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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 .
is to be published. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. 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. In the spirit of Taiji’s original meaning. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . the Japanese are coming to love Taijiquan and the great charm of Chinese culture. More than ever. One of the finished manuscripts resulted in this book. Indeed. indubitably a result of the efforts of Taiji followers in both countries. as an expression of the profound spirit inherent in all human beings. belongs not only to China but to the rest of the world. we believe that Taiji. Tokyo. ‘to exist everywhere. an impressive feat of concentration and energy considering Master Wang’s teaching workload. to consist of everything’. newly written by Master Wang Xian. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. Atsuko Noguchi January 1998. I look forward to Master Wang’s future works with great enthusiasm.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
..105 9..................................63 5..........................38 2............................................................................................................................................ The Origin of Taijiquan Tuishou .................................................................................................................55 4.............................. 4....................................................................25 6....... Feet Practice ....................35 Chapter Three: Single Form Practice 1............... Leg Practice ................................................................... Dongjin – Realization of Energy .....................................................................................18 3..............10 5.......................................29 8.4 The Core of Tuishou ................................... Introduction .......................................................................Table of Contents Chapter One: Introduction 1.....................16 2................. Opening and Closing ................................. Na (Seizing) Techniques ...............................................................................................................................23 5.......................... 2............................40 3............................................. Listening to Energy ........ Tuishou: the Only Criterion to Judge the Gongfu of Taiji.............. Palm Practice .....................................................................................................................................................................................34 10.................................... Ti (Raising) Energy ...............................97 8..................72 6...............117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix ....................................................................... Reeling Silk .................................................... Zhan Nian Techniques. Lian Sui Energies .................................................................... Misleading and Transforming Techniques ... Fist Practice .................. The Relationship Between Three Stages of Taijiquan Practice and Tuishou .13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1....... Jietuo (Escape) Practices.... Energy Explosion ............................. 3.............84 7...21 4..........26 7..................................... Kao (Push) Practices................................................................................................................................................................ Na (Seizing) Practices .......31 9...................3 Tuishou Practice – Going Inward........................... Step by Step ............ Elbow Practice .............................
..... Chan Si Zhuang (Reeling Silk Posture) . Introduction ............................................................142 5............................................................... Classifications of Tuishou ..171 3.................................218 4.......... Solo Luan Cai Hua Tuishou .....203 8....................................................197 6....................................220 5....................................................................................193 4.......................................................................... Shun Bu Tuishou .. 138 4.................210 Chapter Eight: Pair Practice in Tuisho 1................214 2................................................................. San Ti Shi (Three Postures)................................ Solo Double-hand Wan Hua in a Vertical Circle .......175 4........... Tuishou Handwork Techniques ....149 7.....................................................227 7.....240 王 西 安 x ................................... Hand Techniques in Tuishou Reeling............................................. Solo Ping Yuanwan Hua ...................................................................... 215 3.......195 5............................................ Solo Danren Da Lü Tuishou ........................................................................... Introduction ...186 2..................... Shuang Shou Ping Yuanwan Hua ....................224 6..................................... Solo Wan Hua .....209 9.................... Wu Ji Zhuang (Wu Ji Posture)....................... Single-hand Horizontal Wan Hua in Pair Practice ... Kai He Zhuang (Opening and Closing Zhuang) .................... Tuishou Footwork Techniques...... Introduction ...........200 7....................................................... 183 Chapter Seven: Solo Practice in Tuishou 1.239 9..........................132 2.......................... Single-hand Vertical Circle Wan Hua in Pair Practice .........................................146 6........................................................... Hunyuan Zhuang (Circle Posture) . Pair Practice in Da Lü Tuishou ....................................................................................... Solo Double-hand Flat Circle Wan Hua . Shuang Shou Li Yuan Wan Hua...................................................... Solo Tuishou With Static Footwork ..........................................187 3.......................................... Pair Practice in Shun Bu Tuishou.............................230 8.............................................................. Pair Practice in Luan Cai Hua Tuishou......陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1................................................................................154 Chapter Five: Practice for the Buttocks and Crotch ..................................................... 157 Chapter Six: Chen Style Taiji Tuishou Categories 1.................................................. Tuishou Steps .......... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ................ He Bu-Tuishou .............................. 133 3........................................................168 2............179 5.....
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. Taiji Tuishou practice is not restricted by a practitioner’s age. throwing and striking. As a combat techniqiue. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. he drew on the theories of the Yijing (I Ching. With the accelerated pace of modern life. it helps build health and defence as well as to develop a sensitivity to movement. Tuishou. is a practical combat technique based on grabbing. as well as the principles of Yin and Yang. Henan Province. As it is not stressful to the body. and he was recognized as the creator of Chen Family boxing. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. reducing illness and prolonging a healthy life. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. in the period between the Ming and Qing Dynasty. (also known as Zouting) was a famous martial arts master. Chen Wangting. transforming. Its creator. it helps maintain fitness. China. ‘The Family Tree of Chen’.1. and will continue to do so in years to come. agility and flexibility. Wenxian County. Chen Wangting. the ‘Book of Changes’). originally known as Jieshou or Dashou. was the creator of Taijiquan and 9th generation head of the Chen Family. In doing so. location or access to equipment. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . According to the book. catching.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. sword and stick routines. gender.
Relaxation is fundamental. and what it consists of.陈 氏 太 极 拳 推 手 技 法 1. transformation is the basis. to the realization of Jin. and do not disconnect or oppose your partner’s energy. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. pacing your learning step-bystep. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. followed by the double hand horizontal and vertical practice. and striking. so much that you will be able to apply combat techniques. listen to each other’s energy flow. you will be able to release explosive energy to both small and large targets. catching. from the realization of Jin. to the Deity’. Become familiar with the single hand horizontal and vertical practice. You will not realize inner transformation. Initially. with greater efficacy and subtlety. that is. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. be relaxed. With sustained practice over a period of time.2 TuishOu pracTice – gOing inward. sTep-by-sTep To practice Tuishou. or appreciate the interplay of the slow/quick. principles. hard/ soft. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. enabling you to throw opponents meters away without hurting them. Literally. Follow the circling movements with the whole body. Tuishou translates as ‘push hands’. Less well known is Tuishou’s other application as a technique for internal transformation. 王 西 安 4 . ‘From the familiarity of forms. throwing. nor will you be able to intuit your opponent’s energetic intention. you must know its significance. intuitive and subconscious. As you reach the level of adept. Tuishou practice should be soft and modest. an athletic activity based on mutual pushing. such as grasping. A Taijiquan proverb pertains also to Tuishou.
you will ultimately enhance your health and combat techniques. combining your heart. Practice makes perfect. be calm and concentrated in your demeanour. Skill arises from consistent and accumulated practice. In solo practice. mind and spirit with determination. force and speed in your actions.Remember that ‘inner listening’ is the one essential skill required to improve your technique. your intention and commitment must be deeply held. but never practice just in order to practice. imagine a partner practicing or competing with you. As long as you practice persistently and make progress. To cultivate ‘inner listening’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 .
your partner’s weight. Nian. Sui (stick. it will enable you to feel. continue. and so on. 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. Kuai (quick) and Man (slow). with the lightest of touches. opening or closing. attacks or retreats. upward or downward movements.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. which are also the essential elements of Taiji. gathering or exploding. When you can control these energies within yourself. actions to the left or right. you will develop the capacity to subconsciously anticipate quick or slow changes. At a more advanced stage. distance and direction of energy. Lian. Movements alternate freely between Gang (hard) and Rou (soft). adhere.陈 氏 太 极 拳 推 手 技 法 1. You will learn to follow your partner’s intention and forget your own. Qing (light) and Zhong (heavy). follow) and Chansi Jin (Reeling Silk). while its theoretical basis builds on the philosophies of Yin and Yang. speed. Tuishou practice is based on thirteen ‘forms’ or energies. .
‘follow slow attacks unhurriedly’. 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’. Like a balloon whose air has been exhausted. expansion. 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’. move before they do’ etc. When releasing explosive energy. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. don’t move’. it is the force of friction that enables you to hold and seize their arms etc. stretching. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). 王 西 安 7 . or other deformation. concentrate on one direction at a time. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. ‘if the opponent does not move. be calm and relaxed To release bursts of energy effectively. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. this energy refills automatically to its original ‘full’ state. ‘if the opponent moves slightly.
I always follow their intention. also states: “No one knows when I gather or stretch. the 14th generation master. whether they strike or twist. no matter how hard they press. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’.” This technique.” Chen Changxing. I can conquer a force of a thousand jin with a tiny force of four Liang. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. results in the shaking off of the opponent’s upper body and lifting of their lower body. 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). none of your opponents can defeat you. whether ascending or descending. when you move forward in your turn to press. utilizing the techniques of Kao.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. I follow my partner. I perform strictly to the principles so as to make me unassailable. Even if attacked by a monster. The canon of Taiji teachings is rich with such sayings. and is worth remembering. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. push or strike your opponent you do so without alerting them in order to capture their energy. 王 西 安 8 . Using this. Similarly. push or strike.
the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. Only one with five Yin and five Yang is called adept. requiring us to further our exploration and improve our practice of it. 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. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. Here. As a science. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 .Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. In order to inherit and develop this Chinese cultural heritage. One with four Yin and six Yang is among the group of the adepts.
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. still regarded hard’ turns into ‘fouryin six-yang. ‘Chen Style Taiji Laojia’ (Old Routine). one comes into the group of the adepts’. with fuller details available in Chapter Two of my book. 2. is San Shou’. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. Dong Jin (realizing the inner energy) Qi drives outer form. The three stages of Taijiquan are: 1. 3. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. .陈 氏 太 极 拳 推 手 技 法 1. as stiff as a stick’ evolves to ‘two-yin eight-yang. Correspondingly. 2. Zhong Quan (medium circle) At this stage. Zhao Shu (familiarity with the forms) Outer form drives Qi. ‘three-yin seven-yang. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity.
and does not mean total stillness. Note that ‘no circle’ denotes a state of subtlety and skilfulness. Following a correct program of practice as outlined above. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi).3. possess abundant internal energy. By this stage. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . that is. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). the complete fusion of external form and internal spirit. in addition to a diligent assimilation of knowledge. At the second stage of Dong Jin (realization of energy). Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. all parts of the body become as highly sensitized as finger tips so that when competing. one is regarded as a Deity’. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). and be able to achieve constant internal changes between Xu and Shi (void and solid). students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. at the first stage. along with the Tuishou practice of Da Quan (big circle). enjoy a feeling of lightness. At the third stage of Shenming (deity). random alternations between states of energy gathering and releasing within a relaxed and elastic body. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). as well as the combination of the respective techniques applied in the big. an adept may say. That is to say. along with the Tuishou practice of Zhong Quan (medium circle). medium and small circles. We must pay attention to different methods during different stages of practice. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. that is.
” 王 西 安 12 . as our ancestors tell us. This is not unattainable.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. “Taiji practice is like rowing in the river. if you don’t make efforts to go forward. you surely go backwards. Also known as ‘Five-Yin Five-Yang’. even though I don’t know how I do it’. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void).
hence it is essentially a competitive activity. Nevertheless. four Liang defeats thousands of Jin’. These reflexes are faster than thought and only come with constant practice. Ding meaning ‘stiff resistance’). Tuishou actually requires a strong sense of balance and an ability to combine energy and force. meaning ‘loss of energy’. Remember too where your weight is placed to maintain control of your centre of gravity. It simply requires practitioners to have sufficient physical force for competition. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. tough energy. Without the latter. 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. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. Skilled practitioners rely on a highly developed sense of touch. When forces are equally matched during competition. ‘Weak side strikes strong side. This is called.1. In other words. It is this dynamic that we need to explore during practice. softness can break through hard. no techniques can be executed. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack.e. Tuishou develops one’s sensitivity to others. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. 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. Hence. ‘thousands of Jin’ (i. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. 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. the stronger force) also can defeat the weaker force. However. nor is it just a matter of pitting one’s physical force against others. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 .5 TuishOu. While appearing deceptively easy. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured.
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 .
1 lisTening TO energy In the context of Taiji and Tuishou. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). but also with the eyes. At this stage. allowing both body and mind to enter into the level of deity and transformation.’ 王 西 安 16 . one’s force is injected into the marrow. no matter if the changes are in the opponent’s rotation.陈 氏 太 极 拳 推 手 技 法 2. ‘Without being known. One’s skin is the key weapon. sensing through the skin enables reaction in any manner within the rules. squeeze and press. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. a practioner’s body can react instantly with great accuracy and flexibility. Listening can be divided into three areas: listening with the bones. 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. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. and a highly-tuned awareness of sensations in the heart and nerves as well. Similarly. filled with abundant internal Qi. with the skin and with the fine hairs on the body surface. her changes in rotation. when an opponent touches one’s fine body hairs. her body light and flexible. I know others and sweep all enemies aside. and taking Zhan Nian Lian Sui (stick. What is listening with the skin? It means following the command of the heart and mind. adhere. Hence the saying. feel your partner’s movements. the skin. follow) as fundamentals. alluding not only to listening with the ears. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. On receiving these signals. The entire body surface of a high level practioner is highly sensitive. a rise or fall in height or changes in weight. position and magnitude. continue. the act of ‘listening’ has profound resonances. With your skin.
Nervously. How good it would be to attain this level. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. slow.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. Your reactions will become slow. very few achieve the ability to listen with the skin. blood and breath. ‘descending Qi and steady steps’. You will look without seeing. which is essential for constant adjustments to frequently changing circumstances. rising to the upper body. leading only to failure. calm. let alone the attainment of energy for combat. ‘clear manifestation of emptiness and solidness’. that is why it destroys the strongest of enemies”. opening and closing (快、慢、沉、稳、虚、实、 开、合). Failure to do so will cause one’s energy to remain stuck in the chest. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. making all one’s muscles stiff. Just as a deaf person is unable to comprehend a conversation as he cannot hear. descending. until it is too late to repel danger. 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. As Sunzi Bingfa says. Listening is essential to Tuishou. you fight back. “The most super-human strategy is formless and soundless. so a practioner cannot generate energy for sparring if he or she is unable to listen. In all this. special attention should be paid to ‘the intervals of fastness and slowness’. listen without hearing. your judgement confused. where every knot of one’s body opens and stretches without crude force. emptiness. defending and attacking blindly. While the majority of practitioners are able to listen with the bones. Only through accumulated practice can one’s sensations detect the smallest changes. your listening untrue. listening would be impossible. solidity. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . Without this preparation.
Ying (stiff ). Zhuan (cheat). 化hua – change. Ji (hit). await them. Qi (insult). Be warned that mistakes will occur on this learning path. Shan (dodge or flash). Tui (push). Ba (pull out). speed. 王 西 安 18 . length. direction. Ya (push down). hardness and softness. An (press). Hua.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Lou (hold). Shi (tight). new challenges such as ‘being too fond of competing’. Cuo (rub). magnitude and hitting point. that is. Peng. transform. vertical axis and flexibility. you cannot note any of the above changes in the oponent. You may find yourself being too stiff (Jiang). Ke (knock). Pai (squeeze out). the ability to circle and the principles of Zhan Nian Lian Sui. 拿na – capture. Teng (jump). Bo (move with hand). We call such shortcomings. Zhe (hide). you cannot realize it. Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Meng (sudden). Zhi (straight). It is the ability to note present or potential changes in emptiness and solidity. Duo (escape). Even for those who achieve this skill. Gou (hook). straightness and curvature. your energy too resistant (Ding) or being lost unnecessarily (Diu). Hun (mix up). 发fa – explode) at the appropriate opportunity. Failure to overcome these shortcomings would be to fail to realize energy. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. “faulty palms” or “faulty body”. Ting (stick out). Li (leave). Jia (stiff ). Fa (引yin – lead.陈 氏 太 极 拳 推 手 技 法 2. Ling (pressing). Dang (block off ). Gua (hang on). Ba (seize by force). Zhan (chop). Realizing energy is based on listening. Qin (intrude). While beginners may find this difficult to achieve. your posture too straight (Zhi). this skill may eventually be attained with diligent practice and a good teacher. Na. Without ‘hearing’ the energy of one’s partner. Di (resist) and Gun (roll).
grasping. Sanda can simply be taken as a higher evolution of Tuishou. Ji. In effect. Cai. Tuishou is the combat application of Zhan Nian Lian Sui. but also in the combat arts and and Sanda (free sparring). As Chen Changxing. 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. hence its continuing ties with Tuishou and.The practice for ‘realizing energy’ also tests one’s position. changing one’s centre of gravity and flexibility) in synchronous movements. ‘The Taijiquan Formula’: No one knows when I gather or stretch. In fact. falling. Lie. utilizing the techniques of Kao in spiralling. angle. 14th generation Taiji master from the Chen family. the Tuishou practitioner must aim to apply these techniques (seizing. Whilst acknowledged as a combat technique in its own right. When attacking. dodging. Zhou and Kao). Whilst all Chinese martial arts possess unique characteristics. these eight techniques form the method for Tuishou. and shares many common principles with Sanda (free sparring). and also in one’s facilitiy with the eight energies or techniques (Peng. is misleading and does not take into account its fundamental role across the Chinese martial arts. relaxation and health practice for the old and infirm. says in a verse from his book. Lü. with Taijiquan. striking. the poplular stereotype of Taijiquan as a non-combat. I always keep remembering to follow their intention. no matter if they use the technique of Kao or twist. twisting. which is used not only in Tuishou. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . Hence. transforming. jumping. form and quality of Tuishou. they share the common practice of ‘realizing energy’. Concordant with the adage that ‘external forms are the method and the pathway’. look around and maintain an upright axis during Tuishou practice. rather than use them as disparate forces to enhance one’s attacking prowess. An. ultimately. I follow my partner. Sanda complies with basic Tuishou principles. developed from further transformations of Tuishou routines. Ultimately.
Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. press and hold back. push or press. we can clearly see that in all movements. ward off. Chen Xin once said. The author stressed the importance of ‘follow’. The attacks from me by twisting. to the realization of energy. Everyone knows how to hook. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. ‘listening and realizing energy’. “From the familiarity of forms. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. Again. Indeed. adaptable to both Tuishou and Sanshou. to act naturally and follow one’s intention. and horizontal Cai are also irresistible. leading to a wider understanding of the profound benefits and applications of Taijiquan. Hence. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. strike. In addition to applying Master Chen Changxing’s advice.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. As mentioned. The third. 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. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . With the development of modern weapons. Li. to forget about one’s own intentions and follow the opponent’s. step by step. that is. the Chinese martial arts have evolved into health and fitness promoting practices. this verse confirms Taijiquan as a profoundly practical Martial Art. until I come to the level of Deity”. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. that is. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. fourth and fifth sentences refer to the application of Taiji Sanshou.
Conversely. this results in a deeper and more precise understanding of energy. “Form practice is the essence of Zhan Nian training. 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. magnitude. A practitioner. and its natural and intuitive use. Nian means to chase and follow one’s opponent. while Tuishou exposes the quality of Zhan Nian techniques. extent. so that he finds it hard to escape. the first being ‘familiarity with form’ and the last being ‘realizing deity’. Through reeling-silk practice.3 zhan nian Techniques Zhan & Nian are forces directed forward.effectively. Zhan Nian energies work as a pair. It is commonly used in attacking strategies. This is why it is said. Ultimately. on reaching the final stage of ‘deity’. and come to realize the laws of movement and force. 2. direction and the position of a partner’s energy flow. At this point. to one’s opponent. Tuishou practice cultivates the capacity to know others. like glue. capturing and transforming his energy and using it to attack at the first opportunity. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. in this way maintaining the upper hand at all times. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . with which one’s opponent will find difficult to escape. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. the adhesive force that allows a practitioner to become strongly attached. This ability comes through great patients and a life-long perseverance of effort through the three stages.” Zhan literally means ‘stickiness’. that is. Zhan Nian techniques develop one’s capacity for high precision. will be able to instantly sense the delicate changes in the movement. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development.
flow up the arms to the shoulders and back. but certainly achievable for diligent practitioners with good teachers. ‘Fast reactions to fast attacks. Not an easy task for ordinary practitioners. especially those who. despite prolonged practice. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. ‘I move before them on feeling their slightest motion’. ‘I win by striking after the enemy has struck (My fist starts late. inflexible muscles and joints. and so on. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. 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. continuous and diligent practice. 王 西 安 22 . Simultaneously. slow reactions to slow attacks’. When Zhan Nian techniques are applied. an internal energy manifesting externally. Once the whole body is enveloped. one can never accomplish quality ‘chasing’ (Nian). It is Zhan energy that envelops the body. but even many long-term practitioners find total understanding or realization elusive. the practitioner can exert Zhan Nian forces towards the opponent. Zhan Nian energies can be detected by sensations that start at the palms. This is why it is said that at this relatively high level.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). victory or defeat is decided in an instant. as reflected in their stiff bodies and tense. Ultimately. beginners find Zhan Nian energy difficult to comprehend let alone detect. have failed to attain high proficiency in the art. yet arrives at the hitting point earlier than the opponent)’. ‘I don’t move if they don’t move’. and then through the entire body. as indicated by these teachings: ‘Follow my partner’s intention. Understandably. and forget my own’. these techniques will lead the opponent into faulty moves. During Tuishou.
fast reactions to fast attacks. another rises’. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. taking any opportunity to attack. non-pressing. the opponent cannot escape because if one follows closely using Zhan Nian. Lian has a rich amalgam of meanings. no resistance). and no chance to escape. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . one observes and reacts to the opponent’s Zhan Nian techniques. emerges from the application of Lian. ‘Bu Diu Bu Ding’ (no loss of energy. Used in concert with Zhan Nian energies. so that ‘as one falls. there can be no Lian. continuity. can we execute Yin Jin Luo Kong efficiently. adhesiveness. In so doing. including consistency. Unless one follow’s the opponent with Lian (co-relation). Once palms come in contact. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian.2. non-forcing. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. how can Sui be achieved? Sui technique means to react. ‘to react while following’. slow reactions to slow attacks. Lian is dependent on one’s use of Zhan. moving effortlessly between quick/slow and forward/ backward movements. follow and move in the same direction as one’s opponent. that is.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. It can be summarized as ‘co-relating to the opponent’. and can only exist in the presence of the latter. Sui. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. Without Zhan’s adhesive force over the partner preventing escape.
on the other hand. whether through form practice or Tuishou”.陈 氏 太 极 拳 推 手 技 法 As a teaching goes.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. upper and lower coordinate any motion in the middle. As the teaching says. successfully use Lian and Sui to attack and prevent escape. Beginners may attain the preliminary stage of Lian Sui. following their energy flow without interruption. “The lower body automatically follows any motions of the upper body. the basic ability to follow the opponent’s movements. It is vital that beginners are able to feel the movement of internal energy inside their bodies. 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. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. without any break in flexibility or continuity. therefore it is advisable to practice the combined application of both. Lian and Sui can never function without the other. 王 西 安 24 . so that they can ascertain if their energy levels match the purpose and intention of their actions. Adepts. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner.
we should apply She Ji Cong Ren without being detected. Using these complementary techniques. elbows. turning left or right. the adept draws the opponent into his or her domain. one should avoid Diu and Ding (losing energy and resistance). then gradually upwards. legs and so on”. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). and in this way mislead and neutralize your opponent’s energy. knees. neutralizing any opportunity for attack. As Chen Xin explains. or feet to upset their centre of gravity. Use these principles whether you are going backward or forward. Yin is the ability to draw the opponent’s energy into one’s control. Hua is the transformative force. For instance. I apply Shun reeling downwards. using Lian Sui to follow their energy flow. hips. if my partner presses my right arm with their palms. While moving. I lower my body then stretch my right foot toward his or her crotch. A particularly effective combination is Luo Kong. palms. Note that while applying Yin and Hua forces. going up or down. When applying Yin. reeling my back inward before suddenly striking outward. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). we then use our shoulders. using our arms. and cannot exist without Yin first being applied. so as to mislead my partner’s energy and upset their centre of gravity.2. Once neutralized. hands.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. Literally meaning ‘to draw’ or ‘to lead’. hence ‘misleading’ and transforming the opponent’s energy. When we feel the changes in our opponent’s energy flow. 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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 .
shock. he or she can easily capture his opponent through the combined use of all . one must cultivate the forces of Yin. In this way. Opponents will feel as if their tendons and bones are about to break. That is to say. the more one stretches the bow. 2. As Chen Xin suggests. they are conquered. my Taiji harmony within emerges so that even ghosts fail to predict my next move. look one way and go another”. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. i. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. It is important to remember that one must gather energy well before misleading one’s opponent. rotate an opponent’s joint towards its unnatural direction. meaning the direction which hurts the natural structure of joint. the further one’s arrow flies. wrists or hands to inhibit their rotation or movement. However. using all these techniques to mislead my opponent. destabilizing their centre of gravity and transforming their energy in order to conquer them. I “roll over. As Chen Changxing advises. “gather energy as if pulling on the bow. depending on circumstances. that of Taijiquan is accepted as the most refined. sweep. In Tuishou and San Shou. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. When I attack.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. Instead. explode energy as if releasing the arrow”. Any hard fan guanjie (joint twisting. Hua and Xu (gathering). dodge. touch. hence rendering them helpless. just as one should attack forcefully without hesitation.e. so as to accumulate and release energy effectively. I know my partner without being known. and their pain penetrates right to the marrow. and hence the harder the opponent falls. elbows.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. tie up.
‘is called the “best of the best”’. If you fail to attack lightly and skilfully and your intentions are detected. so that I may capture my opponent without hesitation or detection. I move using the principles of Qing Ling Huo Qiao (lightness. transforming and striking. agile. techniques such as Zhan Nian Lian Sui. To apply Na effectively. a Tuishou practitioner can exert the invincible might of Taiji. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. throwing. thus reaching their goal. Tuishou accentuates Taijiquan’s martial power. If he or she succeeds in escaping. in order to strike well. you still have the opportunity to move in quickly and seize them by their palms before they move away. I utilize Na to prevent my partner from escaping or from transforming their energy. ‘Only this. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. you need to seize first’. you must react quickly and flexibly to any changes in your opponent. flexibility and skilfulness). The seizing technique in Tuishou is very important. Hua (transforming) are all preconditions for striking (Da). In Tuishou. There is a saying.’ as Sun Zi Bing Fa says. so that I can strike them cleanly and successfully. This is called ‘dual-utilization of seizing and gathering’. With the combined application of seizing. Na (seizing). agility. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . When utilizing Na. These recovery measures also depend on a light. Zhua (grabbing).their gathered forces. This is why it is said that Na is the pre-condition of Da. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. Indeed. applying the energy smoothly and judiciously without over-exertion. ‘Na (seize) always goes with Da (strike). Shuai (throw). Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques.
Next. hence it is advisable to heed the teaching. releasing your force like bullets rushing out of a gun. you have no option but to relax your joints. Common problems. your chest rolls inward naturally. If you fail to Peng (ward off ) your opponent adequately. Miscalculations often result in injuries. Na technique works together with Cai technique. twist his right arm inward with your left hand. Na is the synchronous manifestation of the internal and external. Never let Qi float upward and never let your feet lose their roots. ‘No part of my body is not peaceful. whether you exert Na by the co-ordination of your hand and chest or with your ribs. During practice. seize him then guide his pressing force into your territory using Lü energy. with no part tense.陈 氏 太 极 拳 推 手 技 法 When applying Na. How then can you hope to seize another? Indeed. in which case. When relaxed. shoulders and crotch all gather downward in concert. Using this will overcome the opponent without fail. especially amongst beginners. Exert your energy first lightly then with force. and your ribs. If Qi ascends. application of appropriate angles and techniques. By relaxing. stomach and the protruding and concaved parts of the shoulders. use the Na technique carefully to avoid hurting your sparring partner.’ 王 西 安 28 . just as it is stated. he will be able to press forward. remember to maintain a relaxed state by lowering your whole body. making sure your hitting points are clearly defined. every part of your body works in harmonious cooperation. if you want to seize your opponent. your centre of gravity destabilized and you will find it difficult to protect yourself. and all parts in a gathering motion. include controlling one’s speed and magnitude of attack. stomach and legs. and sensing the amount of force the partner’s joints can withstand. both palms covering his right wrist. Then strike directly forward in a spiral and hit your target accurately. chest. your root will become unsteady. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. ‘Never be rude and rash when you begin to practice Na. In peace every part of my body moves at the time of movement’. the targets for both being the arms.
relax the shoulders. Opening (Kai) means to stretch and reach. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes.7 Opening and clOsing In the martial arts. Remember – to attack your target with agility and flexibility requires long accumulated practice.Work on your technique step-by-step: develop a closed crotch. Indeed. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). every part of the body is engaged in the action of opening and closing. As Chen Xin says. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. 2. Gather the ribs. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. In all Tuishou and Taiji movements. gathering versus exploding. This is an important concept which bears deeper contemplation. Sanda and form practice. making sure all movements are steered by the waist. solid stomach and slightly concave chest. one cannot ‘open’ without first being ‘closed’ and vice-versa. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . preserve. often meaning to ‘guide and attack’ in the martial arts. Mengzi. just as Chen Xin mentioned in his works. OpeningClosing techniques. As complementary opposites. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. opening and closing illustrate the subtlety of Taijiquan. Even masters of Chinese philosophy – Kungfuzi. Closing (He) means to draw in. are widely used in Tuishou. Keep every joint relaxed before you exert Na. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. transform. bend and gather. Inhale from the stomach so that it remains solid.
this means that one needs to be closed first before one can open. sometimes appear before our eyes. The quality of the effort you put in to closing determines your ability to open with power and effect. from the soles of the feet. The Opening-Closing technique starts from the closed state. these changing motions. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. and sometimes they disappear. pressing the ground with your heels to empty the Yong Quan points. you will find your opening powerless. forceful. but also to coordinate the heart (Xin). Without closing well. your intention (Yi). As the saying attests. Kai (opening) energy originates in the root of your body. every part of your body follows suit. the louder the explosion. Your heart acts as the guide and leader during energy explosion – when your heart opens. you will find that Qi penetrates your whole body more smoothly and powerfully. grasp the floor with the toes and soles. if your energy is gathered and conserved well.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. muscle energy (Qi). that is. your ‘opening’ explosion will be natural. 王 西 安 30 . filling you with great vigor. Likewise. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced.’ Only diligent practitioners have the opportunity to experience this phenomenon. so that your targets become accurately defined and attacks successful. so that all parts of the body work together. While standing. Closing not only means to bend and withdraw your upper body. Thus positioned. Yi moulds changes in external shape while Jin (force) rises with Qi. swift and powerful. ‘Opening-Closing. the rebounding force exerted by the ground can be used to energise any upward movement. since Yi (intention) follows wherever Xin (heart) goes. with the qualities of both solidity and emptiness. In practice. crude and slow. external shape (Xing) and spirit (Shen). The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled.
land on the ground on your in-steps. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3.33 cm. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . presenting your partner with opportunities to attack. you need to train your muscles in relaxation and gathering. you will need to drop and relax the shoulders. spirals up the legs to the waist control-center. which then distributes it to the other extremities.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). 2. albeit swift and powerful. Beyond this range. and to develop high sensitivity and rapid responses to external stimuli. The solution is to make your energy round. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. This energy originates from the soles of the feet.As you explode energy. roll your chest slightly inward. while being mindful of the adage. To master this elastic force. your centre of gravity may be lost. flexible and compact enough to mislead and upset your opponent’s centre of gravity. Practitioners also need to build-up a reasonable level of muscular strength. lower your waist and let Qi flow along the spine. the whole body returns to a state of softness and relaxation. To gather energy of this quality. The explosion should be short. the energy released unhindered. keep your elbows down. is limited by its short duration and small coverage which extends only as far as your body. then spiral your internal energy up the legs to the waist. or worse still. or you may find your Kai technique lacking in power and precision. After exploding energy. strikes may not find their mark. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. then to every corner of the body. Exploding energy at close-range is best as Kai energy.
frictional forces. in effect. though random wins may happen. internal forces. not relying on rigid or crude force. all these are prerequisites to “destroy something already in a state of ruin”. The external force of both parties affects each’s internal energy flow. However. 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. spiral forces. To do this. and with that outburst. which manifests as our weight. consistent good performances will not be achievable. When doing Tuishou exercises. not strength”. there are also a myriad of other forces which influence our bodies – supporting forces. your opponent is vanquished. one must explode energy smoothly. horizontal forces and so on. To combine the power of the three. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. The main external force that we humans experience is gravitational force from the earth. Failure to counter your partner’s force means. that you are unable to neutralize. skilfully. and to explore the interactive relationship between them. Transforming and gathering are complementary and cannot function without each other. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. utilize. and exploding energy with elastic vibrations. Your performance in competition depends not only on the quality of your sensitivity. Without these. The force that you and your partner exert on each other in Tuishou is external force. transforming and attacking are closely related. dissipate or absorb her external force. you must practice Changjin 王 西 安 32 . Gathering. but also that of your internal energy and combat strategy. Constant diligence. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. flexibly and harmoniously. straight forces. abundant internal energy and intense physical and energetic concentration. it is necessary to distinguish clearly the respective functions of internal force and external force. counter forces.
elastic or vibrating variations. you will find it easier to hit targets more accurately and swiftly. At this level of Gongfu. This means that if one finds it difficult to attack from a distance. An attack. as their attacks flow naturally from their heart and intention. beginners need to do the following: do the big circle practice. quick. Still Tough’ and ‘Four-Yin Six-Yang. during Tiaozhou practice (upward strike with elbow). there would be no striking the partner from one inch”. Continue developing these techniques step-by-step until the level of deity is reached. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . easy conquest of the opponent does not necessarily follow. especially exhaling-inhaling and opening-closing motions. leading to very smooth and swift responses. Good Hands’. despite its ferocity. below which energy flows downward and above which energy flows upward. By mastering the key points of energy explosion. “Without striking the partner from a distance of three metres. even with the slightest touch. will find the opponent flung far and wide. To reach this level. one should not attack at close target. Only very high-level practitioners may achieve this. Upward energy and downward energy exist in opposition to each other. For example. instantaneous. and the small or no circle practice. As it is said. imagine a line between the navel and Mingmen. the medium circle practice.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. it is not advisable to exert Changjin (long energy). Alternate between these three with slow. Close-range attacks require a high-level of competence. At the transitional stage between ‘Three-Yin Seven-Yang. while downward flowing energy helps maintain a firm and stable root. and even when elastic cunjin (hitting a target at very close range) is executed. the whole body moves as a synchronized force to follow the slightest movement of intention. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously.
The arms and legs work together. rotate your Dantian so that your body lifts with greater speed and accuracy. and may lead to loss of control. To conquer your opponent. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape.9 Ti (raising) fOrce Ti means to ‘rise spirally’. As Qi flows up the spine. and intention into one entity. while you maintain a state of relaxation. Using Zhan Nian Lian Sui. First. powered by upward spiralling energy. shadow your opponent with agile steps. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. combine your rising force with your elastic force. heart. To apply Ti successfully requires the whole body to work in coordination. 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. Instead. Remember to maintain full concentration. your opponent’s upper body will shift out of their control. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. The rising force is difficult to use if forced. 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. Even if not thrown completely off balance. When applying Ti. At the same time. while you keep your intentions and energy flow undetected. then your instant and precise attack can never fail”. keeping your axis upright and combine your eyes. never let your partner know your intention before you act. This means that no matter what Tuishou techniques you use. To lift your opponent up with Ti requires the combined effort of legs. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. waist and arms. Remember to maintain your centre of gravity with the coordination of the other leg. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 .陈 氏 太 极 拳 推 手 技 法 2.
your force will reach its target just with intention. revolving energy which originates internally in the body.and power. and manifests externally as it permeates through to the fine hairs on the skin. transform and defeat your opponent’s attacking energy. Mastering this energy requires much effort and practice. tie. Do not try to strike others before you have attained a reasonable level of competence. your attacks will never fail. Though undiscernible initially. you will lose awareness of your physical body and location. reeling outward. go forward or backward. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. 2. walk with such assurance as to shock evil spirits.10 reeling silk Reeling Silk is a spiralling. follow the primary principles and develop your skills stepby-step. but once attained. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. and not even know from whence your power emanates. you will be able to transform energy while striking. as it emerges from the feet. Adequate practice will naturally lead to success. When this happens. their root and they will certainly fall. mislead. passes through the legs up the spine and arms. The Reeling Silk consists of great varieties: reeling inward. you will come to sense it with practice. whether you rise or descend. reeling upward. on the verge of losing their centre of gravity. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . reeling to the left or reeling to the right. you will find it easier to follow. until it reaches the fine hairs of the skin. For beginners. Attaining high-level skills will make you braver. You will attack like a flying dragon. touch or sweep in response to the circumstances and you remain always observant and alert. You roll. so you feel able to “protect your descendents and kill the rebels”.
When being utlilized. Yin (guiding. remain balanced. 王 西 安 36 . all these reeling movements are always comprehensively combined together and closely connected. As for posture. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. and apply opening and closing techniques. excessive toughness makes you get too rigid. While reeling. When using Reeling Silk energy. focusing your energy internally and guiding the flow of your responses from Yin to Yang. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. and thus renders you unable to react properly and to be easily manipulated by the opponent. reeling forward and backward. collapse the waist and establish a stable centre of gravity in the legs. reeling horizontally or reeling vertically. maintain the interplay between solidness and emptiness. one must avoid being too soft or too tough. Shun reeling (conforming) and Ni reeling (contrary). The solution lies in the middle path: keep a balance between softness and toughness.陈 氏 太 极 拳 推 手 技 法 small circles. Keep a firm root. misleading) always comes with Jin (approaching forward or attacking) and vice versa. remember to keep your Zhongqi (energy to keep your axis upright). Be humble and respectful during form practice. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. reeling to the front or reeling aside. and so on. quiet and calm.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
Tui (go backward). as well as techniques focussing on various target areas of the body. Da. Faji (attack) effectively under any conditions.1 inTrOducTiOn This is a practical lesson in combat practice. Single Form practice is vital for hand-to-hand Gongfu combat. Kao. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Erlu and Single Form practice help to accumulate and strengthen Gang. goes through the Sanguan (Three Gates). A wide variety of single movements must be practiced repeatedly. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). relaxed and soft. Shuai (fall). Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. Lie. if practice is diligent. Ji. keeping your energy tracks undetected by the opponent. medium and high-level stages. To win. movements gradually become agile and flexible. and exerting energy too forcefully (Ding) while exploding energy. Lü. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. you need to execute Jin (go forward). It also demands a period of diligent practice to ascend gradually through the primary. who is then inevitably conquered. Shan (dodge). This practice requires a solid foundation in preparatory exercises. This means that Yilu fosters Zhongqi so that. 3. An. for example. where ‘Qi spreads to the whole body. Qi will flow around the body to the extremities and skin.1 Yilu cultivates Qi.陈 氏 太 极 拳 推 手 技 法 3. so the Single Form Practice and Erlu help to compensate for this disadvantage. As we know. full relaxation of the joints.’ In this way. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. Zhou. Erlu explodes In this technique. Ti. Cai. 王 西 安 38 . Zhan (battle).1. Because Yilu lacks speed and Gang (tough) energy. Hua (transform) and Na.
Hence. No matter how steady his partners stood in the beginning of a fight. Well known examples include the foot techniques of Li Bantian.Gongfu masters. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. These clearly advise diligent practice of the shoulders. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. He was known to say that he found throwing partners too easy. neglectful practice becomes increasingly difficult to rectify. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. after you practice the form ten thousand times’. so that the path to deeper understanding and realization may be paved. Though widely differing in style. we have Master Feng Zhiqiang who is venerated for his steady. you harvest. be they exponents in internal Gongfu or external Gongfu. hands. 搭Da (touch) and 扫Sao (sweep). these masters have attained their expertise through a shared and unwavering focus in Single Form practice. such as: ‘Profound principles emerge by themselves. resulting in loss of vigor and effectiveness. inner meanings of the mysterious art rather than a competition. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . ‘You practice. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. To do otherwise would be to ‘attend to trifles and neglect the essentials’. elbows. the seizing techniques of Eagle Claw King. 拴Shuan (tie). sober movements and his relaxed yet vigorous energy explosions. legs and hips using relevant principles. you fail’ and so on. you don’t. back. Single Form practice is of vital importance. ‘Skills come naturally when you are familiar with forms’. Significant gains may be attained by practicing the single forms step-by-step. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). more like a relaxing stretch to enjoy the subtle. Lastly. If prolonged. each have their own unique combat style drawn from continuous tempering in their practice. Chen Zhaopi was the undisputed master of 滚Gun (rolling). they always got hit and thrown to the ground.
chest rolled slightly inward.陈 氏 太 极 拳 推 手 技 法 3.2.1 . With one hip relaxed and the opposite foot slightly touching the ground. upwards and sideways. 王 西 安 40 Fig. pedalling forward. swinging up and down and so on.2 feeT pracTice Feet practice includes the following movements. trampling. 3.1 Exercise One • • Squat slightly. bend and raise your knee slightly. face to the front. stomach gathered and head suspended from above. alternating between both legs: kicking forward. horizontally. 3.
2. bend the other leg with toes grasping the ground to maintain a firm centre of gravity.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward.3. • Kicking smoothly. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. horizontal. 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. make sure your in-step is stretched moderately tightly. upward and downward swing.2 41 . • Relax the feet so energy can reach the toes where it is required. sideways. Descriptions of some of these exercises are provided below. stepping. pedaling. 3. up and down. collecting the energy at the abdomen.
for example. your left foot prepares to kick with the toes or instep as the right foot lands. It should be practiced with both feet so that. 3. edges of the foot plate and the sole (Fig.陈 氏 太 极 拳 推 手 技 法 Fig.4. . 3.5).3 • This technique is applicable to the toes. use the rebounding force of the earth to bounce up and propel your kick (Fig. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. On landing with either foot. 3. Beginners should practice slowly. if you kick with the right leg.3). 3. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). At this point. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. they will be able to direct energy explosions to targets with precision and ferocity.
Fig. 3. 3.4 Fig.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.6 43 . 3.
• Switch your centre of gravity to the left foot. flexible and quick. practice kicking with each foot sequentially. The kick should be light.7 The Upward Kick is used for high targets. There is no jumping in the Upward Kick. usually the opponent’s chin. The Upward Kick should match the rhythm of the hands’ movements. The whole body must be kept balanced and straight when kicking upwards. a principle also applicable to the Double Kick (Er Qi Jiao). instead. . 3. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart.陈 氏 太 极 拳 推 手 技 法 Fig.
Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. exploding energy as quickly and fiercely as you can. 王 西 安 45 . but try to keep some weight in the un-weighted side as well. keeping the right foot at the same distance from the left foot as before.• Bend the left knee. 3. 陈 氏 太 极 拳 推 手 技 法 Fig.8 • • • Then stamp your right foot on the ground.8). As your right foot explodes energy stamping downward. all the while rolling the chest slightly inward. cup your right fist and left wrist together in front of the chest. Then empty the Yong Quan point. 3. raise the right knee gradually (Fig. feet firmly grasping the ground. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. standing with left leg. grasp the ground with the left toes and.
remember to follow instantly and quickly with the other leg.10).9 Regardless of which leg steps forward first. Kick as high as your opponent’s stomach and chest. The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. e) Forward Kick This consists of a straight kick forward with the sole of the foot.9). and then withdraws elastically like a rubber band springing back into shape. 王 西 安 46 . 3. practice with the left leg) (Fig. including the alternating use of the legs (Fig. you can practice with the alternation of legs (after praciticing with the right leg for a while.陈 氏 太 极 拳 推 手 技 法 Fig. The key points here are the same as those for the previous segments. 3. In Single Form exercise. 3.
• 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front. 3. As you reach a higher level of skill. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. fierce and perfectly targeted. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity.11 Kick mainly with the heels. 3. Before kicking.Fig. 3. 3. 王 西 安 47 .10 Fig.12) and the Outward Kick (Fig. with hitting points mainly on the inside of the foot (with the occasional use of the outside). 3. prepare well by relaxing the chest and stomach to ensure your kick is fast.11).13). sometimes with the soles.
陈 氏 太 极 拳 推 手 技 法 Fig. while the body becomes straightened when kick is streched). This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. this reflects the relationship between Yin and Yang’. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). In the Sideways Kick. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending.13 • The Outward Kick is executed outward and upwardly. the whole body gathers together then opens up with an explosion of energy. 3. explode energy like releasing the arrow”. 3. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. with the hitting points mainly on the outside of the foot (occasionally inside).12 Fig. 王 西 安 48 • .
toes grasping the ground and all muscles of the body relaxed. use the Gen Bu (follow-on Steps). Before kicking. then swing it outward in a natural arc. 3.14 49 . 3. which allows you to use quick and continous forward steps. Your swinging foot is targeted at the back of the opponent’s head. smack the foot with your hand to ensure the integrity of the energy.14). while your hands are targeted at the face. 3. Kick upward with the back foot. Always coordinate the kick with your hands. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. Eye your target and prepare for the kick by gathering your internal energy and lowering it.15). Squat slightly. If kicking with the right foot. turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. While swinging outward to the level of the shoulder. be it with the right or left foot. then bring it backward (Fig.
陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig.15 With openings and closings. . And kick upward along with palms coordinated with Lü. 3. I take the back of the opponent’s head as target. And smash enemies to pieces. I smack in the air by switching into the track of a swing arc. 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.
During solo practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . • Use both hands to execute Lü on one arm of opponent behind the body.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. Gua (hanging) and Gai (covering) in a second. • Hold the body in a squatting position for the next few movements. palms facing outward. No matter which you use. • Hang one foot backward. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. keep your footwork flexible and neat. rotating it slightly so that it slants to one side. remember to balance upward Long (close) movements with downward Ti (raise). • The action must be quick and powerful. • Pay attention to that you finish this action with the guiding of the waist and back. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. depending on the distance between you. You should finish Lü. • The foot hangs to the calf suddenly to make the opponent lose his balance. coordinating both with Tou Bu (sneaking steps). 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. • Swing both hands backward to the side of the back hanging Foot.
16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. 3. 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.陈 氏 太 极 拳 推 手 技 法 Fig. I explode my energy with the rotation of my waist. And enemies fall to the ground with face to the air. twisting the waist and rotating the back to exert more power (Fig. your face looking upward. I take the opponent’s upper body and chest as target. Move forward with Tou Bu (Sneaking Steps). And kick upward along with palms smashing downward. Then lower your foot to the ground.16). . 3. As a Tuishou poem states: With Yin and then Jin techniques. Hold your position and collect yourself enough to kick upward then swing downward.
these may not provide an accurate picture of weight changes required in practice or combat. since these are in a constant state of flux depending on the circumstances. The attacking leg must be flexible enough to swing to the left or right. mindful that while one is in the air. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 .Fig. Use Front Bow Steps to practice this movement (Fig. 20:80). Note that while weight distribution ratios may be used as a guide (e. 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.17).. Practice this transfer of weight by alternating the legs. 3. 3.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. 40:60.g.18.19). 3.
so that the strikes are as rapid and powerful as possible. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. 3. making your intention easily anticipated. As one master said: 王 西 安 54 I move my centre of gravity.19 Using Short Energy: Short energy should be used in both inward and outward kicks. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. . Avoid using long energy as it is likely to dissipate the concentration and power of your attack. 3. shock their lower limbs and unbalance their upper body with my feet. I explode and shock the ghosts. Short energy attacks are often used to ‘give a shock to the lower limbs’. waist and hands.陈 氏 太 极 拳 推 手 技 法 Fig.18 Fig.
When the right foot lands fully on the ground. Nichan Tui (Legs Reeling in Ni Circles). repeating the movements while keeping reeling from the left to right. just as in form practice.3. Begin with slow practice. Lower the tip of the toes of your unweighted right foot to the ground. step your right foot 40 cm forward to the right. that is. Change your weight to the left. ‘Yong Yi Bu Yong Li’.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. Keep your legs reeling from left to right.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). 王 西 安 55 . Lihe Tui (Inward Knee Strike). a shoulder width apart from the left foot. Move the left foot half a step to the left. making sure your leg is no higher than 15 cm above the ground. Use intention (Yi) rather than physical force (Li). change the weight to the right and step out with the left foot. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. Practice continuously alternating both legs. toward the target. look in the direction of the moving leg. Xiacai Tui (Downward Cai energy). Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). As the toes touch the ground.3. 3. then squat and step out with your right foot. working up your speed in gradual stages. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. Waibai Tui (Legs Swinging Outward).
3. striking to both sides with each leg. transferring all your weight to the left.20 56 . Inner knowledge can only develop with concerted. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. 3. Practice these steps in continuous alternating cycles. 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. and then rotate 360o left stepping on the toes (Fig. You also need to practice Nichan and Shunchan with both legs. Raise the left foot. remembering that the inner side of the heel is the striking point. rotate to the left forward at an angle of 360o. 王 西 安 Fig. Next.3.20). continuous practice. then step forward 40 cm to the left. step forward 40 cm with the right foot.陈 氏 太 极 拳 推 手 技 法 3. Step the right foot forward.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. practice with both legs and with change of directions. • Combine Lihe Tui with the rotation of the waist and spine. In Huobu Tuishou (Tuishou while walking). we usually attack with Lihe Tui using the right leg.22). 3.22 57 .21). • Stand at attention.3. 3. 3. then transfer your weight to the left before moving the right foot forward (Fig. • While practicing.21 Fig. As such. change your weight to the front foot.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. attack with Lihe and then move 90% of your weight to the back leg (Fig. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg.
Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. 3. 3. 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. regardless of whether you practice day and night (Fig. step forward with one leg and swing the other outward and then closing inward. Being content with a superficial understanding is fruitless. 王 西 安 Fig. Through diligent solo Tuishou practice. practitioners will come to realize the deep significance of their efforts.3.23 Fig. 3.24 58 . and requires a sudden outward swing of the leg as weight is transferred.陈 氏 太 极 拳 推 手 技 法 3.23). 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. 3. During practicing Waibai Tui.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps).24).
25 Fig.3. 3. Xiacai Tui consists of Cai to the left. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent.26 59 . then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. 3. Cai to the right. The outer side can also be targeted once your ability improves.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.5 Xiacai Tui … Downward Cai Energy Cai means to pull down. placing your toes slightly inward. • To do Ni Cai: move the back leg forward. placing your toes slightly outward. Shun Cai and Ni Cai are based on Front Bow Steps. • Start with your centre of gravity at the back leg. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles).
王 西 安 Fig.25).陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). Train your body to understand the meaning of ‘stretching consists in bending. Bend your knees about 40o – more than this and you will lose your centre of gravity.26).3.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. Deepen your understanding of Jin Li (energy and force distribution). 3. bending consists of stretching’. striking to the front. 3. striking inward and striking outward.27 Fig. 3.28 60 . Practice with alternating legs during Single Form practice. With a spiralling move forward. 3. you can enter the opponent’s territory (Fig. 3. keep ankles relaxed and Qi descending (Fig.
• • •
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
fist centre facing inward.4. 3. Rotate the right toes slightly outward as the foot lands.37 . 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.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. However. 王 西 安 66 Fig.37). at the same time hooking the left fist upward. 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. Rest the left fist beside the left leg (Fig. • • • • • • Take a half step to the right with the right foot. change your weight to the right leg and step your left foot forward. Next.陈 氏 太 极 拳 推 手 技 法 3. 3.
Fig. the right fist is raised above the left side of the chest for more power and then smashes down to the right. For example. Likewise. 3. For each step. Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. 陈 氏 太 极 拳 推 手 技 法 In summary. Then repeat with the other foot. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. 3. both left and right fists rise and descend at the same time. the left fist rises above the right side of the chest and smashes down to the left. 3. Practice these steps. After striking.38). involve your whole body in the attack. as the left foot steps forward (weight on the right).39 • • • • • Again. downwards on the right and upward on the left. 3.38 Fig. step the left foot horizontally over the right one.39) 王 西 安 67 . alternating both sides continuously (Fig. and lower the left fist from its upward strike position back to the left side of the body). (Fig. stepping the right foot forward and exploding the fists before landing. when the right foot steps forward (weight on the left).
41).陈 氏 太 极 拳 推 手 技 法 3. concentrating your power in the Quanding (the front of the fist).40 Fig. • Step the left foot forward. 王 西 安 Fig.41 68 . fingers vertical. 3.40). Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power. the left arm gathers inward and strikes backward to the left with the elbow. stretching the left hand upward. • Then fling the right fist forward in Ni reeling. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. 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. This counter-balancing movement helps to accelerate the punch of the right fist. Practice this technique on both sides. • Gather the right fist under the right rib (Fig.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. 3. 3. • Sink your weight into the right foot and rotate the waist to the right to gather energy. 3. • Sychronise both arms so that while the right fist flings forward.4.
43 69 .42).42 Fig. The power of this technique depends very much on the practitioner’s physical condition.43). Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. only about 40% of the jin force generated is exerted as short rather than long energy.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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. energy does not manifest externally. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. bringing the left palm to the front of the body (Fig. Then step the left foot forward. Repeat with the other side. 3. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist).4. and practice alternating both sides. 3. simultaneously gathering the right fist beside the right ribs. the main difference being that in the former. Instead.3. • • • • Step the right foot forward. 3.
王 西 安 70 Fig. This forms the ‘peak’ of the fist. like hammering a nail.44 . • Attack to the left or right. 3. • Clench your fist so the middle joint of the middle finger protrudes. This makes the fist ‘peak’ stable and solid. • Brace the middle finger with the index and ring fingers.44). • 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. and press the tip of the thumb against the middle fingernail.陈 氏 太 极 拳 推 手 技 法 3. up or down. 3.4. using small agile steps (Fig.
hence creating a dual attack with both fists and knee (Fig. Method 1 • • Method 2 • • • Step forward with either leg. Bend the other leg then strike both fists upward together. gather the ribs and lower your energy to the Dantian (Fig. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Place your weight on one leg. Form two nail-shaped fists and strike from both sides using short energy.4. 3.46). Bring the fists together in the middle about 25 cm apart.46 71 .3. Roll the chest and shoulders slightly inward. 3.45).8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. Guanyang means to hit the temples with two nails.45 Fig. 3. Practice both methods using both legs.
47 Fig. • Step forward with the other leg. palms facing forward. 3.48). transferring your weight to the front. • Strike forward with both palms. practice using long energy first. and lower the energy to the abdomen (Fig. • Prepare for the strike by ensuring your axis is upright.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy.47). 王 西 安 Fig. 3. 3. the ribs gathered.5 palM pracTice 3. • Place your hands in front of the chest.陈 氏 太 极 拳 推 手 技 法 3. while making sure the chest is relaxed.48 72 . • Step forward with either leg. thrusting them forward with explosive force. fingers pointing up (Fig.5. though in the initial stages. 3. the chest rolled slightly inward and the spine slightly lifted.
51. using long or short energy (Fig. elbows and wrists are lowered. gather the chest and stomach like a cat stalking a rat.Fig.52). 3. The power. thrust your arms out about 50% (Fig. 王 西 安 73 .2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back).49). To be effective. lower your energy abruptly and push forward with short energy using small steps. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push.49 When practicing with short energy. • Repeat using the left palm. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy.50. 陈 氏 太 极 拳 推 手 技 法 3. Make sure your shoulder. 3. • Thrust the right palm forward or diagonally to the side. 3. As the energy reaches the wrists. speed. 3.5. Just before the explosive strike. a Double Palm Push needs to be sudden and exerted directly forward. • At the same time step forward with the left leg. 3.
and hence conquer your opponents without effort. you will be able to explode energy with natural ease by combining both external form and internal spirit. 3.52 .51 Fig. gradually increasing the speed. With continuous practice. 3. 3. abruptness and power of the push.50 王 西 安 74 Fig. Fig.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly.
• • Step one foot forward and ward off an arm attack with one hand.53 Fig. whilst using the other palm to push at the opponent’s chest or strike at their stomach.54 王 西 安 75 . enabling you to hit your target with more precision and power (Fig. 3. 3.53).54). 3. while gathering the other hand beside the ribs (Fig. This creates an energy balance that stabilizes your centre of gravity. 陈 氏 太 极 拳 推 手 技 法 Fig. Direct energy above the waist upward and energy below the waist downward.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.5. 3.3.
open the right side of the chest and stomach. • To push with the right palm: bend the right knee. 王 西 安 Fig.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. Explode this energy through the right side of body out through the right palm. and then straighten it while pushing the right palm upward.5. 3.陈 氏 太 极 拳 推 手 技 法 3. first at an angle then vertically upward. • At the same time. 3. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line).55 76 . while gathering energy on the left side. • Keep the hips relaxed. the stomach gathered and the chest rolled inward (Fig. • As you push upward.55).
3.56 Fig.57 77 . • Then swiftly draw the opponent into your domain by touching their back with your left hand. then quickly striking their chest with your right palm (Fig. 3. Shun means ‘sequence’) (Fig.56).5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. Keep your body and energy lowered while doing this. 3.57). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. rotate your body to the right. 3. • At the same time. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3.’ Apply this technique during Single Palm practice.5.58). stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’.
This helps to concentrate energy in the palms. For example. Coordinate the movements of your body with those of the palms.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.陈 氏 太 极 拳 推 手 技 法 Fig. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. left and right. if the opponent seizes your right hand and twists it outwards with Shun reeling.58 • • Also apply the usual principles: roll the chest inward. 3. moving the body quickly forward. and gather the ribs and dantian. • As you lower the body. lower the shoulders. 王 西 安 78 . apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. 3.5.
59 Fig. Unify the three actions of stepping forward. this time at the left side with your right hand.59).60).Fig. 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. extending the thumb and fingers (Fig. respond in this way: • Step forward with the left foot. • Again. 3. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand.60 • • • As you do this. lower your body then extend it forward with Shun reeling. • Key points are the same as with the left hand push above. 王 西 安 79 . 3. 3. inclining outward and exploding with the left palm (Fig. Next. 3. thrust forcefully at the opponent’s ribs. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling.
61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. • As you seize. 3. Relax your joints to enhance energy application. coordinate the waist and legs when exploding energy. Also. change your centre of gravity from the left to the right. . 3.7 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. roll your chest slightly inward and bend your right arm inward. especially when stepping forward and exploding energy (Fig. goes through legs. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles.” 3. regardless of the technique or force used.61). as advised in an essay. so that energy flows to the very tips of the body. dominates the waist and penetrates to every part of body.陈 氏 太 极 拳 推 手 技 法 Fig.5. “Energy comes from heels.
palm open. 3. listening closely to your partner as you do so. 3. 陈 氏 太 极 拳 推 手 技 法 3. Thus.63 • • • With your right arm.62). • At the same time. reach under your opponent’s front arm.63). practice alternating the seizing between right and left hands. To speed up your response. 3.8 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. If the opponent escapes. you are able to use both palms to seize the opponent (Fig. 王 西 安 81  ‘Dai’ means to lead.62 Fig.Fig. Change your right hand to Shun reeling and your left to Ni reeling. guide or bring along .5. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. 3. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended.
Practice on both sides. palm up. Clench the left hand into a loose fist and push it forward. fingers pointing to the front (Fig. Then hit the opponent with the right arm (Fig. moving your arms to stabilize this rotation. 3.65 • • • • • Extend your right arm forward. fingers up. gather the right hand beside the ribs.陈 氏 太 极 拳 推 手 技 法 Fig.66). 3. . 王 西 安 82 3.64 Fig. Transfer your centre of gravity to the front.5. 3. face the left palm outward.65). fingers to the front (Fig. 3. 3. Change your weight to the back and turn to the right. As your step forward. Bend your right arm 90o inward and form a fist with your right hand.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward.64).
3. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. To increase the precision and power of the fingers. reel the right hand in Shun reeling to the right and step the right foot forward.67). coordinate the waist and spine when shaking the right palm forward in Shun reeling. Also. 王 西 安 83 . 3. Return the hands to their original positions before the next energy explosion. left under right and right under left (Fig.Fig. and then explode both palms forward with a piercing thrust. place the left thumb and little finger in opposition while the remaining fingers face forward. As the right foot lands on the ground. 3. Next. to increase the speed and power of the explosion. move the left hand and foot quickly forward together.67 • • • • • • Lift the left palm over the right.66 Fig.
69 84 . strike forward with the right elbow while hitting backward with the left elbow. the left arm counter-balances the movement of the right. 王 西 安 Fig.69). Remember to apply long energy before you apply short energy (Fig.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot. As you change your weight to the front. 3. In this case. At the same time.68 Fig. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body.69). 3.6. palms facing in (Fig. 3.6 elbOw pracTice 3. Practice striking with both elbows with corresponding weight changes to either side.陈 氏 太 极 拳 推 手 技 法 3. 3.
3.71).2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. At the same time. Lift the left hand when the right elbow completes 90o of its descent.71 85 . As the right elbow descends. wrist turned inward and the palm facing backward. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. step the right foot forward again and extend the left arm forward. After the strike. return the elbow to the right side. bend the right elbow inward. Step the right foot forward and strike the right elbow down forcefully as the foot lands. At the same. palm up. 3. and clench the right hand into a fist. take a small step forward with the left foot. 3. gather it close to the right ribs. 3. slap the right shoulder with the left palm.70).6. Then strike the right elbow down for the second time (Fig. Alternatively.70 Fig. 3.
3. Fig. 3.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. then turn right with the right toes facing slightly out.73 Fig.72 王 西 安 Fig. Rotate slightly to the left.74 86 .6.陈 氏 太 极 拳 推 手 技 法 3. 3.
transferring your centre of gravity to the left. gather the ribs and lower your Qi.74). Move the body to the left and transfer your centre of gravity to the right and back. 3. 3. 3. clasping the right forearm with the left palm. clasping the right forearm with the left palm. then step forward with the right foot.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. toe tips slightly touching the ground. Gather the body by bending it slightly. as if warding off (Fig. 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. Step the left foot forward.72). 3. palm facing in. so that both feet are approximately 50 cm apart.• At the same time. clench the right hand into a fist.73). As you do this.75). Turn to the left and strike out explosively with the right elbow. 3. 王 西 安 87 .6. Gather the body to prepare for attack by lowering the body slightly (Fig. Step the right foot to the left and bend the right arm. • • • Practice with the other arm. raise the right hand across the front of the chest to the left in an upward arc. Remember that the right leg moves forward with the right arm and vice-versa. 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.
gathering it horizontally in front of the chest. step right with the right foot. practice with long and slow energy. 3. • In the initial stages. balancing this movement with the left hand.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 88 3.76 • Spiral the right arm forward with Ni reeling. 3. Next. turning the body to the right.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. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block).75 Fig. with the following differences: . Practice with both sides (Fig. strike the right elbow to the right. use short and fast energy. 3. palm down.76).6. Simultaneously. Once familiar with the practice.
• • Shun Lan Zhou is aimed slightly to the back. 3.78).78 3. toe tips on the ground.6. landing approximately 50 cm apart from the left foot. jump slightly with the right foot. 3. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. Touch the right knee with the right palm. palm down. 3. 陈 氏 太 极 拳 推 手 技 法 Fig. • Stand at attention with the arms relaxed at the sides. fingers pointing up. extend your left palm forward.77 Fig. 3. palm facing right. • Jump the left foot half a step to the left. 王 西 安 89 . while Xin Zhou is targeted to the front (Fig. • Turn the body to the right and reel the right palm across the chest to the right.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. Before the foot lands. • Simultaneously.77).
gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). step the left foot to the left. Also. Look to the right side of body while striking upward. placing the left fist below the right.80). 3. While striking on the right. then transfer your centre of gravity to the right.79 Fig. avoid letting all your energy flow upward as this will destabilize your root. starting with slow movements initially until the steps become familiar. After the strike. clench both palms into fists.79). taking the waist as the dividing line. Practice on both sides. bending the wrist before striking upward quickly with the back of the right fist. toe-tips on the ground. 3. balance the energy between the upper and lower body.陈 氏 太 极 拳 推 手 技 法 Fig. Move the right fist toward the right shoulder using Shun reeling. 3. As you change weight. . step the right foot forward. toe tips touching the ground (Fig.81). then gradually using short and fast energy. Instead. Return the left fist beside the right ribs (Fig. followed by the right foot. 3.80 Fig. 3. 3.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. Next.
while the left the supplementary strike. Gather the fists close to the chest (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. Change your weight to the left. then exploding both elbows horizontally.82 Fig.83). If you stepped to the left. • • • • Step to one side with either leg.82). place the left arm inside the right. 3. looking to the left and concentrating energy in the elbow tips (Fig.6. Practice alternating both sides. 3. In this position. then strike with the right elbow. the right elbow executes the dominant attack.83 王 西 安 91 .3. 3. 陈 氏 太 极 拳 推 手 技 法 Fig. 3.
王 西 安 92 Fig.84 Fig.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows.84). prepare for the stike by gathering the wrists inward.85). 3.85 . 3.6. looking to the front and rolling the chest and shoulders inward. This increases the force of your attack. 3. 3. holding fists on either side of the ribs (Fig. Try to feel the effect of this preparation during practice (Fig. • • Step one foot forward. As your weight transfers to the front.陈 氏 太 极 拳 推 手 技 法 3.
then lift it so that the right elbow is positioned over the right knee (Fig. At the same time. 3. 3. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side.87 93 . clench the left palm into a half fist and place it beside the left leg. 3.6. 3.87). rotate the body to the right. Practice alternating both sides. palm to the front. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. take a big step forward with the right foot in front of the left. palm facing inward and inclining backward.86).3. Simultaneously. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. clench the right hand into a fist.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly.86 Fig. As your centre of gravity shifts to the left. As the weight shifts to the left.
• All movements are guided by the rotation of the waist and spine. • Extend the right hand outward.88). • At the same time. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. In this way. Make sure both hands move and arrive at their destinations simultaneously. then lower it over the right knee. palm up. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb.6. • Change your weight to the left. 王 西 安 Fig. the legs should be parallel to each other. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). • Shift your weight abruptly to the right and form a half fist with the left palm.陈 氏 太 极 拳 推 手 技 法 3. • Step the right foot forward. As one of the Eight Forces.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). • After exerting Pie force. 3.88 94 . 3. strike forward explosively with the right forearm using a short-energy (Fig. moving it beside the left ribs. shifting your centre of gravity to the front.
using downward Ni reeling.3. • While lowering the left hand. • Keep the left hand open so the thumb is separated from the fingers. In this way.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. • Raise the right hand from the right side.89 95 . both internal and external movements are integrated with the movements of the body and limbs. Form a hook (Diao Shou) with the right hand with the little. lower the left hand from the front of the chest to the left ribs. The thumb and index finger form the character Ba ‘八’. 3.89).6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. bending the elbow. palm up. • Step backward with the left foot shifting your weight to the left. Shift your weight more to the left as you do this (Fig. closing it slightly. 3. • Then. use Cai technique to strike out explosively with the outside of the right forearm and elbow. and extend the left hand forward to the right. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. using guiding energy from the little finger. ring and middle fingers.
At the same time. the right thumb guides energy flow. make sure power is gathered properly through the whole body and that your timing is correct before you strike. 王 西 安 96 Fig. toes grasping the ground. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique.91 . moving your weight to the right (Fig.90 Fig. you raise the right hand in Ni reeling to descend the elbow (Fig. • • • • Bend the left knee.91). 3. Note: For maximum effectiveness. especially useful as a defensive move when being attacked while in a passive situation.陈 氏 太 极 拳 推 手 技 法 3. strike the right elbow backward at an upward angle (Shang Chuan Zhou).12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. 3. While transferring weight. and extend the right leg backward. 3.90).6. and then. 3.
Xiong Kao. As you shift your weight to the right.92). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.93 97 . Ce Jian Kao.3.7. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. 3.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. 3.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward.92 Fig. Ying Men Kao. 3. The right foot and right arm should reach their positions at the same time (Fig. 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. Shuang Bei Kao and Qi Cun Kao.
Then step the right foot forward again to execute Zai Kao for a second time. 3. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward.7. After executing the above. On completion of the shoulder push. As the body inclines forward significantly during this move. 3. Then take another big step forward with the right foot. take care to maintain your centre of gravity by not stretching too far forward (Fig.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. raise the right hand from the inside to fend off and steer the opponent’s hand to the right.94). Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. pushing it forward and down. Note: Only push when you are in the correct position. Repeat these steps for both sides. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. .93). if you find you get into an appropriate space for attacking. use the outside of the right shoulder to execute Qian Zai Kao. 3. As the heel touches the ground. step forward with the left foot and place it next to the right foot.陈 氏 太 极 拳 推 手 技 法 • • • Then. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig.
conversely if one is able to ‘open’ the doors of the opponent. then techniques such as Ying Men Kao can be used to penetrate defences and attack. lowering down but not stiff. 王 西 安 99 . When firmly closed. This only comes with closely combining the Yin (guide).3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. Dai (lead and pull) and Ji (attack) energies together. arms are a defense against attacks.7. 3.Fig. light but not floating” . 3.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks.
It is easier to hurt the partner using a narrower attacking surface. Once the attack is completed. fingers pointing up and palms facing the sides of the body. Next. the right hand above the left. Separate the hands of the opponent to expose his chest (Fig. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power.95). move both arms to each side of the body and push the right shoulder forward in attack (Fig.96). move the left foot forward parallel to the right foot and repeat the sequence for another attack. 3.95 Fig. 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. . The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. 3. 3. • You can use more of the shoulder surface in the attack.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. At the same time.陈 氏 太 极 拳 推 手 技 法 Fig. 3.
98 101 .3. • Extend both arms from the sides to the front in an embracing gesture. 3.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. 3. move the left foot parallel to the right.7. 3. • Then roll the chest inward and shift your weight quickly from left to right.97). • Step the right foot forward. A good sense of timing is essential for defeating the opponent. shifting your weight to the front.97 Fig.98). Only with a thorough mastery of this technique. using this shift to deliver a sudden push with the chest (Fig. can you execute it in actual combat (because you may easily hurt yourself ). • After this move is completed. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. • To begin. 3. Note: Focus on sharpening your sense of timing during practice. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the chest and waist are in a collapsed position.
a capability that comes only with extended Quan practice. This technique also uses Duan Jing (short power). and the shoulders execute Bei Kao to the right . take a sudden breath in and push the chest forward quickly. • Gently rotate backwards with both palms facing backwards. You may lead with either leg.99 Fig.陈 氏 太 极 拳 推 手 技 法 3. Note: As mentioned in previous techniques. 3. shoulders slightly concave and with power guided by the thumbs (Fig. 3. remember to gather and withhold energy before delivering the strike. • When the whole body holds and collects to a moderate extent. 3. as the shoulders deliver Bei Kao backwards (Fig. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. • Stand with feet parallel. • When the weight moves forward the chest rolls inwards.99).100 102 .7. rebounding and shaking power).100).5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. 3. 王 西 安 Fig.
continue to transfer your weight to the right. • Practice pushing from both the right and left sides.101 103 . • Once your root is stabilized. Find a stable centre of gravity with the body and gather your body in this position. • Extend the right foot and arm forward. use short power in your push. • 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.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. extend the distance of your Kao slightly. 3. if further away. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig.101). fingers pointing down. Note: If the opponent is at close-range.7. 3.3. • Gradually move the right arm downward toward to the inside of the right leg. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice. 3.7. • • • • Take a large step diagonally forward with the left or right leg.陈 氏 太 极 拳 推 手 技 法 3. 3. Note: Power applied in the initial stages should be slow rather than quick. Place the elbow below the knee (Fig. 王 西 安 Fig.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. Incline the body forward in the same direction.102).102 104 . This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). Practice this sequence in rounds from left to right.
• At same time. 3.104). Tui Na. Shuang He Fu Cai Na. palm up (Fig. 3. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. • Extend the left foot and left hand forward. • Relax the left side of the crotch and shift your weight forward to the left. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.103 Fig. • Rest the right hand near the right ribs. Xiong Na.8.3.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. Chan Rao Na. palm facing in.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling.103). 3. Fu Na. Diao gai Na.104 105 . • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. and Shuang He Na.
then you must respond promptly by swapping the reelings to the opposite hands. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. drop the elbow. . in order to block the opponent’s energy path. and lower your waist and Qi. Repeat the above sequence. but she evades your attack by ducking down. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. even though you deliver the power later than the partner. changing the weight from left to right. Try to relax at every step while applying the seizing action firmly.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. lower the shoulders.e. Your moves will become more effective as your internal Qi integrates more closely with the external movements. 王 西 安 106 Closing with the left while seizing with the right and vice versa. After seizing. Note: Shun and Ni reeling are interdependent and cannot be separated. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. When seizing. you will be able to execute these changes quickly and smoothly. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. if you practice each side diligently. Seizing techniques are quite difficult to practice. move the weight slightly backward then move forward again. With practice. tighten the ribs. i. Shun reel with the right hand and Ni reel with the left. roll the chest in. this time reeling in Shun direction with the left hand and Ni direction with the right.
placing it in front of the chest. Then lower the right hand to the right ribs. At the same time. and shift your weight to the right side. 3. and clench the right hand into a fist.105). lower the Qi. tighten the ribs.106 Fig. relax the left side of the crotch and shift your weight to the left. extend the left hand forward to rest in front of the body (Fig.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. As you do this. Again.107). The shift to the left enables you to hit the target clearly (Fig.3. • • • • • 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. 3.106). 3. 3. 陈 氏 太 极 拳 推 手 技 法 Fig. Relax the left side of the crotch.8. palm out. Then rotate the right hand and body to the right. roll the chest in.105 Fig. 3.107 王 西 安 107 . 3.
• Close the crotch.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. • Step the right foot forward and pass the right hand across the left side of the body. Shift your weight forward and accumulate power well.108). 王 西 安 108 . Relax the crotch. • At the same time. The strike is actually applied by the left side of the chest. Make sure to keep your own axis when seizing the opponent. 3. Move quickly and follow your partner but do not lose power. The left hand leads by closing the power causing the right hand to follow. palm facing right (Fig. while the two hands serve as supports.8. roll the chest slightly inward and gather the ribs. reel with both hands in a Shun direction. Match the speed of your movements to that of your partner. and gather energy in the ribs. rotate the body. Draw the arc with the intention of meeting the opponent’s hand. palm facing left (Fig. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. • As the weight shifts to the left. Move the whole body in a natural and relaxed state.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. 3. the palm forming a “八” (Ba) shape. • Step the left foot forward and extend the left hand to the front. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground.” 3. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. lower Qi to the abdomen in preparation for the inward roll and seizing.109). the force of upward suspension maintains the axis.
110). clench the left hand. 3. the left hand moves lightly and assists the right. The abdomen provides the main supporting element. seize with the right and roll the abdomen – these three actions combine to become one power. whose movement is heavier (Fig. 3. 3. The eyes look forward and to the left.Fig.110 109 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.109 Fig.108 • • As the Qi descends. 3.
At the same time.陈 氏 太 极 拳 推 手 技 法 In summary. move the palms up to chest level and seize the opponent’s elbows using Na power. 3. palms about 10 cm from the lower abdomen. while the hands use Na (seizing) power to collect inward. Concentrate your energies then pounce on your opponent like an agile cat.111). roll the chest slightly inward. and commence shifting your weight forward. 3.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. As you seize. • • • • 王 西 安 110 • • Take a half step forward with the right foot. Direct the eyes to the front. followed by the left. do not be kind to the foe for the opportunity to attack comes just once. facing in so that the fingers are directed towards each other. and both feet standing steadily as the hands move. whereby the abdomen gathers power to support the hands. . push the abdomen out suddenly (Fig. 3. the right foot steps forward. Continue to shift your weight forward. and gather them towards you (Fig. immobilizes their wrists by bending them outwards. keep your intention firm for victory or failure will be decided in a second. As your weight shifts. 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.8. Move swiftly without hesitation. capture and immobilize the opponent. extend both arms to the front.112). bending them at the elbows. the right hand moving down while the left moves up. Both hands extend forward in sequence.
• • • • Step the right foot forward and pass the right hand across the chest. 陈 氏 太 极 拳 推 手 技 法 3. 3. and lower Qi in your abdomen before protruding it forward.111 Fig. Reel the left hand forward. fending the opponent off upward to the right (Fig. so that you respond by moving your weight forward.113). supported by the warding right hand.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.8. Lower the right hand then cover it with the left. 3.Fig.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. 王 西 安 111 . Step the left foot forward and shift your weight to the left. 3.
陈 氏 太 极 拳 推 手 技 法 Fig. not like a thug. by taking a step forward (Shang Bu) each time. Alternate practice on both right and left sides. Combine them with the power of chest to become one power (Fig. tendons and veins. 3. Collect the body by rolling the chest slightly inward.113 Fig. 3. .114). 王 西 安 112 Note: If Qi descends smoothly. Collect the hands inward to about 15 cm in front of the chest. bones.114 • • • • Put your body in a squatting position by bending the knees slightly. gathering the ribs and lowering the waist and Qi. Step the right foot forward again and repeat the above steps. 3. But remember: practice like an adept. this technique can be used effectively to break wrists.
the Three Powers (Jing Qi Shen) combine to seize the opponent. The powers of the left arm and right hand unify as one. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.8. 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. In this way. • As you step. fingers pointing forward. 3. 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.3. Lower your Qi. • As soon as the right hand reaches the level of the left leg.115 Fig. • Bend the left arm inward to gather both palms.115). • As the weight moves forward.116 113 . • As the knee swings inward. and move both hands to assist the left leg. 3.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. • Step forward with the left foot and extend the left arm to the front. relax the crotch. shift your weight forward and bend the knees slightly so that the body squats like a bent bow.
3. • Step forward with the right foot.117). • At the same time. shift your weight to the front and extend the left arm again to repeat the steps and seize once more.116). shift your weight quickly to the left and step forward with the right foot. • Then lower the right arm by executing Lü downward in Ni reeling. spiral the right hand up from the right side into an arc. As you step forward. guiding it to the right ribs for support (Fig. Then step forward with the left foot. 王 西 安 Fig. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (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.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. gradually guiding it inward to rest in front of the right ribs. 3. 3. 3.8.117 Fig. The changing of the legs happens quickly.118 114 . 3.
119). Continue to move the right hand and foot forward. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. 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. When the right hand moves up.119 • • • • • • As soon as the right foot touches on the ground. As the hands move. 3. The intention is to have the whole body collecting and seizing together with the hands. lower the shoulders. 3.118). shift your weight to the right and step forward with the left foot. 3.Fig. roll the chest slightly inward and bend the knees slightly into a squatting position. As the right foot touches the ground. shift your weight to the right and move the left foot and hand forward (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 . Then move the right hand forward in Shun reeling until it reaches the same level as the nose.
3. Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. then gather both hands and grasp the opponent’s wrist firmly downwards. 3.121).120).120 Fig. This step marks the transformation of Peng (ward off ) to Na (seizing). 王 西 安 Fig. step forward with the left foot and shift your weight to the front. 3. strengthed by whole body coordination. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig.121 116 .陈 氏 太 极 拳 推 手 技 法 3. rolling the chest inward and tightening the ribs. 3. At the same time. Bend your knees so your body squats like a bending bow.8. Combine this with the power gathered in both hands and seize with one force. Prepare for the seizing by lowering Qi to the Dantian.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize.
• Stand with both feet in parallel. Shuang Wan Zhi Jie 4. • Inhale. This technique enables a practitioner to avoid capture or break a hold. and finally the index finger. the Guan Gong Jie Dai technique is said to be named after its creator. Guan Gong. • Move Qi in from the outside and lower it to the Dantian. such as a waist grasp from the rear to throw you down. Diao Wan Qu Zhi Jie Tuo 3. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3.9.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. Shan Jing Zhen Zhang Jie 8. • Next. shoulder-width apart. 王 西 安 117 . middle finger. • Hang the hands naturally at the sides. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. ‘Wars Among Three Countries’ by Guan Yu. Qu Wan Fan Na Jie 6.3. 3.122). eyes looking forward. Guan Gong Jie Dai 2. Shan Jing Ce Jian Jie 7. then the ring finger.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. Chuan Zhang Jie 5. Fan Na Cu Bu Jie 9.
If the fingers are being held. otherwise it is not easy to unfold (Fig. the squatting of the body. This technique becomes effective only after extended practice. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip).123 • Synchronise the speed of this movement with that of the body.123). the gathering of the ribs and the hooking of fingers should combine to become one unit. and also with the speed of Qi descending. 3. 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. 王 西 安 118 3. hook the wrist and bend the fingers to escape.122 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. .9. 3. In this way.
you relax and elongate your encaptured arm.125 • • • • • If the fingers of one hand are seized by the opponent. slowly bend the wrist and fingers. and lowering your Qi as you do so. 3. By the end of your movement.124). join the fingers of your hand together and point them diagonally upward to the right (Fig. 王 西 安 119 . Practice these steps with both hands in turn. unblocking the arm area being attacked. Move your body to transform the attacking power.124 Fig. rolling the chest inward. lowering the elbows. 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. 3. 3.Fig. relaxing the shoulders. By doing this. so that Tuo (escaping) power can reach the fingers effectively. As you move. 3.125). your conjoined fingertips and knuckles should be able to escape with ease (Fig.
3. Just focus on relaxing and lower the Qi.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold.126 Fig.9. 3. lower the shoulders and elbows. clench both hands into fists. 3.126).127 120 . 3. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. • • • Step one foot forward and shift your weight to the other leg (Fig.陈 氏 太 极 拳 推 手 技 法 3. then move your arms forward and upward as your weight shifts forward (Fig.127). roll the chest inward. While doing this. 王 西 安 Fig. It is not necessary to use large movements in this technique. closing your hands while opening the opponent’s. bend the arms. At the same time. tighten the ribs. and lower the Qi so that power can flow smoothly to the inner side of the wrists.
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. 3.129 121 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. tighten the ribs.128 Fig.3. and roll the chest inward.9.128). • Bend both arms 90o inward and cross them in front of the chest. and lower the shoulders. • Bend the knees slightly to place the body in a squatting position. elbows. • Two feet stand flatly and the body stands straight. two eyes look forward horizontally. placing the right hand on the left (Fig. 3. and Qi. 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). 3.
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.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. Then ward off (Peng) by pushing both palms outward. 3. It requires you to twist the captured fingers outward in Shun reeling. 3.9. and lock the palms of the opponent.129). Do not rush forward but defend you territory in straight postures (Fig. If you choose to turn to the right: rotate the body to the right then left. then rotate forward again.131 122 . 3. 3. 王 西 安 Fig. and move the right hand in Shun reeling while the left does Ni reeling. swapping the Shun and Ni reeling to the opposite hands.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.130 Fig.
then bend it about 450. relax the shoulders. 3.Fig. 3. Rotate the arm about 1800 outward in Ni reeling. extend the left hand forward to support the right hand as it seizes downward (Fig.132). If you practice diligently. 3.131). wrist bent inward in readiness to seize and fend off danger (Fig. As you do this. As the right toes touch the ground.132 Fig. 王 西 安 123 . 3. Your movements should be relaxed and executed with power at all times. it will be difficult for opponents to overcome your attacks.130). 3.133). 3. 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. 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. Apply the principle of constant change and flexibility in Taiji circles. raise the elbows. step the right foot forward (Fig.133 • • • • • Extend your right arm forward. palm facing left (Fig. While rotating the arm.
you should rotate externally and upward in Ni reeling. right fingertips initially pointing downward. so that the power of the left hand combines with the right to become one.134 Fig. then move swiftly to the right to destabilize the opponent. this sequence of movements make up the Shan Jing Ce Shen Jie technique. In response. • Extend the right arm horizontally and bend it 900 inward. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push).陈 氏 太 极 拳 推 手 技 法 3.135 124 . 3. coordinating it with the lifting of the back and the descending Qi. • Simultaneously.9. roll the chest inward. move the left hand rightward to the front of the chest. 3.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. 王 西 安 Fig. palm facing right. • As the right palm reels outward. the palm gradually guided by Ni reeling to slant externally to the right. • The right wrist bends inward with the arm to rotate the hand in Ni reeling. Together. Next.
If the opponent seizes your forearms: • Retreat half-a-step with the left foot. 3. touching the ground with the toe tips (Fig. 3.• • • As your left hand moves.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. make a big step forward with the right foot. shift your weight to the left . you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. Almost at the same time. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. So Shan and Jing serve as the pre-condition of escaping. All the above movements of the hands. then quickly step the right foot forward (Shang Bu).9. Note: Move in Ni reeling while the opponent moves in Shun reeling.135). then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). giving him a sense of losing of Qi. and thus enabling one to evade capture. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. because with these. 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.134). 陈 氏 太 极 拳 推 手 技 法 3. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. The above movements of both arms and the right foot should occur in one very smooth and swift motion. 王 西 安 125 . The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp.
step forward quickly and attack with the palm (Fig. 3. the body squats.137 Fig. 王 西 安 Fig. 3. slowly raise both hands and bend them inward about 1800. 3. At the same time. then Shang Bu (take a step forward). and both palms draw inward. This power should be quick and strong.137). open both fists and shift them away from the sides of the body. clench the hands into fists and place them at the sides of the body (Fig. and the extending palm reaches the right position at the same time. palms facing up and eyes looking forward.138). then the whole body sends a Dou in a circle in Shun reeling (short power).陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. Next. 3. Simultaneously. 3. As soon as you surprise and destabilize them with your moves. palms facing up and the two little fingers placed on the middle of each arm. When the body and two hands send the Dou power.138 126 .136). use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. 3.136 Fig.
Two elbows draw inward and hands move outwards. It is not wise to grasp the opponent’s elbow with your fingers.140). fingertips slanting up (Fig. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. Step diagonally right with the right foot. extend the left hand from left to right. then shift your weight to the left and inclining the body to the right to hold and collect. palm facing out. 3.9. holding and collecting a quicker speed. extend the right hand diagonally forward to the side. and attacking by the Cu Bu or Dun Bu technique (stomping). thumb separated from the fingers (Fig. the partner cannot reach you though his attacking power is strong. As the right foot steps on the ground. Bend the knees slightly to place the body in a squatting position. 3.It is just like the poem reads: ‘It is not a failure if you retreat your pace. 3.139). At the same time. because sometimes appropriate retreating gives one a closing power. which is against principle. you find escaping easy. since he or she can easily twist your fingers and get you caught’. Then push the left palm to the right. With Shan and Jing.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. 王 西 安 127 . first bending it inward then moving it outward to the right.
3. Stand rooted like a big tree.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. paying attention to the upper and lower body and your surroundings. Then you will free yourself from capture. 王 西 安 128 . Even if you sense the opponent’s intention to move. Incline your body and explode the energy with great unity by stomping with the right foot. from slow to quick. Be patient and diligent with practice. This power can only be gathered with greatly unified power.139 Fig. the body should move from high to low. side pushing with the left palm and exhaling at one time. from long power to short power. 3.陈 氏 太 极 拳 推 手 技 法 Fig. During the practice. do not react or become anxious but remain confident in your prowess. only by this will you increase in strength.
• In this way. 3. exhale. tighten the ribs and lower Qi to the Dantian. As you do this.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. 3. • Step the right foot forward. bending inward about 90o.141 Fig.9. • Next. palms facing in (Fig. separate the hands to the sides of the body. the hands wrest free of the opponent’s wrist grip. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Extend both arms forward.141). eyes looking forward (Fig. roll the chest in. 3. the left hand in Ni reeling and the right in Shun reeling.3. lower the shoulders and elbows.142). palms facing each other. breathing in as you do this. 3.142 129 . • Then bend both wrists inward.
3. finally returning them to the front of the chest to repeat the cycle (Fig.143 Fig. You can escape from seizing by one closing and one opening.144). then raise your hands.143). During practice. keeping both arms tightly together like pincers. 3. then separate them to each side. 3. Palm Inserting Down) (Fig.144 Notes The extent to which you separate your hands depends on the opponent’s grip.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 130 . If you still can’t free your wrists with this technique. insert both palms downward (Xia Cha Zhang. 3. then you transform and eliminate the seizing on your wrists. If you cannot push the opponent’s hands away. 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 .
Wu Ji Zhuang (Wu Ji Posture) 2. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. 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).” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). Kai He Zhuang (Opening and Closing Posture) 4. Lü. Taiji Yangsheng Zengqi Gong can be divided into six postures. As Qing Dynasty Taiji Master.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. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. These movements are applied throughout the whole system of Taiji and Tuishou practices. Peng. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. states: “If a tree has deep and strong roots. its leaves and branches must flourish. opening and closing. 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. rising and falling. San Ti Shi (Three Postures) 5. Ji and An.陈 氏 太 极 拳 推 手 技 法 4. Chen Xin. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. Chan Si Zhuang (Reeling Silk Posture) 6. each of which can be practiced individually or in sequence: 1. .
eyes closed. Hang both arms at the side of the body and relax.2 wu ji zhuang (wu ji pOsTure) 4. Open your eyes gradually. keeping your mind relaxed.1 Postures a) Posture 1 • • • • Stand upright. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Concentrate your intention (Yi) in the Dantian. breathing gently and slowly.4. feet parallel and shoulder width apart. 4.2.1 133 .
王 西 安 Fig.3). do not do it so gently that Qi becomes too soft and weak to reach every part of the body. the reverse for females (Fig. On the other hand. 4.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides.2). the right hand rotating in Shun reeling and the left in Ni reeling. Take care of these points and you will not lose power (Diu Jin) unnecessarily. 4. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body.2 Fig. palms facing downward and slanted diagonally (Fig. 4. the right over the left for male practitioners. 4. Try to expand your arms moderately. 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.3 134 . when it should actually be solid. Lower the hands onto the abdomen.
2. Gather the chest and ribs inward. Your elbow joints should be lowered. 3. Your shoulders should be loose and slightly lowered. 4.4. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. lower it when exhaling. until they reach the lower Dantian. Lift the buttocks and anus up a little. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. 4. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. bend the knees slightly and grasp the ground gently with the toes. 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 . the mind and facial muscles naturally relaxed. guiding the Qi and saliva through to the middle Dantian. 2.2.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). The neck should be firm and straight. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. inhale and then swallow saliva down into the stomach. The whole body will be steady if you gather the internal organs consistently. so that the waist descends naturally. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue.2 The requirements for every part of the body 1.
Raise your Yi (intention) from the Hui Yin point (perineum). Feel the sensation of all the body joints. up along the spine. skin and fine hairs opening as the Qi rises. leading to Qi filling and blocking the chest. through the Wei Lü Guan point. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. which will help with the distribution of Qi around the body. Maintain your vertical axis. roll the chest slightly inward. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. While exhaling Lower every part of the body. By practising the above key points. keeping your body upright and lifting your back slightly.陈 氏 太 极 拳 推 手 技 法 2. so that they all have the same rhythm. 3. until it reaches the Bai Hui point. across the Yu Zhen point. Practice also enhances your ability to guide Qi with Yi (intention). you will enlarge your vital capacity and exercise the diaphragm muscles. 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. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). 王 西 安 136 . While lowering the internal Qi.
4. thinking. Qi cannot be separated from Yi (intention). Only through mastering your mental activities such as intention. Qi follows Yi. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). quietude and concentration.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. Practitioners should modify the scope of their practice according to their level and progress. patients and the correct mastery of key points. and emotions. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. just as Xing (posture. and achieve the smooth Zhoutian circulation and help with body combat.2. However. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . Beginners generally find it difficult to remember the postures and key points. The key requirements for practice are relaxation. these can be accomplished only by hard learning. During Wu Ji Zhuang. Only these can guarantee normal and healthy internal Qi circulation. consciousness. external movements) follows Qi. can the mind obtain full rest and be adjusted so that every organ system may be well promoted.
as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.” Hence. is an important basic skill in Chinese Martial Arts.3 hunyuan zhuang (circle pOsTure) Zhuang skill. 4.4 Fig.1 Postures 王 西 安 Fig.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation.陈 氏 太 极 拳 推 手 技 法 4. 4. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill. 4.5 138 .3.
if closed. Next. 4. Lower the elbows and shoulders slightly. focus on a static object at the same level as your eyes. The old and weak may practice using a high body stance. fingers pointing at their counterparts about 30 cm apart. b) Posture 2 • • • Separate the hands when the left foot reaches ground. Stand with your feet parallel. the neck. If your eyes are open. Bend the knees so that the body is squatting a little. 王 西 安 139 . Leave your eyes naturally open or close them. with practice duration increasing gradually from short to long. waist and crotch.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. mid-level and low. The upper body should be kept upright. Relax the shoulders. Keep the head naturally erect.3.4). then move them back to the middle. a little more than shoulder-width apart.5). Execute the posture as if embracing a big tree. Keep the fingers evenly open and slightly bent as if half grasping a sphere.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. waist and back straight. focus your attention on the Dantian (Fig. 陈 氏 太 极 拳 推 手 技 法 4. 4. then lower the waist (Fig. shift your weight to the right and lift the left foot and take half a step to the left. The palms face each other.
Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. until it reaches the Baihui point. touch the palate with the tip of the tongue. This relieves or may even stop the trembling for a period. and guide the saliva down to the middle and lower Dantian. the thigh muscles and even the whole body may tremble rhythmically. 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. inhale slowly first. then a low stance. 王 西 安 140 . increasing to thirty or forty minutes at later stages. The trembling may only be detected by touch or by close observation of the leg muscles. Inhale again as the body rises. swallowing your breath with saliva. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). Now lower the tongue and inhale. Should this happen. becoming gradually longer. then lower your body again. when doing Standing Zhuang at a high stance. you should raise your stance slightly to rest. At the same time. up the spine. Wei Lü Guan. raise Qi from the heels up the legs. In this case. Que Qiao. For example. Du Mai. past the Yu Zhen point. Beginners will find that the thighs may ache after two weeks of practice. and slight trembling may occur. At this point. then bend the knees to lower the body until the buttocks are at the same level as the knees. graduating to midlevel. through the Ren Mai. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. Practice duration can last just a few minutes in the initial stages. although this may become more obvious with prolonged practicing at mid or low stances.
Practice this process repeatedly. The body weight is always subtly moving in various directions. like a wild goose flies off and falls.3 Breathing Breathing is an important element of Zhuang skill. as it responds to the circulating blood. breathing motions and digesting processes. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. It rises and falls like a boat in the ocean. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . Zhuang skill is actually a practice using static strength and tension. Standing on the ground steadily like a mountain. 4.3. the body quivers in a relaxed and peaceful state of mind.As you exhale slowly. but the apparent non-activity is misleading. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs.
In the initial stages of practice. relax and open the internal organs. 4.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. 4. the palms face inward and the eyes are slightly closed (see Fig.6 Fig.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang.陈 氏 太 极 拳 推 手 技 法 4. 4.7 142 . extend your breath slowly through the practice process. Gather the chest and abdomen. the breath is usually short. At the same time.4. the body rises slightly with the inhalation. the middle fingers connect. as are the requirements and key points for the body parts. 4. The navel and Ming Men are in the same rhythm. 王 西 安 Fig.8). The distance between both arms starts short then grows longer. The only difference is that in this posture.
Qi appears between finger tips of both hands like a magnetic force. Relax the body. lower the waist and gather the rib muscles. At the same time. 4. Focusing on your intention (Yi). Acting slowly. use your intention to guide the current outward. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. b) Posture 2 • • • • • • Exhale and gather the organs. Do this practice slowly.Note: when you inhale and open up. Roll the chest slightly inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. All internal organs are filled with strength. using your intention (Yi). crouch down and lower the elbows.8 143 . the navel and the Ming Men Mai swell out. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. Drop the wrists and hold the palms facing inwards in a concave shape.
It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. 4. For thought (or attention) to combine with intention. as well as breath control. one’s thoughts need to implement intention consistently. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. For example. Lastly. Qi and strength. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. gentle and even. and also helps the practitioner build skills in relaxation and quietness. This practice also strengthens the practitioner’s ‘root’.4. it also helps increase internal strength and distributes Qi around the whole body. . For example. Qi here refers to the fresh air exchanged between the lungs and the outside. the ebb and flow of Qi and strength (or power) are in synch with each other. when extending the hands. This is called. if you require the breath to be slow.2 The relationship between Thought. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. as well as the internal Qi moving in the body with the guidance of your intention. “the internal Qi moves inside”. In this way. and when Qi rises – the body and internal organs gather slightly.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. intention and Qi. then your strength must be soft.
and are one of the main requirements in Zhuang skill. In particular. the chest. abdomen and back.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. this movement becomes a conditioned reflex and helps move muscles which are normally static. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. Guided by intention. 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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 .
. then open your eyes and look into the distance. then shift your weight forward from the left foot to the right knee.9). make sure your eyes are drawn inward to looking internally. The fingers are poised as if grasping the air. At the same time. suffusing it with saliva and Qi and lower it to the middle and lower Dantian.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward.10). a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. 4. This posture could also be called a sideways Bow Step (Fig. focusing your intention in the Dantian. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. raise both hands above the right leg. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. inhale and move your weight backward. 4. Expand the crotch like a circle. Next. Start the posture with your eyes closed. Swallow the fresh air inhaled. Gather the Lao Gong points of both hands inward. the right hand in front of the left.陈 氏 太 极 拳 推 手 技 法 4. The length of inhalation should match the speed of the weight shift. Purify this saliva with your intention. When inhaling. then breathe it out slowly as you move forward (Fig. When the weight shifts completely to the left leg.
9 b) Posture 2 • • As Qi is lowered into the Dantian. 4. As you exhale and shift your weight forward.10 Fig. lower the waist. close and fold your strength into your chest and waist. 4.Fig. then push both hands forward slowly (Fig. 4.11 147 .11). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. You need to have the feeling of closing before opening. 4. Repeat this process alternating the left and right sides.
on the contrary. then your progress will be poor. Through serious dedication. Only after prolonged practice can confidence be nurtured. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. and great determination. practioners will make the expected progress. If. your belief is half-hearted. 王 西 安 148 . Indeed. leading to progress and experience of the benefits. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. confidence is a critical prerequisite.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. Confidence in Zhuang skills grows with practice as difficulties are overcome. So where does confidence come from? From practice. your practice hesitant and inconsistent. persistence may be engendered. With confidence comes determination. with confidence and determination. determination. In sum. and hold firm to these attributes throughout path of practice and study. practitioners are required to cultivate their Three Spirits when they begin practice. and persistence. You can persevere only if you firmly believe in the benefits of Zhuang skills. confident and diligent practice.
Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). 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.12). • The fingers of the both hands point to each other. Peng force is maintained while the foundation of the body is reinforced as well. 王 西 安 149 . inhaling all the while (Fig. both palms facing forward. 4. 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.4.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. 4. As you step forward. extend both hands forward with the right hand before the left. • At the same time.6.
4. 4.13 Fig.12 王 西 安 150 Fig.14 .陈 氏 太 极 拳 推 手 技 法 Fig. 4.
Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. turn the waist and twist the crotch. 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. When the left hand executes Lü (roll back) to the middle of the body. withdraw the right hand so it intersects the left. lower the shoulders. As the weight shifts. Both hands make a half fist when reeling.b) Posture 2 • • • • • • • Next.14). Inhale and swallow saliva. 4. suffusing it with Qi before lowering it down to the middle and then lower Dantian. rotate the left hand in Shun reeling in front of the lowered abdomen.13). When this happens. you will lose your weight and axis). otherwize. you start to repeat the sequence. As this happens. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. At the same time. inhale and crouch the body slightly. keeping the left hand inside and the right outside (Fig. relax both arms. drop the elbows. gather and close the whole body so it forms a posture prepared for opening activities. 4. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. As you shift your weight. 王 西 安 151 . step the right foot on the ground. relax the right crotch and shift your weight gradually to the right. the right hand in front of the left. open both fists into palms facing inward.
This is a primary sign of beneficial Zhuang practice. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. This helps in the exchange of carbon dioxide and promotes metabolism in the body. inhalation/exhalation being one breath. your breath should be natural and of the proper duration so that it enhances body combat and health. you will feel your key joints and your arteries and veins become unblocked and re-connected. Only by this can you avoid errors and side effects. The normal breath frequency of adults is six to twenty times per minute. decreasing to seven or ten breaths per minute. and comes only after accumulated practice. Ren Mai starts 王 西 安 152 . Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai).陈 氏 太 极 拳 推 手 技 法 4. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. After mastering the key principle of natural breath. you should focus on increasing the duration and depth of your breath. then to five times per minute.6. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. After practicing Zhuang skills for a period. 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”). Inhalations and exhalations should be of proper length. Therefore. the breath can become slower and longer. When you practise Zhuang skills to a certain level. Dual practice with Yi (intention) and Qi connects the whole body. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. This phenomena of “connected arteries. and even to one or two times per minute.
the five sense organs internally gathered. Du Mai starts at the perineum. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. all channels extended and unfolded. deeper. In Da Zhou Tian. then infusing Qi into the Dantian. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. the difference being that Da Zhou Tian extends Qi to the lower limbs. the body should be relaxed. Jia Gu Guan. except that the breathing in the former is longer. and Yi and Qi should move in the required routes. The Qi of Da Zhou Tian originates from the Yong Quan point.from the tip of the tongue. and Yu Zhen Guan. even and quiet. For both. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. The whole process of moving Qi through Ren Mai and Du Mai. more gentle. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. reaches the Bai Hui point through Wei Lü Guan. 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. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. reaches the perineum through the Dantian and then connects to Du Mai.
bring in the arms and place both palms in front of the abdomen (Fig. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”.16 154 . At the same time. close your eyes and inhale. then bring in the right foot so that both feet are a shoulder-width apart. Swallow Qi down with saliva and guide it down to the middle Dantian.15 Fig.陈 氏 太 极 拳 推 手 技 法 4. 4. 4. 4. 王 西 安 Fig. then infuse it into the lower Dantian.15). Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. a) Posture 1 • • • Shift your weight gradually to the left leg.
4. 4. Clench both hands into fists and lower them to ear level as the body lowers.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. finally placing them in front of the shoulders. 4.17 Fig. 4.18). swallow Qi and saliva and infuse them into the lower Dantian (Fig. pointing the fingertips upward. palms facing each other. fingertips pointing obliquely down.17). Then using the little fingers to guide the energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. As the body lowers. 4.16). separate the arms to the sides. lift both arms upright.18 155 . Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. palms facing in (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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the positioning of the anus also needs careful attention. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. To help you master correct Dang postures in routine and Tuishou practice. This requires the left leg to be solid with the lower leg standing upright. Ding Dang. the weight distribution is 3:7. 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.The Anus In the same way that the positioning of Dang is very precise. Yuan Dang.2. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. and it became difficult for vena blood to flow to heart. In Taiji practice. advocating contraction of the anus during physical exercise as a remedy. After humans evolved to the upright posture and started to walk. In ancient times. a short introduction of key Dang movements. womb and so on. womb prolapse and so on. For example. rectocele.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. 王 西 安 161 . anus contraction should only be slight and done in a natural way. Jian Dang and Tang Dang. 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”. A brief introduction is provided below. the left knee and ankle vertically aligned to each other and the ground. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. are described below: 陈 氏 太 极 拳 推 手 技 法 5. Doing so over an extended period can have a positive effect in curing hemorrhoids. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine.
If a practitioner is advised to relax. there are many opportunities and responsibilities. As for practitioners. innate talents. 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. 王 西 安 162 . This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. it is very difficult to correct bad practice habits solidified with prolonged practice. For example. energy in the legs is strengthened and the body is well supported. That is. Hence. 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”. 5.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing.陈 氏 太 极 拳 推 手 技 法 In this way. at the end of the Dan Bian (Single Whip) posture. when the right leg moves to the side. which means there will not be opening-closing power if he or she crouches in the Horse Stance. This should be corrected at the earliest stages of learning.” Indeed. Some perform better than others due to learning abilities. These traditional teaching methods should be changed as implied by the adage. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. and at this moment Dang should open in a circle so that both legs can support all parts of the body. “It is easy to teach but hard to change what is learnt. the right knee should incline outward. In traditional teaching methods. the body crouches as the right knee moves outward.2. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. the root of Dang should be relaxed. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves.
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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with attackers changing to defensive roles in an instant and back again without warning. 王 西 安 168 . Indeed. your opponent may respond defensively with Xiong Kao (Kao by chest). practitioners may master its secrets and principles with serious study. the attack-defense stances change dynamically.1 Overview Within the Chen style Taiji routine. we will describe how to apply these eight Tuishou techniques in sparring practice. In this chapter. For example.陈 氏 太 极 拳 推 手 技 法 6. since both the attacking and defensive movements are interrelated and cannot be separated. you can defend using An (pressing). if you advance using Ying Men Kao (Kao diagonally to the front). if the opponent attacks using Jian Kao (Kao with shoulder). While the combinations of Tuishou moves are infinite. Tuishou is commonly divided into eight categories. then strike back with Jian Kao. For example.
Da Lü (larger scale movements) 7. Shun Bu Tuishou (Tuishou with movable footwork. where the the practitioners are no longer oblidged to the sequences or fixed routines. normally a forward step then a backward step) 6. He Bu Tuishou with static footwork. i. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. which is regarded as the highest level of Tuishou.6. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. while Tuishou) 8. and any movements can be exerted by intention. silk reeling in the shape of a flower) 2.e. Luan Cai Hua (Picking Flower. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . Dan Wan Hua (Coiling Flower with Single Hand.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Jin San Tui San (both parities advance and then retreat for 3 steps.1.
In moving footwork such as Shun Bu (walking backward and forward) and Da Lü.陈 氏 太 极 拳 推 手 技 法 6. including: 1. Bing Bu (step touch. An) is usually applied. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. Si Yu Shou hand techniques are always used. feet placed together ) 7. i. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. Zou. Dian Bu (stepping on toe-tips) . Lü. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4.1. Duli Bu (standing on a single foot) 8. Xuan Wan (rotating wrists) 4. Shuang Tuishou (Tuishou with double hands) 3. Dan Tuishou (Tuishou with single hand) 2. as follows: 1. Ji. Ding Bu (static footwork) 2. or Kao hand techniques. Huo Bu (moving footwork) 3. Qie Zhang (palm chop) In static footwork. and not be limited to one or the other. There are many categories of footwork techniques.e. novices should start by learning one set at a time.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. However. Cha Bu (inserting steps) 6. these consist of the Cai. During sparring. Si Zheng Shou (Peng. Bie.
6. palm facing in. 6.2 TuishOu handwOrk Techniques 6.6. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. In single practice. 6. one arm is extended horizontally sideways.2 171 . when both players retreat after being mutually warded off. the four fingers extended and joined together to form a slightly concave palm (Fig.2. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. 6. Da (meet) and Sao (sweep) movements. When cutting downward. In this posture. it is also applied to Gun (roll).2). 6. with the wrist lowered and fingers relaxed. with the forearm bent toward the upper arm at an angle of 450. roll the chest slightly inward and lower the waist and shoulders. Shuan (bind).1 Fig.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout.1). The elbow must be dropped. you need to place the body in a crouching position. The roots of the fingers are relaxed.2. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling.
3).3 Fig. if the opponent executes Lü on you. 6. 6. 6. The palm posture during this direction change is called Xie Tuo Zhang. then reverse to the Ni direction when the hands arrive at his or her body. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. During sparring. the hand is stretched upward to the sides (Fig. one player may guide the other to reel first in the Shun direction.2.4 172 . when hands are rotating horizontally in a circle.2. the power lies in the root of the palm. where the raised hand lies above the middle of the upper arm. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). 6. For example. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward.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 Xie Tuo Zhan In this technique.陈 氏 太 极 拳 推 手 技 法 6. 6. Xie Tuo Zhang is also applied in the process of Big Lü. In this instance. the little finger is used to guide energy and draw inward toward the thumb.4). 王 西 安 Fig. As you rotate the hand downward or outward.
5). Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). and gradually press your hands toward the opponent. Cha Zhang is widely used in Tuishou. see above). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2. • In Luan Cai Hua (palms reel in non-predictable angles. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. the hand is inserted upward or vertically/diagonally downward.5 Cha Zhang … Slanting Palm In this technique.6. see above).5 173 . This technique is called Diagonally Upward Cha. separate them and switch to Cha Zhang. for example: • When you rotate both hands in vertical circles. 6. insert your hand downward and rotate it in the Shun direction. 6. as the hands insert downward. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. then lower your shoulders and drop the elbows. fingers slightly parted (Fig.
6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. This way. you can rotate your arm with the middle finger.6). while the thumb and the index finger form a “ 八” shape.陈 氏 太 极 拳 推 手 技 法 6.2. Fig. and your partner exerts An to your hand. the ring finger. When you guide your partner via Shun reeling to the front of your chest. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig.6 王 西 安 174 . 6. 6. and the little finger bending inward. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle.
3 TuishOu fOOTwOrk Techniques 6. This knee is turned slightly outward to provide a frame for all parts of the body.7). the sole fully touching the ground.7 王 西 安 175 . The other leg bends with the intention to straighten.6. following the principle of ‘closing in opening’. 6. the Yong Quan point should be empty while the Dang is open with the intention to close. 陈 氏 太 极 拳 推 手 技 法 Fig.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. the knee positioned approximately above the tip of the foot (Fig. One knee is bent so that the body is in a half crouch. The toe tips point slightly inward. toe tips bent slightly inward. the thigh nearly parallel to the ground.3. In this posture. following the principle of ‘straightening in bending’. 6.
9).8 6. Fig. 王 西 安 176 . 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. straighten the front leg so that the back leg becomes the Bow leg.2 Hou Zuo Bu … Back Seat Step In this posture. Position both feet fully on the ground. 6. 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. When the weight is completely transferred. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles).8).3. knee bent slightly over the toe tips.陈 氏 太 极 拳 推 手 技 法 6. big Lü and Luan Cai Hua. toes grasping the ground.3. 6.3 Qian Dian Bu … Forward Tipping Step In this step. if the opponent presses on any part of your body with his or her hands or arms. It is applied widely in Tuishou. • This step is always used in Shun step. the heel touches the ground with the toes pointing up at about 450 (Fig. 6. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork.
10).3.10 177 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and Luan Cai Hua For example. 6. 6.9 6. 6.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü. if an opponent applies Lü on you. move your weight back and withdraw the front leg backward by stepping the toe tip back first.Fig. followed by the sole then heel (Fig.
12). 王 西 安 178 Fig. 6.e. which now lies close to the ground. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. Lü applied through large-scale movements) (Fig. in the ‘Dragon sweeps ground’ form. This posture is applied to Shun step. Big Lü and Luan Cai Hua.陈 氏 太 极 拳 推 手 技 法 Fig. For example.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. and is widely used in forward or backward movements (Fig.11). quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg. When the opponent applies Big Lü on you.12 . 6. 6. Hence the name ‘Falling Step’. 6.
with the other fingers slightly turned outward.13 179 . Shun Chan means to spiral energy from the outside to the inside. you can use Shun Chan to gather energy and edge into the opponent’s territory. In addition. 6. with the little finger guiding energy as it points to the thumb when it is drawn inward. The principle of Shun Chan is that with the elbows guiding the hands. in Bei Zhe Kao (Lean with back). while simultaneously executing Kao on the opponent. the term ‘reeling’ means to spiral energy. you draw the opponent inward into your territory. For example. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers.4.6. where it returns to its original position of circulation. when the opponent executes Lü on you. In Silk Reeling technique.1 Shun Chan … Conforming reeling In Taijiquan. spirals around the waist and shoulders. This move is called Shun Ji Shun Fa (i. the shoulders guiding the elbows and the waist guiding the shoulders. exerting Ji and Na in confronting reelings).e. power rises from the heels up the legs. enters the bone marrow through gaps in the scapula and travels down the arms.4 hand Techniques in TuishOu reeling 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory.
In horizontal circle rotations with single hand.陈 氏 太 极 拳 推 手 技 法 6. Note: to apply this technique precisely. In Ni Chan.14 Fig. 6. 6. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. Zuo Wan (descending wrist) technique is adopted (Fig. 6.4. 王 西 安 Fig. the thumb gathers inward and guides the little finger. Ni Chan is used to open outward. by using the waist to urge the shoulder. while the other fingers turn out slightly (Fig.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. 6.15 180 .4. 6. concentrate you energy in the wrist.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. Here. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent.14).15). roll your chest slightly inward and lower your waist. the shoulders to urge on the elbows and the elbows guiding the hands. shoulders and elbows.
At this point.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. by holding on to the opponent by the hand. while trying to ‘listen’. Cai. Ji. • For example. your right hand rotates at 90o towards the right side of body in Ni reeling. Lie.6. which is formed by pointing the little. 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). to provide a closing and opposing force with the three fingers (Fig.16 181 . through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. Lü. 6. in case of single hand rotation in the horizontal circle. Kao). the Shun hand changes to Diao Shou (Hooked Hand). An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). 6. Zhou.16). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Diao Wan is also widely applied in response to a Lü attack. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. and adhere to him or her.4.
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
Your step should be light. Shift your weight slowly to the left leg. 7.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7.2. Step the right foot forward. relax the crotch and lift the right knee.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. 陈 氏 太 极 拳 推 手 技 法 7. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. eyes looking forward (Fig. straightening the neck and lifting the top of the head.1). empty the Yong Quan point. Maintain the vertical axis. the left toes grasping the ground. heel first with toes pointed up.3).2).7. 7.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. 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. so as to avoid empty stepping (i. then slowly roll down the rest of the foot to the ground.2. 7. As your weight shifts. 王 西 安 187 .2.e. precise and full of intention of listening. stepping without thought) (Fig. Continue relaxing the crotch. in preparation for the right leg step forward lightly. palms lightly touching the sides of the legs. 7.
3 7.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. right elbow and wrist. 王 西 安 188 Note: in later movements.4). thumb behind the fingers (Fig. the left elbow and the right hand should move coherently in collaboration with each other.2. Complete the movement by raising the right fingers to form the Li (erect) palm.2 Fig. 7.1 Fig. .陈 氏 太 极 拳 推 手 技 法 Fig. relax the left arm so that the left hand hangs down. 7. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. 7. 7. As the weight shifts. While the right arm moves.
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).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. 7.2.4 Fig. As you reel. 7. 王 西 安 189 . The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.5 7.Fig.
7).6 Fig. 7.陈 氏 太 极 拳 推 手 技 法 Fig.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. . 7. 7. right palm facing down and wrist bending 450 inward using the little finger as a guide.6). the elbow in a slightly warding off (Peng) position in coordination with the little finger.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. At this point. the weight shifts completely to the left. The right forearm now moves transversely in front of the abdomen. Step the right foot either flatly on the ground or with toe tips pointing up. When the right arm moves downward.2. 7. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig.
7. 7. Return the bent arm and the bow leg to their original positions (Fig. changing into Ni reeling.2. until it reaches the front of the right ribs. followed by the hand.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. Ni. three Shun reelings and two Ni reelings. 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. a 900 arc to the right side of body. Then place the palm downward (Fig. As the arm changes to Ni reeling. Ni.8). that is.2.9). extend the right hand slightly forward. 7.2. shift your weight to the right. Shun. While the right arm reels. pointing the right knee slightly outward and moving it in a helix. draw the chest slightly inward and relax the right side of the crotch. Rotate the waist to the right. Shun. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. power is most concentrated and exerted on the external side of the thumb and index finger.7. 王 西 安 191 . The 3600 rotation of the arm follows this sequence of changes: Shun. bend the knees slightly to place the body in a squatting position. 7.7 Part 7 • • • • Using the little finger to guide the energy. At this point.9 Part 9 • • Now using Ni reeling. using it as a pivot to rotate the right shoulder rightward.
and ensure your body weight moves back and forth in synch with the body movements. Ni. Shun. Shun. Relax the waist and shoulders. Practice alternating rotations with both arms so that there is a feeling of balance. 王 西 安 192 . when one body part moves then all other body part follow. the reeling sequence being Ni. Practice until you reach a level where when one body part keeps still then all other body parts keep still.8 Fig. rotate the wrist. practice on the left by switching to the left leg and the left hand. 7.陈 氏 太 极 拳 推 手 技 法 Fig. the upper body guides the lower body’s movement. Notes In these horizontal-circle rotations. that is. 7. Ni. When you feel tired practicing on the right. The movement of every part of the body should be continuous and synchronised – when the upper body moves.9 • The left arm rotates from the left. that is. The middle body moves in coordination with the upper and lower bodies. three Ni reelings and two Shun reelings. the lower body follows. all parts moving together collectively. the arms rotate with the waist and the axis while the hand guides the energy.
The whole movement is mainly guided by the rotating waist and relaxed shoulders.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. switch to Ni reeling.7. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. lower your Qi. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . Focus the eyes on the right palm (Fig. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. with the rest of the foot gradually fully touching the ground. • • • • • Keep your body weight on the left leg and step forward. 7. with eyes looking forward (Fig. palm slanting upward with intention to gently guide and draw in. 7. 7. Next. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo.12).10). Finally.11). It only requires vertial hand revolution and very small shifts in weight. Bend the left leg so that you squat slightly. heel first with the right foot. drawing an arc of about 180o which goes downward and then up to the right. Next. relax the left side of the crotch. drawing an arc of about 90o to the left. then turn the body to the left and raise the right hand in Shun reeling. then switching to 90o Shun reeling.
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. Vertical arm rotation is guided by spiraling movements of the waist and back. Practice rotating both arms in turn. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. reel in Ni to the right at 90o.陈 氏 太 极 拳 推 手 技 法 Fig. then reel in Shun. 7.11 Fig. Finally. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward. 7. 王 西 安 194 .12 • • When rotating in the opposite direction. 7.10 Fig.
Relax the left crotch and while focussing on the right crotch. shift your the weight gradually forward.15).13).4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. then raise the right foot. 7. 7. eyes facing the front (Fig. in preparation for action (Fig. the forward shift of the body should stop once the palms reach their natural end position. the palms should move forward at an inclined angle (see picture). 7. pushing both palms forward (Tui Palm) at the same time.14). otherwise the shape of the posture will be lost (Fig.13 Fig.15 195 . then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.7. 7. 7. Bend the left knee to put the body in a crouching stance. toes relaxed and pointing downward (Fig. This body posture is now one of holding and collecting. 7. Note: when applying Tui Palm. palms facing to each other. Also.14 Fig. Shift your weight gradually to the left leg. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.16). 7. Raise the forearms 90o upward.
陈 氏 太 极 拳 推 手 技 法 Fig. 7. 7. 7.17). Repeat the Tui Palm movement again. 王 西 安 196 . then lowering to the front of the abdomen. 7. 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.15) by drawing a circle by the sides of the body. then pushing both hands forward.16 Fig. palms vertical. imagining the hands seizing the opponent’s wrists by Diao (Fig. Practice this cycle. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig.
Raise the forearms 90o upward. eyes facing the front. Grasp the ground lightly with the toes and face the eyes forward (Fig. stated as follows: Stand at attention with the body upright and relaxed.18). palms facing to each other.18 Fig. Shift your weight gradually to the left leg. 7. toes relaxed and pointing downward (see Fig.7.14). drop the elbows and sink the Qi downward.19 197 . While raising the hands. 7. lower the waist and shoulders. 7. in preparation for action (Fig. 7.19). then raise the right foot. draw the chest inward.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. Bend the left knee to put the body in a crouching stance. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. This body posture is now one of holding and collecting.
cross both hands slowly in Shun reeling.21 • • • • 王 西 安 198 • Next. stopping at shoulder level (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. Next. extending the hands forward so that the left hand crosses over the inner side of the right wrist. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. During this process. 7. palms facing forward.20). finish the weight shift to your right leg.21). . Extend both hands forward in an ‘offering’ stance. As both hands separate upwards. with the intention of supporting something upward. push the crossed palms over the head in Ni reeling. At the same time. 7. 7. the palms descend to the sides. both palms facing inward. step the left foot on the ground and shift your weight forward (Fig. continue to draw your chest inward.20 Fig. after another small Ni reeling upward. 7. Then.
Note: as both hands separate outward. the chest. forearm. 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. while weight totally switches to the left. shoulders. palms facing each other. With body gathering. palms cross together. finger-tips pointing down. • • Now the left hand reels in Ni while the right hand reels in Shun. Closing form: palms continue to Shun reel. that is. Both hands then draw a downward arc to fall to each side of the abdomen. upper arm. only that palms in the latter move horizontally. strike out in succession to the sides so that the arms become a pulled bow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . so as to start a new cycle. then hands. You will feel the power after long practice.
22 Fig. • As the weight shifts.陈 氏 太 极 拳 推 手 技 法 7. palm facing forward.23 200 . with the foot gradually stepping fully on the ground. 王 西 安 Fig. 7. Ji. then bend it inward 45o. extend the right hand diagonally forward to the right. Note that one should practice with intention rather than by force. 7. palm facing in. Lü. • Stand at attention. body and steps.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. Coordinate the movements of your hands. The key points are the same as those of solo Tuishou. thumb pointing down and the little finger pointing upward. act as if sparring with a partner. When practicing. heel first. • Shift your weight to the left leg and lift the right foot to step forward. and An. Extend the left hand transversely and place it on the middle of the right upper arm. eyes. Open every body part to make your rotations natural and flexible.
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.25 201 . Relax the right crotch and turn the body to the right. lower the right shoulder and drop the right elbow. relax the left crotch. 7. the left hand ahead of the right. 7. and the eyes look forward to the right (Fig. as the left hand moves inward in Ni reelings. Meanwhile. raise both hands in Ni reeling. 7. 7. the arm opens like a circle.22). shift your weight left and focus your eyes on the front of the right hand (Fig.23). focus your intention on meeting and holding the opponent’s hand. and so continue to Peng upward before executing Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Move the right hand in Shun reeling. During this process. At the same time.24).24 Fig. 7. Next. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. the wrist bent slightly inward and palm facing inward. As the left hand rises. Shift your weight to the left slightly then to right.• • • • • The left arm intends to Peng outward.
pushing it outward. You will also need to use your left shoulder to push and use the right hand to help press forward. Peng and An are transitional actions executed in 王 西 安 202 . The right hand reels in Ni direction also with the intention to push outward (Fig. and the left hand helps the right to execute Lü. As this happens. The edges of the hands become power-exerting points. the right hand executes Peng. Repeat the process. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. an instant.22). shift your weight forward to the right leg.25). Execute An forward with both hands the palms facing each other about 33 cm apart. At this point. visualize your left hand pressing down on the hand of the opponent. 7. 7. eyes looking forward. Note: In this movement. alternating left and right sides. If the left leg is in the front. This is the same as the starting posture of Da Shou posture.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.
moving backward uses Peng and Lü hand movements. In practice.26 Fig.7. These actions drive two the hands forward. raise both hands to attack by pushing them to the front right of the body. Keep the eyes looking to the front right (Fig. 7. Hand movements consist of four Zheng hands: Peng. Lü.26). Step the left foot on the ground with the inner side of the foot touching the ground. 7. sink the shoulder downward and drop the elbows. outward. where the pushing power is exerted. Lower the waist. draw the chest inward.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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. • • • • Step forward with the right foot then shift your weight forward.27 203 . moving forward is combined with Ji and An hand movements. As the weight moves forward. Ji and An. Face the outer hand edges.
At the same time.28 Fig. Raise the right hand in Shun reeling. Bend the left leg to squat further and extend the right foot forward. with the intention to close before opening. Eyes look to the front right (Fig. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body. turning the right elbow out and upward.29 • • • • • 王 西 安 204 • • • After the pushing attack. toes pointing down (Fig. As this happens.28). 7. The body moves forward following the shift in weight.29). 7. tiptoe first.27). 7. and in preparation for moving. At the same time. 7.陈 氏 太 极 拳 推 手 技 法 Fig. 7. withdraw the left hand gradually and place it on the middle of the right upper arm. Push the shoulder forward. thumb pointing down and palm facing down. rotate the right hand slightly downward in Ni reeling. As the arm moves. Relax the left crotch after pushing and shift the weight to the left. Note that Qi should not be allowed to float upward. shift your weight to the left and lift the right foot. . followed by the arm and the hand (Fig.
then in Shun direction downward to the left. then draw a circle downward. 7. While the right hand switches to Lü. 7. 7.Fig.31). raise the right hand quickly to push forward together with the left hand toward the left side of the body. gradually squat the body. Raise the right foot and take a step backwards to the right. Eyes look to the left (Fig. Eyes look to the front left (Fig. Reel the left hand first in Ni direction.which takes place in an instant. the upper and lower body form a balanced block of strength with the waist as the boundary.31 • • • • • • Relax the left crotch and shift your weight to the left. raise the left hand in a spiral to form a Lü movement with the right hand. Next.33). 7. Both hands are about 33 cm apart (Fig.32). Then the right hand switches to Lü. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. thumb pointing down and palm facing forward.30). then shift your weight to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . The outer edges of the hands are power-exerting points. 7. Visualize sending the opponent’s right hand out to the left side of your body. The front push of the right hand provides an instant defense.30 Fig. Eyes look to the front left (Fig. As the weight shifts. Next. 7.
7.34). 7. At the same time. the right arm then bends to 450 inward. 7.32 Fig. Eyes look to the front left (Fig. Raise the body gradually and slowly shift your weight to the left leg.33 • • • Both hands execute Lü from left to right following the body. take a step forward with the right foot. 7. extend the right hand to the right front of the body following the right foot. As the weight shifts. until the left hand reaches the middle line of the body.34 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 Fig.35 206 . 7.
35). Note that the waist power descends to the left first then the right. 7. 7.36). 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.Fig. 7. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. thumb pointing down.36 Fig.39 207 . 7. 7. Eyes look to the front right (Fig.38 Fig. Eyes look to the front right (Fig.37 • • Simultaneously. place the left hand on the right upper arm.
37). visualizing that you are pushing the opponent’s hand outward to the right. Eyes look to the front right (Fig. 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.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. 7. execute Lü downward with the left hand. 7. raise the right hand quickly and exert An forward with power. move the right hand in front of the left hand quickly. 7. Next. 王 西 安 208 . As soon as both arms finish pressing forward. Relax the right crotch and shift your weight to the right.38). then move it out to the right. Eyes look to the right (Fig. Start a new cycle (Fig.39). At the same time.
Lü. One is Da Pu Bu. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B.7. Zhou. Furthermore. 7. and Kao. If not. In this chapter. Lü Ji and An. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. and Kao. the whole body will become stiff when you try to squat down in the big body movements.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. Kao with large-scaled body movements. Lie.40 Fig. The circulating of steps in Da Lü when practicing Peng. Zou. 7. beginners should first practise the routines. The other picture demonstrates the big Frontward Bow Step.41 209 . then the fives methods of solo Tuishou practice. whereby Player B executes Lü on Player A. literally meaning “big falling step”. a major weakness with which you cannot even hope to attack the opponent. It is not easy to practice Cai. The other movements are the same as the movements in Shun Step (forward or backward step). we will only refer to two main Da Lü postures as shown in the pictures which follow. Bie. Bie Zou. It uses the combat techniques of the four hand techniques in corner directions – Cai. As such. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the only difference being that the extent of the steps in Da Lü is bigger. Ji and An is the same to those in Shun Step (forward or backwards Step).
陈 氏 太 极 拳 推 手 技 法 7. Ji. 7. It’s features include free movement with no fixed direction. and also uses the Si Zheng Shou.42. See how to execute Dian step in Figure 7.9 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).42 210 . The body movement and gait should be neat and swift. precise rotation. and An. This way you will not lose energy unnecessarily nor become stiff. Lü. 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. In the Luan Cai Hua Tuishou practice. you should pay attention to the following points. 王 西 安 Fig. and flexible. You need to rotate neatly when executing a step forward as the partner changes his or her direction. Luan Cai Hua is also built on the foundation of Peng.
the steps are small but the speed is fast. and thus impede any progress in Tuishou. You should practice listening repeatedly. It is not easy to apply Die Fa. Your movements should be quick but not chaotic. heavy but not stiff. Lü. 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. Ji. looking for the attacking opportunity. An). When you apply Luan Cai Hua in Tuishou sparring. you feel the partner’s energy as you rotate. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. getting close to their upper body while causing them to raise their lower body or slant it. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. and entice the partner to advance and show his or her weak points. the only difference being in the stances of the body. Do not just practice at fast speeds or you will lose your energy or get stiff.In this technique. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. When circulating the four Zheng hand techniques (Peng.
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 .
An introduction to Tuishou pair practices has been provided in the following pages. lowering to mid-height then low stance. flexible and rapid. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. Lastly. pair practice becomes beautiful to watch. movements in pair practice should start simply before gaining in complexity. 王 西 安 214 . so you must strive to concentrate.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. If possible. In addition. pair practice should start slowly. flexible and without weaknesses. then pair Tuishou may be described as “acting as if there is no partner although you have one”. moving as the partner moves. If both partners have Taiji proficiency. I hope that the reader will use this to practice diligently and master the key points. Lian (connecting) and finally Sui (following). similarly. whereby your actions should be precise. try to choose a partner of similar level for pair practice. Pair practice Tuishou improves combat skills. Pair Tuishou embodies the essence of Taiji Tuishou. Faster progress may be made if your partner is proficient in Taiji. Like solo practice.陈 氏 太 极 拳 推 手 技 法 8. development should follow the stages of San Shou to Zhan (coherence). If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. like a flowing river: smooth. Nian (sticking). agile. the practice stance should start high. gathering speed in the later stages.
8. an arms length from each other so that their fists touch when arms are outstretched.8.1 Both players take a step forward with their right feet. 8. 王 西 安 215 . The distance between both right feet should be about 10 cm.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue.1 Posture 1 Both players stand at attention facing each other. arms hanging relaxed by the sides. These may be shortened to ‘A’ and ‘B’.2. 陈 氏 太 极 拳 推 手 技 法 Fig. gradually forming a front Bow Step. toes pointing slightly outward to form a 八 shape. Player B refers to the female practitioner dressed in red. Their bodies are upright.
2 8. Fig. using the middle line of the nose as the boundary. A’s weight shifts backward.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. both players raise their right palm and extend it forward. with the middle fingers at nose level. The back of the palms touch each other. and his body crouches slightly to form a closing power. corresponding with the rotation of the waist. 8. The right hand extends forward with the left hand akimbo. B’s weight continues to move forward to form a single-hand An (pushing) power. As both players draw this arc. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. the left hand can also be placed naturally along side the body. Both players watch their hands throughout this step.2. eyes focussed on the right hands. .2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. Alternatively.
3 8. then Ni reels 90o to the front of Player B’s abdomen. At the same time. then she guides A’s hand to the front of his abdomen. Repeat this cycle. 8. 8.4 217 .2.3 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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig.
陈 氏 太 极 拳 推 手 技 法 8. 8. the only difference being that here the Da Shou (meet partner with hand) position is higher. Both players then rise.3 single-hand verTical circle wan hua in pair pracTice 8. .3. then then draws a 90o arc to the left.3.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).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. Fig.5 8. 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.
During the above process.Fig. B always adheres to A. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. guiding Player B to Ni reel 900 to his right side. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.6 8.3 Posture 3 Player A relaxes his right crotch and turns his body to the right. with eyes looking at the same direction. Partner B relaxes the left crotch.3. turning to the right (B’s left side). 8. For example. when A draws an arc to the right side. 8.7 219 .
Player A raises two hands in front of his chest.1 Posture 1 Both players stand at attention facing each other. Both players step forward simultaneously with their right foot.陈 氏 太 极 拳 推 手 技 法 8. While waiting. Then Player B extends her hands forward. 8. draw their chests inward and gather their ribs. Now both players wait in a defensive mode. placing them outside A’s hands. with aim to form a front Bow Step. eyes looking forward.8 220 .4. 王 西 安 Fig. toes turned up (optional). they lower their waists. Both right feet start to uncurl to the ground. having first shifted their weight onto the left leg. lower the shoulders and drop the elbows.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. ready to move and attack if hands touch. heel first.
B’s little fingers “stick” to A throughout the process.9 王 西 安 221 . He stops pushing when his hands are 20 cm away from Player B’s chest.8. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks. her hands reel in Shun. As B’s weight moves backward. As Player A pushes his hands forward. Here.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. A’s weight shift to the right foot has been fully completed. 陈 氏 太 极 拳 推 手 技 法 Fig. In other words.4. 8.
4 Posture 4 Player A switches to Shun reeling and draws an arc inward.4.4. While A draws arcs. While Player A separates. using the outer edges of his palms.陈 氏 太 极 拳 推 手 技 法 8. 8. 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. Fig. He shifts his weight backward.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. She relaxes her chest as her hands separate. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. Then both players return to the original position.10 8. then separates Player B’s hands to the sides of her body at shoulderlevel. 王 西 安 222 . B moves her weight forward to form a Bow Step.
11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 . 8.Fig.
The positions of all hands are higher than the eyes. .1 Posture 1 Player A and B stand facing each other.陈 氏 太 极 拳 推 手 技 法 8. guiding Partner B to raise her hands.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward. all eyes look forward. 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. Now. B has been shifting her weight to the left. The two parties’ eyes always follow their movements. A’s weight is all at the right foot. with the inner sides of both feet facing each other and 10 cm apart. and separate hands to the sides of the body at shoulder level.5. then step their right feet forward simultaneously. draw a vertical circle outward.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8.5. 8.12 王 西 安 224 8. Now. the weight for both parties starts to shift to the right. Fig.
8. she shifts her weight forward to form a front Bow Step. Both players’ eyes face forward. 8.14 225 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Player A draws outwards while Partner B draws inwards.Fig.5. and draw arcs to the lower abdomen. While Player B rotates her arms downward following Player A. his little fingers slightly catching Player B’s wrists. while he shifts his weight backward.13 8.3 Posture 3 Player A switches to Shun reeling.
the body squats to prepare for openning. Repeat this cycle. Player B follows Player A closely and feels his change. his hands crossing before the chest with both palms facing in.4 Posture 4 Player A continues Shun reeling. and continues to move her weight forward. 王 西 安 226 . Note: The steps are the same. Then Player A returns to the original position by Ni reeling and separating his arms outward. Both players face forward.陈 氏 太 极 拳 推 手 技 法 8. whether Player A separates B or vice versa.5. Both players can practice this in turn.
and then extend their right hands forward so they cross each other. yet start to shift to the right. Both players then shift a little more weight to the right.6. then step their right feet forward simultaneously. the weight for both parties are both in the left.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. backs of the hands touching. 陈 氏 太 极 拳 推 手 技 法 Fig.15 王 西 安 227 . Player A and B stand facing each other. eyes looking forward. Now.8. with the inner sides of both feet facing each other and 10 cm apart. 8.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8.
then turns his right hand left in Shun reeling following the turn of his body. Player A relaxes his left crotch and moves his weight slightly leftward.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. 8.6.6. At the same time. then extends forward to press against A’s left forearm. While the right arm turns. 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. Player B places her left hand on the right upper arm of Player A as he moves. During this process. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. both of B’s arms form an An (Pushing) power.陈 氏 太 极 拳 推 手 技 法 8.16 8. Fig. . gradually switching from Peng (ward off ) to Lü leftward. In this way. he places his right hand on the middle of B’s left upper arm. Her right hand presses Player A’s right hand slightly downward.2 Posture 2 Player A shifts his weight forward.
Partner A withdraws his pressing hand and places it on his own right upper arm. 8. 8. thus returning to the original position. Then Player B wards off Player A’s left hand upward.6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Repeat this cycle.4 Posture 4 Player B executes Ji (press) on Player A. In response. shifting his weight forward to add more pressure.18 229 . and executes Lü (roll back) again. Player A executes Lü on B’s hand and presses it downward. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. In response.17 8. Player B switches from An (push) to Peng (ward off ).Fig.
7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8.1 Posture 1 Both players stand at attention. 8. A’s left hand then crosses with B’s left hand. Player B’s right hand crosses the outside of A’s right hand. palm facing outward. Player B steps her right foot forward at the same time. Player A steps his right foot forward to form a front Bow Step. Both players look at each other from the side. 王 西 安 Fig.19 230 . bending it 450 inward. Player A raises his right arm as his right leg moves. placing it on the outside of A’s right leg. and places her left hand on the middle of A’s right upper arm.7.陈 氏 太 极 拳 推 手 技 法 8. so that both knees touch (A’s inner knee and B’s outer knee). then places his left hand on the middle of his right upper arm.
3 Posture 3 Player A relaxes his left crotch first. turns his body to the right.7.7. and moves his weight leftward. 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.2 Posture 2 Player A then relaxes his right crotch. As Player A’s body turns right. Both players look to the front. he places his right hand on the middle of B’s left upper arm. 8. and then wards off Player B’s left hand upwards. 陈 氏 太 极 拳 推 手 技 法 Fig. Player B continues to move her weight forward when Player A applies Lü. executing Lü (roll back) with his right hand. he lowers his left shoulder and left elbow. Simultaneously.20 8.8. shifts his weight slightly to the right. Both players look to the front and gather themselves to prepare for futher movements. Player B shifts her weight forward to double her pressing power. 王 西 安 231 . This switch from Peng to Lü happens in an instant. At the same time. and switches both hands to double-hand Shun reeling to ward off outward gradually. raises his left hand.
he presses Player B’s left hand downward to the front of her lower abdomen. At the same time. with the coordination of his right hand. 8. When Player A presses downward. 王 西 安 Fig. then pushes her left hand rightward.陈 氏 太 极 拳 推 手 技 法 Fig.21 8.22 232 .4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. forming an An force. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. 8. with the aim of getting her to fall to his right side.7.
At the same time. At the same time. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. her right crotch relaxes and she shifts her weight to the right.7.7. 王 西 安 233 .6 Posture 6 Player A shifts his weight back to the left leg after pushing. 8.23 8. his right hand switches to Ni reeling to force Player B to step backward. then her foot gradually steps on the ground fully. 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. tiptoe first. A’s upper and lower body move as one. As Player B executes Lü. Player A moves his weight first to the left and lifts his right foot quickly to step forward. 陈 氏 太 极 拳 推 手 技 法 Fig.5 Posture 5 Player B’s left foot steps on the ground.8. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages.
While this happens. . Both players look to the side at each other.24 8. 8. In response.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. and steps within A’s left leg so that their two knees connect.7. so as to form Peng and Lü with both of his hands. B steps forward in synch with A’s guiding hand.陈 氏 太 极 拳 推 手 技 法 At the same time. B also places her left hand on the middle of her right upper arm. Simultaneously. shifting her weight gradually rightward. Fig. shifts her weight leftward. to form Ji (press) power with her right arm. turns his body slightly left and shifts his weight slightly leftward. then pushes Player B’s right hand first down then left using the pressing power of his left hand. then takes a step forward with her right foot. palm out. Player A places his left hand on B’s right upper arm. Both players look diagonally to the front. Player B wards off slowly outwards with both hands in Shun reeling. Player B relaxes her left crotch.
B also places her right hand on the middle of A’s right upper arm.Fig.25 8. 8. 8. then switches her left hand instantly from Peng to Lü. Player B lowers her left shoulder and left elbow.7.26 235 . At the same time.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Simultaneously. then raises her left hand in an upward Peng on A’s left hand.
then withdraws his right hand to place it on the middle of his left upper arm. Player A continues to shift his weight forward. then quickly forms a pushing power towards B. 王 西 安 Fig. As Player B pushes A’s left hand downward. 8. then to her left. she presses Player A’s left hand first down to the front of his lower abdomen. 8. then raising his left hand upward onto B’s right upper arm to warding off (Peng).7. Then with her left hand. At the same time.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. Both players look to the sides. In this instance. she presses forward on the middle of A’s right lower arm. A responds first by flowing downward. His right hand then comes into contact with B’s right hand. Both players look diagonally to the front.27 236 . both A’s arms form an outward Peng power. Both B’s hands work together to form an upward pressure pose.陈 氏 太 极 拳 推 手 技 法 As this happens.
7. In response to A’s Lü.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. 陈 氏 太 极 拳 推 手 技 法 Fig.10 Posture 10 Both players keep moving and rotating. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. 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. He moves in Lü until his left hand reaches the mid-line of his body. 8. 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 B shifts her weight first to the left. leading to increased exposure to attacks.8. relaxes his left crotch. following A’s Lü power. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. 王 西 安 237 . Player A steps his left foot on the ground.
8.25. shifts his weight leftward. You may have found that. Finally. Simultaneously. Lü. one full cycle consists of one step forward and one step backward. for both of the two players. Both playesr look diagonally to the front. At the same time. Player B shifts her weight backward to her left leg.7.陈 氏 太 极 拳 推 手 技 法 8. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. A relaxes his left crotch. as well as an accomplishment of one cycle of Peng. and are ready to start a new cycle. Ji and An. 8.26. 王 西 安 238 . and 8. B places her left hand on the middle of A’s right upper arm.28. Player A places his left hand on the middle of his right upper arm. As B shifts her weight backward. tiptoe first. At the same time. palm out. her two hands forming a Lü posture. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. both players return to their original positions. her right hand changes to Ni reeling to force Player A to step back. foot gradually steps fully on the ground. Both their knees connect.11 Posture 11 After pushing forward. to form a Ji power with his right arm.27. The rotating methods are the same as those on Figures 8.
29 王 西 安 239 . In this low body movement.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. and is based on Shun Bu Tuishou. Bie.8. which is Cai. This technique consists of larger scale body movement. you should combine Si Zheng Shou practice with Si Yu Shou. 陈 氏 太 极 拳 推 手 技 法 Fig. 8. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. which is aimed at reinforcing your lower body stance and leg power in this technique. Zhou and Kao. 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.
This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. left and right. so as to transform the opponent’s power. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). try to feel the Gongfu level gap between you and your opponent by listening. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. Bi Ya (push and press) and so on. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. From this position.陈 氏 太 极 拳 推 手 技 法 8. In Da Sao. or power direction. depending on the circumstances. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). Instead of sweeping the arms horizontally. Gun Shuan (roll and seize). reel them in Shun and Ni directions. If you choose not to attack under some circumstances. the opponent cannot discern your target. Gun Shuan is an extension of Da Sao. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). During combat. Sao means to sweep or clear away.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. can you win consistently. push and press against the opponent to force them into a defensive mode. 王 西 安 240 . Only this way. up and down. use your elbow or Kao (shoulder strike) to attack when you find a weak point. With this method.
Combine the power of both your hands so that they become one indivisible power. Actually. For example. 8. agile and swift.31 王 西 安 241 .32 Fig. coordinated with Shang Long Xia Ti. These are the main methods and purpose of Luan Cai Hua pair practice. you can advance two or three steps to gain a territorial advantage. direction and angle of changes. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares.30 陈 氏 太 极 拳 推 手 技 法 Fig. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). 8. flexible. This is an example of the Die Fa. Apply Ti (lift) and Long (holding close) unpredictably and precisely. Your footwork should be based on the speed. if the opponent retreats one step. which you think harmful to your opponent. 8. Your Dian Bu should be light. Fig.Your footwork should be coordinated with your handwork. there are no restrictions in the application during practical body combat.
the philosophy of Taiji attempts to explain the workings of the universe. our world and the human body through the interactions. According to this philosophy. opposing and complementary. Sun and Wu Styles. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. through Taiji forms and postures.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. culminating in the modern-day Chen. While the Taiji form has undergone many changes through the ages. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. 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. Taiji Philosophy is most easily expressed and understood through the use of body language. much of the theory in this book is based on the guidelines written by Yang Chengfu. Earth or Human realms. At its foundation. that is. For this reason. of two fundamental forces: Yin and Yang. Yang. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. . one of the pre-eminent representatives of Yang Taiji family.
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. including his meticulous inscriptions for over 400 illustrations.com . this tome was intended by its author to be both the first ever written repository of Taiji lore.inbiworld. 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. www. and a referential resource for Taiji instructors and practitioners for generations to follow.
China. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. 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. How is the project being funded? A. How do I purchase calligraphy or make a contribution A. Henan Province.chenxiaowang. Wenxian. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village.Chen Village Restoration Project • Q. founder of the Yang style. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan.com . Who was Chen Changxing? A. Q. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. Q. What is the Chen Changxing - Chen Village Restoration Project? A. www.
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