ni directions This technique consists of lowering the wrist gradually during the transition from Shun to Ni Chan. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent. 6. 6. 6.
6.16 181 . Diao Wan is also widely applied in response to a Lü attack. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. while trying to ‘listen’. The wrist is drawn inward to form a Diao Wan (Hooked Wrist). ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). your right hand rotates at 90o towards the right side of body in Ni reeling. Ji. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). An) or four side-oriented Si Yu Shou techniques (Si Yu Shou.4. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. Lü. in case of single hand rotation in the horizontal circle.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. • For example. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Cai. At this point. which is formed by pointing the little. to provide a closing and opposing force with the three fingers (Fig. 6.6. and adhere to him or her. the Shun hand changes to Diao Shou (Hooked Hand). Lie.16). Kao). by holding on to the opponent by the hand. Zhou.
陈 氏 太 极 拳 推 手 技 法
6.4.5 Shun Chan Yang Zhang Raised palm in conforming reeling
This can be divided into inward Yang (palm rising) and outward Yang (palm rising), which are always used in the four front oriented techniques (called ‘Si Zheng Shou’ in Chinese, i.e. Peng, Lü, Ji, An) and four side oriented techniques (called ‘Si Yu Shou’ in Chinese, i.e. Cai, Lie, Zhou, Kao). First, if the partner executes Lü on your right arm, you insert loosely in Ni reeling, and then advance and press inwards by Shun reeling, raising the hand while advancing. It is called Yi Yang Zhang (palm raised inward), because at this time the palm is facing inward and upward. Second, if you guide the partner and withdraw your step, the partner will likely expose some weak point after you raise your palm in Ni reeling. To lift the partner in this ‘openning’ provides preparation for your ‘closing’, i.e. to capture your partner in Shun reeling quickly. At this time your palm is facing upper outward, so it is called Wai Yang Zhang (palm raised outward) Internally, whether in outward Yang or inward Yang, you should coordinate whole body movements coherently. Yang is a kind of opening, so at this time the body should close, so as to support each other and not be separated. Practitioners must pay attention to these principles in practice.
王 西 安
6.5 TuishOu sTeps 6.5.1 Shang Bu … Forward Step
Shang Bu is a forward step with one foot, and begins with both a step forward and the bending of the knees so that the body is slightly crouched, five toes grasping the ground (Fig. 6.18). This preparatory posture resembles a cat ready to pounce on a rat, and allows you to step forward lightly and flexibly. Like a cat, you should prepare first by gathering energy, then extending the foot while listening and feeling intently. Step first with the heel then uncurling the rest of the foot flat on the ground. This procedure will limit your vulnerability.
6.5.2 Tui Bu … Retreating Step
The Tui step consists of moving one leg backward in an arc, and it can consist of more than one step (Fig. 6.19). Key to the Tui Bu is the bending of the weight-bearing knee. How much this knee bends and hence how much your body squats depends on the size of the Tui step. The bigger your retreating step, the lower you will have to bend your knee. However, it also depends on your body condition. Whatever the case, the Tui step has to be done flexibly and lightly and not with stiffness.
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 6.18 Fig. 6.19
陈 氏 太 极 拳 推 手 技 法
6.5.3 Gen Bu … Following Step
The Gen Bu can also be called the Dian (adding) Step (Fig. 6.20). This step is used in the situation where one normal step is too small to reach the target while two steps too excessive. In this instance, one is said to Gen (follow) or Dian (add) a small step after a normal step to reach the target distance. Gen is applied to the four front orientated techniques, Si Zheng Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua. The main purpose of Gen Bu is to get closer to the opponent to decrease their chances of escape. However, note that the Gen step is completed without the opponent’s awareness, a technique called Die Fa (a general concept of body combat techniques, referring to the comprehensive techniques and strategies to defeat the opponents, on the basis of quality ‘listening’ to their speed, weight and power in Tuishou). The importance the Gen step in Tuishou is reflected in the saying, “You cannot reach the depth and secrets of Tuishou without understanding Die Fa.”
王 西 安
solo pRaCTiCe in Tuishou
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
Solo Tuishou practice consists of individual practices useful for improving flexibility, agility and responsiveness to combat. Typically, body movements are initially executed at a high stance, gradually lowering to mid then lower stances. However, practitioners should practise according to their body condition. Likewise, beginners should start with practicing at slow speed, gradually working up to faster then very swift movements. At each stage, slow movements should not become blocked, fast movements not energy-losing, and very fast movements not chaotic. In other words, you should not lose energy in slow practice, nor be obstructed in fast movements. On the contrary, you should keep the consistency, coherence and Liu He (the Closing and Consistency of six parts of the body), and avoid any disorder and energy loss.When one part of body moves, all other parts follow and coordinate. In solo Tuishou, you should act as though following your partner neatly, and always keep attention concentrated, shoulder blades relaxed, and movements flexible. Execute solo practice as if you were actually fighting with a partner, with the fight so vivid that it brings you more interest in your practice. As a result, after thorough sole practice, the whole body moves flexibly, neatly and smoothly, and you are able to do well in actual paired Tuishou.
王 西 安
in preparation for the right leg step forward lightly.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. eyes looking forward (Fig. Maintain the vertical axis.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. stepping without thought) (Fig. Your step should be light. precise and full of intention of listening. 陈 氏 太 极 拳 推 手 技 法 7. 7. heel first with toes pointed up. As your weight shifts.2.3). 7. 7. 7. relax the crotch and lift the right knee. Relax the arms and hang them at the sides. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. then slowly roll down the rest of the foot to the ground. empty the Yong Quan point. Step the right foot forward.1). Continue relaxing the crotch. palms lightly touching the sides of the legs. 王 西 安 187 .1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. the left toes grasping the ground.2). Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig.e. so as to avoid empty stepping (i.2. straightening the neck and lifting the top of the head. Shift your weight slowly to the left leg.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly.7.2.
4). While the right arm moves. Complete the movement by raising the right fingers to form the Li (erect) palm.3 7. 王 西 安 188 Note: in later movements.2 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. right elbow and wrist. 7.2. thumb behind the fingers (Fig. . As the weight shifts.1 Fig. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. 7. 7. relax the left arm so that the left hand hangs down.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. 7. the left elbow and the right hand should move coherently in collaboration with each other.
7.4 Fig. 7. relax the left side of the crotch and shift your weight slowly to the left so that the inner side of the right foot touches the ground.5). The right knee follows the movement of the right hand and rotates inward at the same speed (Fig. As you reel.5 Part 5 • • 陈 氏 太 极 拳 推 手 技 法 • Focusing your right hand on the imaginary partner move it about 900 in Shun reeling to the left of the body.2. 7.Fig. 王 西 安 189 .5 7.
7.7). 7.6 Fig. 7. .7 7. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs. The other fingers reel outwards in coordination with the elbow (Fig. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig.6). 7.2. the elbow in a slightly warding off (Peng) position in coordination with the little finger. Step the right foot either flatly on the ground or with toe tips pointing up.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left.陈 氏 太 极 拳 推 手 技 法 Fig. At this point. When the right arm moves downward. right palm facing down and wrist bending 450 inward using the little finger as a guide. The right forearm now moves transversely in front of the abdomen. the weight shifts completely to the left. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps.
At this point. 7. Return the bent arm and the bow leg to their original positions (Fig. Use the rightward rotation of the waist and torso to steer and guide the partner’s power into your territory towards your right side so you can eliminate it. 7. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. Ni.2.7 Part 7 • • • • Using the little finger to guide the energy. bend the knees slightly to place the body in a squatting position.8).2. Rotate the waist to the right. The 3600 rotation of the arm follows this sequence of changes: Shun. changing into Ni reeling. power is most concentrated and exerted on the external side of the thumb and index finger.9). While the right arm reels. Ni. shift your weight to the right. Shun. until it reaches the front of the right ribs.7. three Shun reelings and two Ni reelings. a 900 arc to the right side of body. Shun. draw the chest slightly inward and relax the right side of the crotch. that is. 7. As the arm changes to Ni reeling. Then place the palm downward (Fig. followed by the hand. extend the right hand slightly forward.2. 王 西 安 191 . using it as a pivot to rotate the right shoulder rightward. pointing the right knee slightly outward and moving it in a helix. 7. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms.9 Part 9 • • Now using Ni reeling.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand.
practice on the left by switching to the left leg and the left hand. Practice until you reach a level where when one body part keeps still then all other body parts keep still.陈 氏 太 极 拳 推 手 技 法 Fig. The movement of every part of the body should be continuous and synchronised – when the upper body moves. When you feel tired practicing on the right. when one body part moves then all other body part follow. the reeling sequence being Ni. that is. all parts moving together collectively. the arms rotate with the waist and the axis while the hand guides the energy. Shun. 王 西 安 192 .8 Fig. Ni. The middle body moves in coordination with the upper and lower bodies.9 • The left arm rotates from the left. the upper body guides the lower body’s movement. Practice alternating rotations with both arms so that there is a feeling of balance. and ensure your body weight moves back and forth in synch with the body movements. Relax the waist and shoulders. Ni. the lower body follows. that is. 7. rotate the wrist. three Ni reelings and two Shun reelings. Notes In these horizontal-circle rotations. Shun. 7.
drawing an arc of about 90o to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . 7. It only requires vertial hand revolution and very small shifts in weight. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. switch to Ni reeling. Finally. The whole movement is mainly guided by the rotating waist and relaxed shoulders. 7. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet.11). then turn the body to the left and raise the right hand in Shun reeling. Focus the eyes on the right palm (Fig. drawing an arc of about 180o which goes downward and then up to the right. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. Next. palm slanting upward with intention to gently guide and draw in.7.10).3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. heel first with the right foot. with the rest of the foot gradually fully touching the ground. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. relax the left side of the crotch.12). Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. with eyes looking forward (Fig. • • • • • Keep your body weight on the left leg and step forward. Bend the left leg so that you squat slightly. 7. then switching to 90o Shun reeling. Next. lower your Qi.
return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling.12 • • When rotating in the opposite direction. then reel in Shun. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward. Notes The single-hand vertical circle is not completely vertical but slightly slanted at an angle to allow you to guide and draw the opponent in. Finally.11 Fig. 7. reel in Ni to the right at 90o. Practice rotating both arms in turn. 7.陈 氏 太 极 拳 推 手 技 法 Fig. 7.10 Fig. Vertical arm rotation is guided by spiraling movements of the waist and back. 王 西 安 194 .
14 Fig. otherwise the shape of the posture will be lost (Fig.14).4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. 7.13). Relax the left crotch and while focussing on the right crotch. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.16).15 195 . 7.7.13 Fig. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. 7. This body posture is now one of holding and collecting. pushing both palms forward (Tui Palm) at the same time. 7. palms facing to each other. 7. toes relaxed and pointing downward (Fig. the palms should move forward at an inclined angle (see picture). Bend the left knee to put the body in a crouching stance. shift your the weight gradually forward. 7. eyes facing the front (Fig. Also. then raise the right foot. the forward shift of the body should stop once the palms reach their natural end position.15). in preparation for action (Fig. Shift your weight gradually to the left leg. Raise the forearms 90o upward. Note: when applying Tui Palm. 7.
then pushing both hands forward. 7. 王 西 安 196 . Repeat the Tui Palm movement again.陈 氏 太 极 拳 推 手 技 法 Fig.17). 7. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig.16 Fig. then lowering to the front of the abdomen. palms vertical. Practice this cycle. 7. imagining the hands seizing the opponent’s wrists by Diao (Fig.15) by drawing a circle by the sides of the body. this time relaxing the right crotch and focussing on the left crotch. shift your weight backward and separate both hands to the sides of the body.17 • • • Next. 7.
7. stated as follows: Stand at attention with the body upright and relaxed. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Shift your weight gradually to the left leg. Grasp the ground lightly with the toes and face the eyes forward (Fig. While raising the hands. lower the waist and shoulders. 7. 7.18 Fig. draw the chest inward. toes relaxed and pointing downward (see Fig.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. 7. This body posture is now one of holding and collecting. Raise the forearms 90o upward.7. drop the elbows and sink the Qi downward. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. palms facing to each other. then raise the right foot. eyes facing the front. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. 7. in preparation for action (Fig.14).19 197 . Bend the left knee to put the body in a crouching stance.18).19).
At the same time. Extend both hands forward in an ‘offering’ stance. continue to draw your chest inward.20). During this process. cross both hands slowly in Shun reeling. push the crossed palms over the head in Ni reeling. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. . finish the weight shift to your right leg. after another small Ni reeling upward. 7. with the intention of supporting something upward. 7. both palms facing inward. extending the hands forward so that the left hand crosses over the inner side of the right wrist. 7.21 • • • • 王 西 安 198 • Next.20 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.21). Next. the palms descend to the sides. step the left foot on the ground and shift your weight forward (Fig. 7. Then. palms facing forward. As both hands separate upwards. stopping at shoulder level (Fig.
Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. upper arm. forearm. the chest. strike out in succession to the sides so that the arms become a pulled bow. so as to start a new cycle. while weight totally switches to the left. With body gathering. Closing form: palms continue to Shun reel. that is. then hands.Note: as both hands separate outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . only that palms in the latter move horizontally. Both hands then draw a downward arc to fall to each side of the abdomen. • • Now the left hand reels in Ni while the right hand reels in Shun. palms cross together. finger-tips pointing down. palms facing each other. shoulders. You will feel the power after long practice.
• Shift your weight to the left leg and lift the right foot to step forward. act as if sparring with a partner. • Stand at attention. extend the right hand diagonally forward to the right. Note that one should practice with intention rather than by force.23 200 . When practicing. palm facing in.22 Fig. thumb pointing down and the little finger pointing upward. palm facing forward. and An. Lü. eyes.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. with the foot gradually stepping fully on the ground. Open every body part to make your rotations natural and flexible. 7. then bend it inward 45o. body and steps. Coordinate the movements of your hands. Extend the left hand transversely and place it on the middle of the right upper arm. heel first. • As the weight shifts. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 7. Ji. 7. The key points are the same as those of solo Tuishou.
7. Meanwhile.25 201 .• • • • • The left arm intends to Peng outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Shift your weight to the left slightly then to right. As the left hand rises. shift your weight left and focus your eyes on the front of the right hand (Fig. raise both hands in Ni reeling. as the left hand moves inward in Ni reelings. 7. lower the right shoulder and drop the right elbow.22). focus your intention on meeting and holding the opponent’s hand. 7. visualize placing the outer edge of the right hand on the outside of the opponent’s elbow joint Then execute Lü with both hands slowly to the left side of the body until the right hand reaches the front of the right breast. and the eyes look forward to the right (Fig. At the same time. Relax the right crotch and turn the body to the right.24). 7. Move the right hand in Shun reeling. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. and so continue to Peng upward before executing Lü.24 Fig. During this process. 7. relax the left crotch. the wrist bent slightly inward and palm facing inward. Next. the arm opens like a circle. the left hand ahead of the right.23).
陈 氏 太 极 拳 推 手 技 法 • • • • • Relax the right crotch and shift your weight to the right as the upper body moves and turns right. Note: In this movement. At this point. Peng and An are transitional actions executed in 王 西 安 202 . 7. Repeat the process. shift your weight forward to the right leg. The right hand reels in Ni direction also with the intention to push outward (Fig. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig.25). As this happens.22). eyes looking forward. If the left leg is in the front. The edges of the hands become power-exerting points. the right hand executes Peng. alternating left and right sides. Execute An forward with both hands the palms facing each other about 33 cm apart. You will also need to use your left shoulder to push and use the right hand to help press forward. This is the same as the starting posture of Da Shou posture. 7. and the left hand helps the right to execute Lü. visualize your left hand pressing down on the hand of the opponent. pushing it outward. an instant.
Step the left foot on the ground with the inner side of the foot touching the ground. 7. Hand movements consist of four Zheng hands: Peng. moving forward is combined with Ji and An hand movements. Keep the eyes looking to the front right (Fig. outward.7 shun bu TuishOu (sOlO TuishOu wiTh a fOrward and backward sTep) Shun Bu Tuishou consists of two basic steps – one moving forward and one moving backward. As the weight moves forward. Lü. In practice. moving backward uses Peng and Lü hand movements. 7. 7. raise both hands to attack by pushing them to the front right of the body. Lower the waist. sink the shoulder downward and drop the elbows. These actions drive two the hands forward. Face the outer hand edges.26 Fig. where the pushing power is exerted.27 203 .26). draw the chest inward. Ji and An. • • • • Step forward with the right foot then shift your weight forward.7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
27). the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body.29). toes pointing down (Fig. .29 • • • • • 王 西 安 204 • • • After the pushing attack. Push the shoulder forward. tiptoe first. and in preparation for moving. Bend the left leg to squat further and extend the right foot forward. As this happens. Relax the left crotch after pushing and shift the weight to the left. 7. Raise the right hand in Shun reeling. 7. 7. Note that Qi should not be allowed to float upward. At the same time.28). As the arm moves. with the intention to close before opening. shift your weight to the left and lift the right foot. rotate the right hand slightly downward in Ni reeling. thumb pointing down and palm facing down. followed by the arm and the hand (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 7.28 Fig. At the same time. turning the right elbow out and upward. Eyes look to the front right (Fig. 7. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. withdraw the left hand gradually and place it on the middle of the right upper arm. The body moves forward following the shift in weight.
30 Fig.31). 7. Next. As the weight shifts. 7. Eyes look to the front left (Fig. The front push of the right hand provides an instant defense. Eyes look to the left (Fig. Then the right hand switches to Lü. Eyes look to the front left (Fig. While the right hand switches to Lü. raise the left hand in a spiral to form a Lü movement with the right hand.31 • • • • • • Relax the left crotch and shift your weight to the left.30). the upper and lower body form a balanced block of strength with the waist as the boundary. Both hands are about 33 cm apart (Fig.Fig. then draw a circle downward.33). raise the right hand quickly to push forward together with the left hand toward the left side of the body. then in Shun direction downward to the left. gradually squat the body. thumb pointing down and palm facing forward. Visualize sending the opponent’s right hand out to the left side of your body.which takes place in an instant. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. 7. 7. The outer edges of the hands are power-exerting points. Raise the right foot and take a step backwards to the right. Reel the left hand first in Ni direction. then shift your weight to the right. 7. 7. Next. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 .32).
the right arm then bends to 450 inward. until the left hand reaches the middle line of the body.35 206 . 7.33 • • • Both hands execute Lü from left to right following the body.34).32 Fig. 7. extend the right hand to the right front of the body following the right foot.34 Fig. 王 西 安 Fig. take a step forward with the right foot. As the weight shifts. 7.陈 氏 太 极 拳 推 手 技 法 Fig. Eyes look to the front left (Fig. 7. 7. Raise the body gradually and slowly shift your weight to the left leg. At the same time.
36 Fig.37 • • Simultaneously.Fig.38 Fig. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. Eyes look to the front right (Fig.39 207 . 7. thumb pointing down.36). place the left hand on the right upper arm.35). 7. 7. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. Then shift your weight slightly rightward. 7. Eyes look to the front right (Fig. Note that the waist power descends to the left first then the right.
王 西 安 208 .陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. Next. At the same time. As soon as both arms finish pressing forward. Relax the right crotch and shift your weight to the right. execute Lü downward with the left hand. 7. move the right hand in front of the left hand quickly. Eyes look to the front right (Fig. 7. 7. Start a new cycle (Fig. Eyes look to the right (Fig. then move it out to the right.39).37).38). then execute Lü movement with both hands to the left side of the body until the right hand moves in front of the right breast. visualizing that you are pushing the opponent’s hand outward to the right. raise the right hand quickly and exert An forward with power.
One is Da Pu Bu. It uses the combat techniques of the four hand techniques in corner directions – Cai. Bie Zou. a major weakness with which you cannot even hope to attack the opponent. then the fives methods of solo Tuishou practice. Bie. the only difference being that the extent of the steps in Da Lü is bigger.40 Fig. The other picture demonstrates the big Frontward Bow Step. Ji and An is the same to those in Shun Step (forward or backwards Step). the whole body will become stiff when you try to squat down in the big body movements. and Kao. Kao with large-scaled body movements. we will only refer to two main Da Lü postures as shown in the pictures which follow.7. 7. Lü Ji and An. In this chapter. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. beginners should first practise the routines. Lü. Zou. As such. Lie. literally meaning “big falling step”. Furthermore. whereby Player B executes Lü on Player A. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. It is not easy to practice Cai. and Kao. The circulating of steps in Da Lü when practicing Peng.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. If not. 7. The other movements are the same as the movements in Shun Step (forward or backward step). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Zhou.41 209 .
and also uses the Si Zheng Shou. Ji. you should pay attention to the following points.42 210 . This way you will not lose energy unnecessarily nor become stiff. 7.陈 氏 太 极 拳 推 手 技 法 7. and An. precise rotation. Luan Cai Hua is also built on the foundation of Peng. You need to rotate neatly when executing a step forward as the partner changes his or her direction.42. and flexible. 王 西 安 Fig. You should adjust your direction and position by applying small Gen steps so that you can stick to the partner tightly and prevent their escape. See how to execute Dian step in Figure 7. The body movement and gait should be neat and swift. It’s features include free movement with no fixed direction.9 sOlO luan cai hua TuishOu The gait in Luan Cai Hu is called San Bu (scattered steps) or Hua Jiao Bu (steps in flower tracks). Lü. In the Luan Cai Hua Tuishou practice.
Lü. the steps are small but the speed is fast. the only difference being in the stances of the body. An). When circulating the four Zheng hand techniques (Peng. heavy but not stiff. you feel the partner’s energy as you rotate. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step.In this technique. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. light but not empty and floating. getting close to their upper body while causing them to raise their lower body or slant it. Do not just practice at fast speeds or you will lose your energy or get stiff. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . looking for the attacking opportunity. and thus impede any progress in Tuishou. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. When you apply Luan Cai Hua in Tuishou sparring. Your movements should be quick but not chaotic. You should practice listening repeatedly. It is not easy to apply Die Fa. and entice the partner to advance and show his or her weak points. Ji.
陈 氏 太 极 拳 推 手 技 法 王 西 安 212 .
CHAPTER 8 paiR pRaCTiCe in Tuishou 陈 氏 太 极 拳 推 手 技 法 王 西 安 213 .
王 西 安 214 . Lastly. In addition. An introduction to Tuishou pair practices has been provided in the following pages. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. movements in pair practice should start simply before gaining in complexity. agile. development should follow the stages of San Shou to Zhan (coherence). Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. similarly. so you must strive to concentrate. the practice stance should start high. I hope that the reader will use this to practice diligently and master the key points.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. then pair Tuishou may be described as “acting as if there is no partner although you have one”. Pair Tuishou embodies the essence of Taiji Tuishou. If possible. Nian (sticking). Pair practice Tuishou improves combat skills. lowering to mid-height then low stance. Like solo practice. flexible and without weaknesses. whereby your actions should be precise. flexible and rapid. like a flowing river: smooth. gathering speed in the later stages. pair practice becomes beautiful to watch. moving as the partner moves. Faster progress may be made if your partner is proficient in Taiji. try to choose a partner of similar level for pair practice. pair practice should start slowly. If both partners have Taiji proficiency. Lian (connecting) and finally Sui (following).陈 氏 太 极 拳 推 手 技 法 8.
陈 氏 太 极 拳 推 手 技 法 Fig. toes pointing slightly outward to form a 八 shape. Their bodies are upright. 8.1 Posture 1 Both players stand at attention facing each other. gradually forming a front Bow Step.2. Player B refers to the female practitioner dressed in red.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. an arms length from each other so that their fists touch when arms are outstretched. These may be shortened to ‘A’ and ‘B’. The distance between both right feet should be about 10 cm. arms hanging relaxed by the sides. 8. 王 西 安 215 .8.1 Both players take a step forward with their right feet.
both players raise their right palm and extend it forward. Fig.2 8.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. The back of the palms touch each other.2. with the middle fingers at nose level. Both players watch their hands throughout this step. the left hand can also be placed naturally along side the body. Alternatively. The right hand extends forward with the left hand akimbo. using the middle line of the nose as the boundary. B’s weight continues to move forward to form a single-hand An (pushing) power. corresponding with the rotation of the waist. A’s weight shifts backward. eyes focussed on the right hands. and his body crouches slightly to form a closing power. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. 8. As both players draw this arc. .
3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. B shifts her weight gradually backward while her hand draws an arc following Player A. Repeat this cycle. At the same time.Fig.4 217 .2. 8.3 8. 8. then Ni reels 90o to the front of Player B’s abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then she guides A’s hand to the front of his abdomen.
Both players then rise. the only difference being that here the Da Shou (meet partner with hand) position is higher. then then draws a 90o arc to the left.3. 8.陈 氏 太 极 拳 推 手 技 法 8.3 single-hand verTical circle wan hua in pair pracTice 8. .2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand). both hands perpendicular to each other and eyes looking forward. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation. Player A guides Player B to move first in Shun reeling.5 8.3. Fig.
A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position.6 8.Fig. with eyes looking at the same direction. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. guiding Player B to Ni reel 900 to his right side. 8. Partner B relaxes the left crotch. when A draws an arc to the right side.3.3 Posture 3 Player A relaxes his right crotch and turns his body to the right. turning to the right (B’s left side).7 219 . During the above process. B always adheres to A. 8. For example.
4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8.4.陈 氏 太 极 拳 推 手 技 法 8. lower the shoulders and drop the elbows. heel first. having first shifted their weight onto the left leg. Now both players wait in a defensive mode. 王 西 安 Fig. with aim to form a front Bow Step. Both right feet start to uncurl to the ground. ready to move and attack if hands touch.8 220 . draw their chests inward and gather their ribs. Player A raises two hands in front of his chest. eyes looking forward. 8. they lower their waists. Both players step forward simultaneously with their right foot. Then Player B extends her hands forward. toes turned up (optional). placing them outside A’s hands. While waiting.1 Posture 1 Both players stand at attention facing each other.
4.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. In other words. A’s weight shift to the right foot has been fully completed. Here. 8. He stops pushing when his hands are 20 cm away from Player B’s chest. 陈 氏 太 极 拳 推 手 技 法 Fig.8.9 王 西 安 221 . As B’s weight moves backward. her hands reel in Shun. As Player A pushes his hands forward. B’s little fingers “stick” to A throughout the process. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks.
Then both players return to the original position. He shifts his weight backward. While A draws arcs.陈 氏 太 极 拳 推 手 技 法 8. Fig.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. B moves her weight forward to form a Bow Step.4. While Player A separates. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs.10 8. 8.4. B senses the speed of A’s pushing and separating power as her hands are tightly guided by his hands and separated by them to the sides.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. 王 西 安 222 . She relaxes her chest as her hands separate. then separates Player B’s hands to the sides of her body at shoulderlevel. using the outer edges of his palms.
8.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .Fig.
and separate hands to the sides of the body at shoulder level.5.5. with the inner sides of both feet facing each other and 10 cm apart. guiding Partner B to raise her hands.1 Posture 1 Player A and B stand facing each other. then step their right feet forward simultaneously. The positions of all hands are higher than the eyes. The two parties’ eyes always follow their movements. Now. Fig. 8. Both players extend and raise their hands in front of their bodies with Player B’s hands placed on the outer edges of Partner A’s hands. .陈 氏 太 极 拳 推 手 技 法 8.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward. B has been shifting her weight to the left.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. the weight for both parties starts to shift to the right. Now. A’s weight is all at the right foot. all eyes look forward. draw a vertical circle outward.12 王 西 安 224 8.
Player A draws outwards while Partner B draws inwards.5. Both players’ eyes face forward.Fig.14 225 . While Player B rotates her arms downward following Player A. while he shifts his weight backward. 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8. and draw arcs to the lower abdomen. his little fingers slightly catching Player B’s wrists. she shifts her weight forward to form a front Bow Step.13 8.3 Posture 3 Player A switches to Shun reeling.
the body squats to prepare for openning.陈 氏 太 极 拳 推 手 技 法 8.4 Posture 4 Player A continues Shun reeling. whether Player A separates B or vice versa. his hands crossing before the chest with both palms facing in. Repeat this cycle.5. Player B follows Player A closely and feels his change. 王 西 安 226 . Note: The steps are the same. and continues to move her weight forward. Both players face forward. Both players can practice this in turn. Then Player A returns to the original position by Ni reeling and separating his arms outward.
1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. the weight for both parties are both in the left. yet start to shift to the right. 8. eyes looking forward. backs of the hands touching. and then extend their right hands forward so they cross each other. 陈 氏 太 极 拳 推 手 技 法 Fig.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. Player A and B stand facing each other. then step their right feet forward simultaneously.8.6. Both players then shift a little more weight to the right. Now.15 王 西 安 227 . with the inner sides of both feet facing each other and 10 cm apart.
Her right hand presses Player A’s right hand slightly downward. While the right arm turns. During this process.6.6. both of B’s arms form an An (Pushing) power. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. Player A relaxes his left crotch and moves his weight slightly leftward. then extends forward to press against A’s left forearm.2 Posture 2 Player A shifts his weight forward. then turns his right hand left in Shun reeling following the turn of his body. he places his right hand on the middle of B’s left upper arm. . At the same time. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. he places his left hand on the middle of the right upper arm. 8. Player B places her left hand on the right upper arm of Player A as he moves.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. gradually switching from Peng (ward off ) to Lü leftward. In this way.16 8.陈 氏 太 极 拳 推 手 技 法 8. Fig.
Player A executes Lü on B’s hand and presses it downward.18 229 . Repeat this cycle. 8. thus returning to the original position. 8.4 Posture 4 Player B executes Ji (press) on Player A. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Then Player B wards off Player A’s left hand upward.17 8. Player B switches from An (push) to Peng (ward off ).6.Fig. shifting his weight forward to add more pressure. and executes Lü (roll back) again. Partner A withdraws his pressing hand and places it on his own right upper arm. In response. In response.
and places her left hand on the middle of A’s right upper arm. 王 西 安 Fig. so that both knees touch (A’s inner knee and B’s outer knee).7. A’s left hand then crosses with B’s left hand. 8. Player A steps his right foot forward to form a front Bow Step.陈 氏 太 极 拳 推 手 技 法 8. palm facing outward.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8.1 Posture 1 Both players stand at attention. Player B’s right hand crosses the outside of A’s right hand. then places his left hand on the middle of his right upper arm. bending it 450 inward. Both players look at each other from the side.19 230 . placing it on the outside of A’s right leg. Player B steps her right foot forward at the same time. Player A raises his right arm as his right leg moves.
As Player A’s body turns right. Both players look to the front and gather themselves to prepare for futher movements.7. 8.3 Posture 3 Player A relaxes his left crotch first. turns his body to the right. and switches both hands to double-hand Shun reeling to ward off outward gradually. Player B shifts her weight forward to double her pressing power.20 8. he lowers his left shoulder and left elbow. he places his right hand on the middle of B’s left upper arm. executing Lü (roll back) with his right hand. shifts his weight slightly to the right. At the same time.2 Posture 2 Player A then relaxes his right crotch. raises his left hand. and moves his weight leftward. Player B continues to move her weight forward when Player A applies Lü.7.8. then withdraws her right hand and puts it on the middle of her right upper arm to form a Ji (press) power to counter Partner A quickly. and then wards off Player B’s left hand upwards. 王 西 安 231 . Both players look to the front. Simultaneously. 陈 氏 太 极 拳 推 手 技 法 Fig. This switch from Peng to Lü happens in an instant.
Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. When Player A presses downward.22 232 . with the coordination of his right hand. then pushes her left hand rightward. 王 西 安 Fig.7. he presses Player B’s left hand downward to the front of her lower abdomen.陈 氏 太 极 拳 推 手 技 法 Fig. 8. 8. forming an An force. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. with the aim of getting her to fall to his right side.21 8. At the same time.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right.
23 8.5 Posture 5 Player B’s left foot steps on the ground. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages.8. 陈 氏 太 极 拳 推 手 技 法 Fig. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. tiptoe first. his right hand switches to Ni reeling to force Player B to step backward.7. her right crotch relaxes and she shifts her weight to the right. As Player B executes Lü. A’s upper and lower body move as one. Player A moves his weight first to the left and lifts his right foot quickly to step forward. At the same time. 8. then her foot gradually steps on the ground fully. At the same time.7.6 Posture 6 Player A shifts his weight back to the left leg after pushing. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. both her hands follow the body and turn right to execute Lü (roll back) on the right side of Player A’s right arm until her left hand reaches the mid-line of her body. In this move. 王 西 安 233 .
then pushes Player B’s right hand first down then left using the pressing power of his left hand. palm out. 8. turns his body slightly left and shifts his weight slightly leftward. and steps within A’s left leg so that their two knees connect. Player A places his left hand on B’s right upper arm. Player B relaxes her left crotch. Simultaneously. Both players look diagonally to the front. .24 8. B steps forward in synch with A’s guiding hand. to form Ji (press) power with her right arm. then takes a step forward with her right foot. Both players look to the side at each other. In response. shifting her weight gradually rightward.7.陈 氏 太 极 拳 推 手 技 法 At the same time. shifts her weight leftward. B also places her left hand on the middle of her right upper arm. so as to form Peng and Lü with both of his hands. Fig. While this happens.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. Player B wards off slowly outwards with both hands in Shun reeling.
Player B lowers her left shoulder and left elbow. 8. then switches her left hand instantly from Peng to Lü.Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. B also places her right hand on the middle of A’s right upper arm. 8.26 235 . At the same time.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. Simultaneously.25 8. then raises her left hand in an upward Peng on A’s left hand.7.
His right hand then comes into contact with B’s right hand. then to her left. 王 西 安 Fig.7. Then with her left hand. she presses forward on the middle of A’s right lower arm.27 236 . 8. A responds first by flowing downward. In this instance. then quickly forms a pushing power towards B. As Player B pushes A’s left hand downward.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. then withdraws his right hand to place it on the middle of his left upper arm. then raising his left hand upward onto B’s right upper arm to warding off (Peng). she presses Player A’s left hand first down to the front of his lower abdomen. At the same time. 8. Both B’s hands work together to form an upward pressure pose. Both players look to the sides. both A’s arms form an outward Peng power.陈 氏 太 极 拳 推 手 技 法 As this happens. Player A continues to shift his weight forward. Both players look diagonally to the front.
relaxes his left crotch.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. In response to A’s Lü. following A’s Lü power. Player A steps his left foot on the ground.8.10 Posture 10 Both players keep moving and rotating.7. leading to increased exposure to attacks. 8. 王 西 安 237 . Player B shifts her weight first to the left. He moves in Lü until his left hand reaches the mid-line of his body. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. 陈 氏 太 极 拳 推 手 技 法 Fig. taking care not to go beyond their territory as this would mean that the transferring and changing of movements would not be as quick and flexible. Both players should defend and stick to defend their own territory. shifts his weight to the right and rotates both hands to the right following the body to execute Lü on the right side of Player B’s right arm.
Player A places his left hand on the middle of his right upper arm. At the same time. her right hand changes to Ni reeling to force Player A to step back.28.25. The rotating methods are the same as those on Figures 8. Finally. 王 西 安 238 . A relaxes his left crotch. both players return to their original positions. and are ready to start a new cycle. Lü. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. B places her left hand on the middle of A’s right upper arm.7. Player B shifts her weight backward to her left leg. and 8. Simultaneously.陈 氏 太 极 拳 推 手 技 法 8. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. As B shifts her weight backward. as well as an accomplishment of one cycle of Peng. At the same time. Ji and An.27. her two hands forming a Lü posture. foot gradually steps fully on the ground. tiptoe first. shifts his weight leftward. palm out. You may have found that. to form a Ji power with his right arm. for both of the two players.11 Posture 11 After pushing forward. Both their knees connect. 8. one full cycle consists of one step forward and one step backward. 8.26. Both playesr look diagonally to the front.
The practice of Da Lü movements is very important in learning how to apply low body movements in combat without impacting on other combat movements or losing agility and flexibility. 8.8 pair pracTice in da lü TuishOu (large scale lü TuishOu) Da Lü Tuishou pair practice is the fourth technique of of Chen-style Taiji Tuishou. Bie.8.29 王 西 安 239 . which is Cai. 陈 氏 太 极 拳 推 手 技 法 Fig. which is aimed at reinforcing your lower body stance and leg power in this technique. you should combine Si Zheng Shou practice with Si Yu Shou. In this low body movement. and is based on Shun Bu Tuishou. This technique consists of larger scale body movement. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. Zhou and Kao.
Bi Ya (push and press) and so on. From this position. can you win consistently. left and right. If you choose not to attack under some circumstances. try to feel the Gongfu level gap between you and your opponent by listening. 王 西 安 240 . This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. depending on the circumstances. up and down. During combat. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. or power direction. Only this way. Gun Shuan is an extension of Da Sao. the opponent cannot discern your target.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. nor the location of your body weight. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). so as to transform the opponent’s power. With this method.陈 氏 太 极 拳 推 手 技 法 8. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). use your elbow or Kao (shoulder strike) to attack when you find a weak point. In Da Sao. push and press against the opponent to force them into a defensive mode. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). Gun Shuan (roll and seize). reel them in Shun and Ni directions. Instead of sweeping the arms horizontally. Sao means to sweep or clear away.
Fig.32 Fig. Actually.30 陈 氏 太 极 拳 推 手 技 法 Fig. This is an example of the Die Fa. Apply Ti (lift) and Long (holding close) unpredictably and precisely. These are the main methods and purpose of Luan Cai Hua pair practice. coordinated with Shang Long Xia Ti. if the opponent retreats one step. Your footwork should be based on the speed. agile and swift. For example.Your footwork should be coordinated with your handwork. direction and angle of changes. 8. there are no restrictions in the application during practical body combat. 8. Your Dian Bu should be light. Combine the power of both your hands so that they become one indivisible power. which you think harmful to your opponent. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). 8. flexible. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. you can advance two or three steps to gain a territorial advantage.31 王 西 安 241 .
Other books by INBI World: OLEG TCHERNE philosophy of Taiji The philosophy of Taiji was developed in China at the height of the Daoist era between 700 bc to 200 ad. our world and the human body through the interactions. much of the theory in this book is based on the guidelines written by Yang Chengfu. through Taiji forms and postures. Earth or Human realms. At its foundation. we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. opposing and complementary. the philosophy of Taiji attempts to explain the workings of the universe. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. Yang. While the Taiji form has undergone many changes through the ages. According to this philosophy. that is. For this reason. culminating in the modern-day Chen. of two fundamental forces: Yin and Yang. one of the pre-eminent representatives of Yang Taiji family. . Sun and Wu Styles. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. Taiji Philosophy is most easily expressed and understood through the use of body language.
inbiworld. www. including his meticulous inscriptions for over 400 illustrations.com .CHEN XIN The illustrated Canon of Chen Family Taijiquan “The Illustrated Canon of Chen Family Taijiquan” is universally acknowledged by the Taoist community and Taiji practitioners as the seminal sourcebook of Taiji philosophy and techniques. A work of intense scholarship which took over fourteen years to complete. and a referential resource for Taiji instructors and practitioners for generations to follow. this tome was intended by its author to be both the first ever written repository of Taiji lore. The English translation of this canon marks the first ever attempt to translate into English Chen Xin’s highly esoteric and detailed technical explanations of Chen-style Taijiquan techniques.
Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. Q. www. How is the project being funded? A. China. How do I purchase calligraphy or make a contribution A.chenxiaowang. Who was Chen Changxing? A. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village.Chen Village Restoration Project • Q. All people who buy calligraphy or make a direct contribution will have their name and the amount carved into a stone tablet to be displayed in Chen village. Q. founder of the Yang style. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. Henan Province. Q. What is the Chen Changxing - Chen Village Restoration Project? A.com . Wenxian.
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