This action might not be possible to undo. Are you sure you want to continue?
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 .
In the spirit of Taiji’s original meaning. an impressive feat of concentration and energy considering Master Wang’s teaching workload. newly written by Master Wang Xian. we believe that Taiji. indubitably a result of the efforts of Taiji followers in both countries. One of the finished manuscripts resulted in this book. More than ever. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. to consist of everything’. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . belongs not only to China but to the rest of the world. Atsuko Noguchi January 1998. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. I look forward to Master Wang’s future works with great enthusiasm. is to be published. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. Indeed. 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.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. Tokyo. ‘to exist everywhere. as an expression of the profound spirit inherent in all human beings.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
...............................................38 2.....21 4..................................... Listening to Energy ...............40 3.................................................................................................................................. Opening and Closing ....16 2. Dongjin – Realization of Energy ................................ Energy Explosion ............................... Jietuo (Escape) Practices...................................................................................................... Na (Seizing) Techniques ............. Misleading and Transforming Techniques ....................................................................................... Kao (Push) Practices........................... Leg Practice .............................................................................................84 7......................... Reeling Silk .................................10 5....................72 6..................................................................34 10.................. The Origin of Taijiquan Tuishou ......................... Fist Practice .....117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix .............................................................................................................13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1..............................................................................23 5............. Feet Practice .......................................... Zhan Nian Techniques............... Tuishou: the Only Criterion to Judge the Gongfu of Taiji............................................................Table of Contents Chapter One: Introduction 1..................................................................................... 3.....................3 Tuishou Practice – Going Inward............................................... Ti (Raising) Energy .............................................................................................................. 4................................ Na (Seizing) Practices ......26 7...... Elbow Practice ............. 2........97 8................................................................................................ Palm Practice .......................................31 9...25 6......................55 4......105 9.......................................................... Step by Step ..........................................................................29 8....................................4 The Core of Tuishou . Introduction ........................18 3............................................. Lian Sui Energies .................................................35 Chapter Three: Single Form Practice 1........63 5.............. The Relationship Between Three Stages of Taijiquan Practice and Tuishou ..
.............................240 王 西 安 x ................................................................218 4....................... Introduction ................ Solo Double-hand Flat Circle Wan Hua ...187 3.......210 Chapter Eight: Pair Practice in Tuisho 1........... Single-hand Horizontal Wan Hua in Pair Practice ........209 9.....168 2............................... Introduction ..........146 6.......................................................... 133 3...........195 5..........................................227 7.................................... Solo Tuishou With Static Footwork ..................................224 6......................................................................200 7............... 215 3............. Tuishou Footwork Techniques...... Pair Practice in Luan Cai Hua Tuishou......................................................................................................................... Hand Techniques in Tuishou Reeling............... Solo Danren Da Lü Tuishou ............193 4...............................142 5............................................................ Pair Practice in Shun Bu Tuishou.................. Classifications of Tuishou ... Solo Double-hand Wan Hua in a Vertical Circle . Pair Practice in Da Lü Tuishou .............220 5......................................... Chan Si Zhuang (Reeling Silk Posture) ................................. Tuishou Steps ....................................... Single-hand Vertical Circle Wan Hua in Pair Practice ................................... Tuishou Handwork Techniques ...........171 3.. San Ti Shi (Three Postures)............................................................................. Shuang Shou Ping Yuanwan Hua ...................................... Introduction ..................................... Hunyuan Zhuang (Circle Posture) ................................................ 183 Chapter Seven: Solo Practice in Tuishou 1............ Shun Bu Tuishou .......................................239 9........................... Wu Ji Zhuang (Wu Ji Posture)................................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1........ Shuang Shou Li Yuan Wan Hua.............................................................................................................................132 2................154 Chapter Five: Practice for the Buttocks and Crotch ....................186 2................................... Kai He Zhuang (Opening and Closing Zhuang) ....214 2.....................203 8.......................230 8......... Solo Luan Cai Hua Tuishou ... 157 Chapter Six: Chen Style Taiji Tuishou Categories 1..................................179 5..................... Solo Wan Hua ......................................................................................... He Bu-Tuishou ........................................... 138 4..........................................................................................149 7...................................... Solo Ping Yuanwan Hua .........197 6......................................................175 4........................ Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) .......................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
location or access to equipment. originally known as Jieshou or Dashou. it helps maintain fitness. throwing and striking. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . Chen Wangting. agility and flexibility. According to the book. Chen Wangting. sword and stick routines. As a combat techniqiue. China. Tuishou. reducing illness and prolonging a healthy life. he drew on the theories of the Yijing (I Ching. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. the ‘Book of Changes’). As it is not stressful to the body. Its creator. ‘The Family Tree of Chen’. is a practical combat technique based on grabbing. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. and he was recognized as the creator of Chen Family boxing. it helps build health and defence as well as to develop a sensitivity to movement. With the accelerated pace of modern life.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. (also known as Zouting) was a famous martial arts master.1. Wenxian County. In doing so. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. and will continue to do so in years to come. catching. gender. transforming. Henan Province. was the creator of Taijiquan and 9th generation head of the Chen Family. as well as the principles of Yin and Yang. in the period between the Ming and Qing Dynasty. Taiji Tuishou practice is not restricted by a practitioner’s age.
sTep-by-sTep To practice Tuishou. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. Initially. hard/ soft. 王 西 安 4 . catching. an athletic activity based on mutual pushing. that is. be relaxed. followed by the double hand horizontal and vertical practice. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. You will not realize inner transformation. intuitive and subconscious. As you reach the level of adept. principles. listen to each other’s energy flow. Tuishou practice should be soft and modest. throwing. Tuishou translates as ‘push hands’. With sustained practice over a period of time.陈 氏 太 极 拳 推 手 技 法 1. so much that you will be able to apply combat techniques. such as grasping. to the Deity’. Relaxation is fundamental. to the realization of Jin. A Taijiquan proverb pertains also to Tuishou. transformation is the basis. Literally. pacing your learning step-bystep. ‘From the familiarity of forms. from the realization of Jin. enabling you to throw opponents meters away without hurting them. Less well known is Tuishou’s other application as a technique for internal transformation. and striking. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. nor will you be able to intuit your opponent’s energetic intention. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. Follow the circling movements with the whole body. and what it consists of. you must know its significance. you will be able to release explosive energy to both small and large targets. and do not disconnect or oppose your partner’s energy. with greater efficacy and subtlety. or appreciate the interplay of the slow/quick. Become familiar with the single hand horizontal and vertical practice.2 TuishOu pracTice – gOing inward.
you will ultimately enhance your health and combat techniques. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . but never practice just in order to practice. combining your heart. imagine a partner practicing or competing with you. be calm and concentrated in your demeanour. mind and spirit with determination. In solo practice. To cultivate ‘inner listening’. force and speed in your actions. Practice makes perfect. As long as you practice persistently and make progress. Skill arises from consistent and accumulated practice. your intention and commitment must be deeply held.Remember that ‘inner listening’ is the one essential skill required to improve your technique.
actions to the left or right. follow) and Chansi Jin (Reeling Silk). At a more advanced stage. Kuai (quick) and Man (slow). Tuishou practice is based on thirteen ‘forms’ or energies. your partner’s weight. while its theoretical basis builds on the philosophies of Yin and Yang. which are also the essential elements of Taiji. You will learn to follow your partner’s intention and forget your own. upward or downward movements. with the lightest of touches. attacks or retreats. speed. Qing (light) and Zhong (heavy). 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.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. Movements alternate freely between Gang (hard) and Rou (soft). it will enable you to feel. distance and direction of energy. you will develop the capacity to subconsciously anticipate quick or slow changes. continue. Sui (stick. adhere. Lian. When you can control these energies within yourself. . and so on. opening or closing. gathering or exploding. Nian.陈 氏 太 极 拳 推 手 技 法 1.
move before they do’ etc. 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’. 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’. this energy refills automatically to its original ‘full’ state. don’t move’. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. be calm and relaxed To release bursts of energy effectively.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). Like a balloon whose air has been exhausted. or other deformation. ‘if the opponent does not move. ‘follow slow attacks unhurriedly’. ‘if the opponent moves slightly. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. it is the force of friction that enables you to hold and seize their arms etc. concentrate on one direction at a time. 王 西 安 7 . When releasing explosive energy. stretching. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’.
utilizing the techniques of Kao. push or strike. push or strike your opponent you do so without alerting them in order to capture their energy. no matter how hard they press. I perform strictly to the principles so as to make me unassailable.” This technique. The canon of Taiji teachings is rich with such sayings. 王 西 安 8 .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. 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). results in the shaking off of the opponent’s upper body and lifting of their lower body. whether they strike or twist. Using this.” Chen Changxing. whether ascending or descending. and is worth remembering. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. none of your opponents can defeat you. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. I can conquer a force of a thousand jin with a tiny force of four Liang. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. I follow my partner. the 14th generation master. Similarly. Even if attacked by a monster. when you move forward in your turn to press. I always follow their intention. also states: “No one knows when I gather or stretch.
陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . requiring us to further our exploration and improve our practice of it. One with four Yin and six Yang is among the group of the adepts. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. Only one with five Yin and five Yang is called adept. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. As a science. 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. In order to inherit and develop this Chinese cultural heritage. Here. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick.
still regarded hard’ turns into ‘fouryin six-yang.陈 氏 太 极 拳 推 手 技 法 1. Zhong Quan (medium circle) At this stage. one comes into the group of the adepts’. with fuller details available in Chapter Two of my book. ‘three-yin seven-yang. The three stages of Taijiquan are: 1.4 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. Zhao Shu (familiarity with the forms) Outer form drives Qi. 3. ‘Chen Style Taiji Laojia’ (Old Routine). Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. Correspondingly. is San Shou’. 2. as stiff as a stick’ evolves to ‘two-yin eight-yang. 2. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. Dong Jin (realizing the inner energy) Qi drives outer form. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. .
That is to say. and does not mean total stillness. all parts of the body become as highly sensitized as finger tips so that when competing. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. random alternations between states of energy gathering and releasing within a relaxed and elastic body. one is regarded as a Deity’. at the first stage. along with the Tuishou practice of Da Quan (big circle). At the second stage of Dong Jin (realization of energy). as well as the combination of the respective techniques applied in the big. possess abundant internal energy. an adept may say. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. and be able to achieve constant internal changes between Xu and Shi (void and solid). The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. the complete fusion of external form and internal spirit. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. in addition to a diligent assimilation of knowledge. At the third stage of Shenming (deity). with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). Following a correct program of practice as outlined above. medium and small circles.3. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). that is. Note that ‘no circle’ denotes a state of subtlety and skilfulness. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). By this stage. that is. enjoy a feeling of lightness. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . We must pay attention to different methods during different stages of practice. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). along with the Tuishou practice of Zhong Quan (medium circle).
“Taiji practice is like rowing in the river. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void).” 王 西 安 12 . if you don’t make efforts to go forward.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. This is not unattainable. as our ancestors tell us. even though I don’t know how I do it’. Also known as ‘Five-Yin Five-Yang’. you surely go backwards.
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’. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. Nevertheless. Tuishou develops one’s sensitivity to others.1. hence it is essentially a competitive activity. softness can break through hard. This is called. 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. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. Ding meaning ‘stiff resistance’). Tuishou actually requires a strong sense of balance and an ability to combine energy and force. It simply requires practitioners to have sufficient physical force for competition. These reflexes are faster than thought and only come with constant practice. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. ‘thousands of Jin’ (i. nor is it just a matter of pitting one’s physical force against others. four Liang defeats thousands of Jin’. In other words. ‘Weak side strikes strong side. While appearing deceptively easy. the stronger force) also can defeat the weaker force. 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. It is this dynamic that we need to explore during practice. tough energy.5 TuishOu. Skilled practitioners rely on a highly developed sense of touch. no techniques can be executed. Remember too where your weight is placed to maintain control of your centre of gravity. Hence. meaning ‘loss of energy’. However. When forces are equally matched during competition. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . Without the latter.e. it doesn’t imply Diu (a common defect due to failure in Zhan Nian.
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 .
The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). when an opponent touches one’s fine body hairs. the act of ‘listening’ has profound resonances. and taking Zhan Nian Lian Sui (stick. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. allowing both body and mind to enter into the level of deity and transformation. the skin. At this stage. position and magnitude. alluding not only to listening with the ears. squeeze and press. ‘Without being known. no matter if the changes are in the opponent’s rotation. continue. her body light and flexible. Listening can be divided into three areas: listening with the bones. What is listening with the skin? It means following the command of the heart and mind. with the skin and with the fine hairs on the body surface. 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. When Wu-Yin Wu-Yang (energy equal and balanced) is attained.1 lisTening TO energy In the context of Taiji and Tuishou. but also with the eyes. During Tuishou sparring. adhere. filled with abundant internal Qi. and a highly-tuned awareness of sensations in the heart and nerves as well. a rise or fall in height or changes in weight. With your skin. a practioner’s body can react instantly with great accuracy and flexibility.陈 氏 太 极 拳 推 手 技 法 2. On receiving these signals. one’s force is injected into the marrow. follow) as fundamentals. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. sensing through the skin enables reaction in any manner within the rules.’ 王 西 安 16 . Hence the saying. The entire body surface of a high level practioner is highly sensitive. One’s skin is the key weapon. I know others and sweep all enemies aside. her changes in rotation. Similarly. feel your partner’s movements.
opening and closing (快、慢、沉、稳、虚、实、 开、合). very few achieve the ability to listen with the skin. You will look without seeing. where every knot of one’s body opens and stretches without crude force. until it is too late to repel danger. making all one’s muscles stiff. which is essential for constant adjustments to frequently changing circumstances. While the majority of practitioners are able to listen with the bones. Your reactions will become slow. descending. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. blood and breath. In all this. Failure to do so will cause one’s energy to remain stuck in the chest. Nervously. defending and attacking blindly. listening would be impossible. leading only to failure. Without this preparation. solidity. that is why it destroys the strongest of enemies”. “The most super-human strategy is formless and soundless. Listening is essential to Tuishou. How good it would be to attain this level. rising to the upper body. calm. let alone the attainment of energy for combat. emptiness. your judgement confused. you fight back. ‘clear manifestation of emptiness and solidness’. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. Just as a deaf person is unable to comprehend a conversation as he cannot hear. As Sunzi Bingfa says. special attention should be paid to ‘the intervals of fastness and slowness’.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. ‘descending Qi and steady steps’. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. listen without hearing. so a practioner cannot generate energy for sparring if he or she is unable to listen. slow. Only through accumulated practice can one’s sensations detect the smallest changes. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . your listening untrue. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice.
Na. Di (resist) and Gun (roll). Zhi (straight). Shan (dodge or flash). vertical axis and flexibility. Peng. An (press). Zhan (chop). Ba (seize by force). length. Ba (pull out). Qin (intrude). Shi (tight). Fa (引yin – lead. You may find yourself being too stiff (Jiang). straightness and curvature. transform. While beginners may find this difficult to achieve. speed. Failure to overcome these shortcomings would be to fail to realize energy. Even for those who achieve this skill.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. await them. that is.陈 氏 太 极 拳 推 手 技 法 2. your energy too resistant (Ding) or being lost unnecessarily (Diu). Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. Ying (stiff ). Dang (block off ). you cannot note any of the above changes in the oponent. Zhe (hide). Zhuan (cheat). Li (leave). direction. Teng (jump). Ke (knock). Jia (stiff ). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Ting (stick out). Be warned that mistakes will occur on this learning path. your posture too straight (Zhi). you cannot realize it. 发fa – explode) at the appropriate opportunity. magnitude and hitting point. new challenges such as ‘being too fond of competing’. Hua. Duo (escape). Ji (hit). Gua (hang on). 化hua – change. Pai (squeeze out). Cuo (rub). 拿na – capture. Meng (sudden). the ability to circle and the principles of Zhan Nian Lian Sui. It is the ability to note present or potential changes in emptiness and solidity. Qi (insult). this skill may eventually be attained with diligent practice and a good teacher. Ling (pressing). hardness and softness. Gou (hook). “faulty palms” or “faulty body”. Realizing energy is based on listening. Without ‘hearing’ the energy of one’s partner. Tui (push). Hun (mix up). It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. Ya (push down). Bo (move with hand). We call such shortcomings. 王 西 安 18 . Lou (hold).
relaxation and health practice for the old and infirm. In effect. form and quality of Tuishou. Concordant with the adage that ‘external forms are the method and the pathway’. twisting. Lie. grasping. but also in the combat arts and and Sanda (free sparring). the Tuishou practitioner must aim to apply these techniques (seizing. Tuishou is the combat application of Zhan Nian Lian Sui. I always keep remembering to follow their intention. rather than use them as disparate forces to enhance one’s attacking prowess. An. utilizing the techniques of Kao in spiralling.The practice for ‘realizing energy’ also tests one’s position. angle. these eight techniques form the method for Tuishou. In fact. developed from further transformations of Tuishou routines. transforming. ‘The Taijiquan Formula’: No one knows when I gather or stretch. 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. Sanda can simply be taken as a higher evolution of Tuishou. Ji. look around and maintain an upright axis during Tuishou practice. Whilst acknowledged as a combat technique in its own right. 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. Hence. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . Ultimately. they share the common practice of ‘realizing energy’. dodging. Zhou and Kao). says in a verse from his book. jumping. As Chen Changxing. Cai. Sanda complies with basic Tuishou principles. with Taijiquan. which is used not only in Tuishou. striking. I follow my partner. no matter if they use the technique of Kao or twist. Whilst all Chinese martial arts possess unique characteristics. changing one’s centre of gravity and flexibility) in synchronous movements. 14th generation Taiji master from the Chen family. hence its continuing ties with Tuishou and. ultimately. the poplular stereotype of Taijiquan as a non-combat. Lü. When attacking. and shares many common principles with Sanda (free sparring). falling.
Everyone knows how to hook. until I come to the level of Deity”. press and hold back. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. The author stressed the importance of ‘follow’. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. to the realization of energy. fourth and fifth sentences refer to the application of Taiji Sanshou. leading to a wider understanding of the profound benefits and applications of Taijiquan. we can clearly see that in all movements. Hence. that is. As mentioned. to act naturally and follow one’s intention. that is. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. Again. In addition to applying Master Chen Changxing’s advice. ward off. The third. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. strike. Chen Xin once said. adaptable to both Tuishou and Sanshou. Indeed. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. The attacks from me by twisting. ‘listening and realizing energy’. Li. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. the Chinese martial arts have evolved into health and fitness promoting practices. push or press. and horizontal Cai are also irresistible. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. step by step. to forget about one’s own intentions and follow the opponent’s. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . “From the familiarity of forms.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. With the development of modern weapons. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. The second sentence of the verse means to follow the other partner’s intention while circling them. this verse confirms Taijiquan as a profoundly practical Martial Art.
in this way maintaining the upper hand at all times. Nian means to chase and follow one’s opponent. Zhan Nian techniques develop one’s capacity for high precision. Through reeling-silk practice. Ultimately. capturing and transforming his energy and using it to attack at the first opportunity. while Tuishou exposes the quality of Zhan Nian techniques. Only with the awareness of both oneself and others can others be conquered.3 zhan nian Techniques Zhan & Nian are forces directed forward. Conversely. to one’s opponent. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . Zhan Nian energies work as a pair.effectively. this results in a deeper and more precise understanding of energy. “Form practice is the essence of Zhan Nian training. This ability comes through great patients and a life-long perseverance of effort through the three stages. the adhesive force that allows a practitioner to become strongly attached. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. extent. that is. and its natural and intuitive use. direction and the position of a partner’s energy flow. This is why it is said. Whilst it is said that form practice cultivates a capacity to know oneself. It is commonly used in attacking strategies. with which one’s opponent will find difficult to escape. so that he finds it hard to escape.” Zhan literally means ‘stickiness’. and come to realize the laws of movement and force. magnitude. will be able to instantly sense the delicate changes in the movement. like glue. on reaching the final stage of ‘deity’. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. the first being ‘familiarity with form’ and the last being ‘realizing deity’. Tuishou practice cultivates the capacity to know others. A practitioner. At this point. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. 2.
When Zhan Nian techniques are applied. ‘I don’t move if they don’t move’. Simultaneously. yet arrives at the hitting point earlier than the opponent)’. victory or defeat is decided in an instant. 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. ‘Fast reactions to fast attacks. especially those who. but even many long-term practitioners find total understanding or realization elusive. flow up the arms to the shoulders and back. continuous and diligent practice. and then through the entire body. inflexible muscles and joints. an internal energy manifesting externally. the practitioner can exert Zhan Nian forces towards the opponent. and so on. This is why it is said that at this relatively high level. one can never accomplish quality ‘chasing’ (Nian). Ultimately. During Tuishou. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). as reflected in their stiff bodies and tense. as indicated by these teachings: ‘Follow my partner’s intention. Zhan Nian energies can be detected by sensations that start at the palms. Once the whole body is enveloped. 王 西 安 22 . Zhan Nian energies can only be realized through thorough theoretical understanding and careful. It is Zhan energy that envelops the body. Understandably. beginners find Zhan Nian energy difficult to comprehend let alone detect. and forget my own’. slow reactions to slow attacks’. have failed to attain high proficiency in the art. Not an easy task for ordinary practitioners. these techniques will lead the opponent into faulty moves. but certainly achievable for diligent practitioners with good teachers. ‘I move before them on feeling their slightest motion’. ‘I win by striking after the enemy has struck (My fist starts late. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. despite prolonged practice.
It can be summarized as ‘co-relating to the opponent’. one observes and reacts to the opponent’s Zhan Nian techniques. ‘Bu Diu Bu Ding’ (no loss of energy. Used in concert with Zhan Nian energies. follow and move in the same direction as one’s opponent. Lian is dependent on one’s use of Zhan. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. continuity. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. Once palms come in contact. there can be no Lian. so that ‘as one falls. non-forcing. Sui. adhesiveness. taking any opportunity to attack.2. In so doing. and no chance to escape. fast reactions to fast attacks. how can Sui be achieved? Sui technique means to react. and can only exist in the presence of the latter. the opponent cannot escape because if one follows closely using Zhan Nian. that is. can we execute Yin Jin Luo Kong efficiently. including consistency. ‘to react while following’. emerges from the application of Lian. Lian has a rich amalgam of meanings. Without Zhan’s adhesive force over the partner preventing escape. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. moving effortlessly between quick/slow and forward/ backward movements. another rises’. Unless one follow’s the opponent with Lian (co-relation). the act of connecting and maintaining the continuity of one’s movements with those of the opponent. no resistance).4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. non-pressing. slow reactions to slow attacks.
whether through form practice or Tuishou”.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. therefore it is advisable to practice the combined application of both. Beginners may attain the preliminary stage of Lian Sui. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. Lian and Sui can never function without the other. 王 西 安 24 . Adepts. without any break in flexibility or continuity. successfully use Lian and Sui to attack and prevent escape.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. As the teaching says. so that they can ascertain if their energy levels match the purpose and intention of their actions. “The lower body automatically follows any motions of the upper body. upper and lower coordinate any motion in the middle. 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. on the other hand. following their energy flow without interruption. the basic ability to follow the opponent’s movements.
the adept draws the opponent into his or her domain. palms. Use these principles whether you are going backward or forward. then gradually upwards. hands. hence ‘misleading’ and transforming the opponent’s energy. I apply Shun reeling downwards. elbows. going up or down. Once neutralized. Using these complementary techniques. I lower my body then stretch my right foot toward his or her crotch. one should avoid Diu and Ding (losing energy and resistance). For instance. 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. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . legs and so on”. When we feel the changes in our opponent’s energy flow. neutralizing any opportunity for attack. using Lian Sui to follow their energy flow. A particularly effective combination is Luo Kong. we then use our shoulders. and in this way mislead and neutralize your opponent’s energy. or feet to upset their centre of gravity. turning left or right. if my partner presses my right arm with their palms. Hua is the transformative force. we should apply She Ji Cong Ren without being detected. Note that while applying Yin and Hua forces. and cannot exist without Yin first being applied. As Chen Xin explains. hips. When applying Yin. using our arms. reeling my back inward before suddenly striking outward.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. so as to mislead my partner’s energy and upset their centre of gravity. While moving. “We strike by coordinating forces from different directions (Yin Jin Luo Kong).2. Literally meaning ‘to draw’ or ‘to lead’. Yin is the ability to draw the opponent’s energy into one’s control. knees.
he or she can easily capture his opponent through the combined use of all . dodge. 2. Hua and Xu (gathering). However. so as to accumulate and release energy effectively. destabilizing their centre of gravity and transforming their energy in order to conquer them. wrists or hands to inhibit their rotation or movement.e. In Tuishou and San Shou. meaning the direction which hurts the natural structure of joint. As Chen Xin suggests. “gather energy as if pulling on the bow. one must cultivate the forces of Yin. Any hard fan guanjie (joint twisting. that of Taijiquan is accepted as the most refined. depending on circumstances. hence rendering them helpless. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. explode energy as if releasing the arrow”.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. they are conquered.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. I “roll over. As Chen Changxing advises. look one way and go another”. touch. my Taiji harmony within emerges so that even ghosts fail to predict my next move. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. In this way. tie up. Opponents will feel as if their tendons and bones are about to break. using all these techniques to mislead my opponent. It is important to remember that one must gather energy well before misleading one’s opponent. That is to say. the further one’s arrow flies. and their pain penetrates right to the marrow. rotate an opponent’s joint towards its unnatural direction. elbows. i. I know my partner without being known. just as one should attack forcefully without hesitation. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. and hence the harder the opponent falls. Instead. sweep. shock. the more one stretches the bow. When I attack.
strengthen your force so that your opponent finds it too difficult to escape or transform their energy. If he or she succeeds in escaping. you need to seize first’. so that I can strike them cleanly and successfully. Shuai (throw). you must react quickly and flexibly to any changes in your opponent. you still have the opportunity to move in quickly and seize them by their palms before they move away. Indeed. so that I may capture my opponent without hesitation or detection. a Tuishou practitioner can exert the invincible might of Taiji. This is why it is said that Na is the pre-condition of Da. If you fail to attack lightly and skilfully and your intentions are detected. To apply Na effectively. When utilizing Na. Zhua (grabbing). Na (seizing). agility. In Tuishou. This is called ‘dual-utilization of seizing and gathering’. With the combined application of seizing. ‘Only this. There is a saying. applying the energy smoothly and judiciously without over-exertion.their gathered forces. agile. Hua (transforming) are all preconditions for striking (Da).’ as Sun Zi Bing Fa says. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. Tuishou accentuates Taijiquan’s martial power. ‘is called the “best of the best”’. transforming and striking. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. flexibility and skilfulness). The seizing technique in Tuishou is very important. I move using the principles of Qing Ling Huo Qiao (lightness. I utilize Na to prevent my partner from escaping or from transforming their energy. in order to strike well. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. thus reaching their goal. These recovery measures also depend on a light. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. techniques such as Zhan Nian Lian Sui. throwing. ‘Na (seize) always goes with Da (strike).
’ 王 西 安 28 . in which case.陈 氏 太 极 拳 推 手 技 法 When applying Na. ‘No part of my body is not peaceful. you have no option but to relax your joints. every part of your body works in harmonious cooperation. twist his right arm inward with your left hand. Never let Qi float upward and never let your feet lose their roots. If Qi ascends. your chest rolls inward naturally. shoulders and crotch all gather downward in concert. making sure your hitting points are clearly defined. include controlling one’s speed and magnitude of attack. By relaxing. ‘Never be rude and rash when you begin to practice Na. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. Na is the synchronous manifestation of the internal and external. stomach and legs. he will be able to press forward. both palms covering his right wrist. How then can you hope to seize another? Indeed. Na technique works together with Cai technique. Exert your energy first lightly then with force. releasing your force like bullets rushing out of a gun. Miscalculations often result in injuries. During practice. application of appropriate angles and techniques. Common problems. your root will become unsteady. your centre of gravity destabilized and you will find it difficult to protect yourself. seize him then guide his pressing force into your territory using Lü energy. and your ribs. and sensing the amount of force the partner’s joints can withstand. if you want to seize your opponent. hence it is advisable to heed the teaching. use the Na technique carefully to avoid hurting your sparring partner. and all parts in a gathering motion. remember to maintain a relaxed state by lowering your whole body. whether you exert Na by the co-ordination of your hand and chest or with your ribs. Then strike directly forward in a spiral and hit your target accurately. the targets for both being the arms. especially amongst beginners. In peace every part of my body moves at the time of movement’. When relaxed. with no part tense. just as it is stated. Next. chest. stomach and the protruding and concaved parts of the shoulders. Using this will overcome the opponent without fail. If you fail to Peng (ward off ) your opponent adequately.
This is an important concept which bears deeper contemplation. In all Tuishou and Taiji movements. opening and closing illustrate the subtlety of Taijiquan. relax the shoulders. Gather the ribs. one cannot ‘open’ without first being ‘closed’ and vice-versa.7 Opening and clOsing In the martial arts. Closing (He) means to draw in. Indeed. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. Sanda and form practice. just as Chen Xin mentioned in his works. Mengzi. As complementary opposites. transform. Even masters of Chinese philosophy – Kungfuzi. 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. bend and gather. OpeningClosing techniques. Keep every joint relaxed before you exert Na. solid stomach and slightly concave chest. 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. Inhale from the stomach so that it remains solid. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. are widely used in Tuishou. preserve. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . often meaning to ‘guide and attack’ in the martial arts. As Chen Xin says. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. gathering versus exploding. making sure all movements are steered by the waist. Remember – to attack your target with agility and flexibility requires long accumulated practice. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. 2.Work on your technique step-by-step: develop a closed crotch.
pressing the ground with your heels to empty the Yong Quan points. While standing. 王 西 安 30 . As the saying attests. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. ‘Opening-Closing. that is. Likewise. forceful. from the soles of the feet. the louder the explosion. Closing not only means to bend and withdraw your upper body. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. your intention (Yi). every part of your body follows suit. filling you with great vigor. In practice. but also to coordinate the heart (Xin). This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. your ‘opening’ explosion will be natural. this means that one needs to be closed first before one can open. crude and slow. The Opening-Closing technique starts from the closed state. Kai (opening) energy originates in the root of your body. muscle energy (Qi). The quality of the effort you put in to closing determines your ability to open with power and effect. with the qualities of both solidity and emptiness. if your energy is gathered and conserved well. so that your targets become accurately defined and attacks successful. and sometimes they disappear. you will find your opening powerless.’ Only diligent practitioners have the opportunity to experience this phenomenon. these changing motions. Yi moulds changes in external shape while Jin (force) rises with Qi. external shape (Xing) and spirit (Shen). Thus positioned. since Yi (intention) follows wherever Xin (heart) goes. sometimes appear before our eyes. swift and powerful. the rebounding force exerted by the ground can be used to energise any upward movement. grasp the floor with the toes and soles. you will find that Qi penetrates your whole body more smoothly and powerfully. Without closing well. Your heart acts as the guide and leader during energy explosion – when your heart opens.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. so that all parts of the body work together.
flexible and compact enough to mislead and upset your opponent’s centre of gravity. you need to train your muscles in relaxation and gathering. Beyond this range. roll your chest slightly inward. lower your waist and let Qi flow along the spine. spirals up the legs to the waist control-center. The explosion should be short. land on the ground on your in-steps. or you may find your Kai technique lacking in power and precision. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice.As you explode energy. then to every corner of the body. To master this elastic force. Exploding energy at close-range is best as Kai energy. the whole body returns to a state of softness and relaxation. This energy originates from the soles of the feet. strikes may not find their mark. Practitioners also need to build-up a reasonable level of muscular strength. The solution is to make your energy round.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). and to develop high sensitivity and rapid responses to external stimuli. the energy released unhindered. presenting your partner with opportunities to attack. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. After exploding energy. albeit swift and powerful.33 cm. your centre of gravity may be lost. which then distributes it to the other extremities. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . To gather energy of this quality. keep your elbows down. is limited by its short duration and small coverage which extends only as far as your body. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. you will need to drop and relax the shoulders. 2. or worse still. while being mindful of the adage. then spiral your internal energy up the legs to the waist.
you must practice Changjin 王 西 安 32 . one must explode energy smoothly. The main external force that we humans experience is gravitational force from the earth. but also that of your internal energy and combat strategy. The force that you and your partner exert on each other in Tuishou is external force. The external force of both parties affects each’s internal energy flow. Gathering. Your performance in competition depends not only on the quality of your sensitivity. spiral forces. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. it is necessary to distinguish clearly the respective functions of internal force and external force. 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. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. When doing Tuishou exercises. not relying on rigid or crude force. straight forces. and to explore the interactive relationship between them. your opponent is vanquished. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. However. that you are unable to neutralize. skilfully. counter forces. frictional forces.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. flexibly and harmoniously. in effect. Constant diligence. consistent good performances will not be achievable. internal forces. To combine the power of the three. all these are prerequisites to “destroy something already in a state of ruin”. To do this. utilize. Transforming and gathering are complementary and cannot function without each other. there are also a myriad of other forces which influence our bodies – supporting forces. which manifests as our weight. and with that outburst. Without these. though random wins may happen. not strength”. horizontal forces and so on. abundant internal energy and intense physical and energetic concentration. transforming and attacking are closely related. dissipate or absorb her external force. and exploding energy with elastic vibrations. Failure to counter your partner’s force means.
“Without striking the partner from a distance of three metres. you will find it easier to hit targets more accurately and swiftly. This means that if one finds it difficult to attack from a distance. especially exhaling-inhaling and opening-closing motions. during Tiaozhou practice (upward strike with elbow). will find the opponent flung far and wide. An attack. For example. one should not attack at close target. Alternate between these three with slow. and even when elastic cunjin (hitting a target at very close range) is executed. Only very high-level practitioners may achieve this. despite its ferocity. Good Hands’. the whole body moves as a synchronized force to follow the slightest movement of intention. Continue developing these techniques step-by-step until the level of deity is reached.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. the medium circle practice. it is not advisable to exert Changjin (long energy). easy conquest of the opponent does not necessarily follow. there would be no striking the partner from one inch”. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . leading to very smooth and swift responses. Close-range attacks require a high-level of competence. as their attacks flow naturally from their heart and intention. even with the slightest touch. To reach this level. instantaneous. Still Tough’ and ‘Four-Yin Six-Yang. while downward flowing energy helps maintain a firm and stable root. Upward energy and downward energy exist in opposition to each other. By mastering the key points of energy explosion. below which energy flows downward and above which energy flows upward. imagine a line between the navel and Mingmen. beginners need to do the following: do the big circle practice. and the small or no circle practice. At this level of Gongfu. quick. At the transitional stage between ‘Three-Yin Seven-Yang. As it is said. elastic or vibrating variations.
Remember to maintain your centre of gravity with the coordination of the other leg. your opponent’s upper body will shift out of their control. First. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . then your instant and precise attack can never fail”. The rising force is difficult to use if forced. 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. waist and arms. shadow your opponent with agile steps. 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. To lift your opponent up with Ti requires the combined effort of legs. powered by upward spiralling energy. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. To apply Ti successfully requires the whole body to work in coordination. and intention into one entity. combine your rising force with your elastic force. while you maintain a state of relaxation. At the same time. To conquer your opponent. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. The arms and legs work together. Even if not thrown completely off balance. When applying Ti.9 Ti (raising) fOrce Ti means to ‘rise spirally’. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. and may lead to loss of control. As Qi flows up the spine. This means that no matter what Tuishou techniques you use. while you keep your intentions and energy flow undetected. keeping your axis upright and combine your eyes. rotate your Dantian so that your body lifts with greater speed and accuracy. Instead. Using Zhan Nian Lian Sui. never let your partner know your intention before you act.陈 氏 太 极 拳 推 手 技 法 2. heart. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. Remember to maintain full concentration.
tie. their root and they will certainly fall. You roll. Attaining high-level skills will make you braver. For beginners. Mastering this energy requires much effort and practice. transform and defeat your opponent’s attacking energy. you will come to sense it with practice. Do not try to strike others before you have attained a reasonable level of competence.and power. and not even know from whence your power emanates. Adequate practice will naturally lead to success. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. mislead. You will attack like a flying dragon. you will lose awareness of your physical body and location. and manifests externally as it permeates through to the fine hairs on the skin. as it emerges from the feet. your attacks will never fail. your force will reach its target just with intention. you will be able to transform energy while striking. touch or sweep in response to the circumstances and you remain always observant and alert. reeling to the left or reeling to the right. The Reeling Silk consists of great varieties: reeling inward. 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. reeling upward. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . whether you rise or descend. reeling outward. revolving energy which originates internally in the body. you will find it easier to follow. so you feel able to “protect your descendents and kill the rebels”. passes through the legs up the spine and arms. Though undiscernible initially. When this happens. follow the primary principles and develop your skills stepby-step.10 reeling silk Reeling Silk is a spiralling. until it reaches the fine hairs of the skin. on the verge of losing their centre of gravity. walk with such assurance as to shock evil spirits. 2. but once attained.
one must avoid being too soft or too tough. and so on. reeling to the front or reeling aside. reeling forward and backward. While reeling. Be humble and respectful during form practice. collapse the waist and establish a stable centre of gravity in the legs. Yin (guiding.陈 氏 太 极 拳 推 手 技 法 small circles. quiet and calm. reeling horizontally or reeling vertically. Shun reeling (conforming) and Ni reeling (contrary). focusing your energy internally and guiding the flow of your responses from Yin to Yang. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. As for posture. misleading) always comes with Jin (approaching forward or attacking) and vice versa. The solution lies in the middle path: keep a balance between softness and toughness. and apply opening and closing techniques. When being utlilized. Keep a firm root. When using Reeling Silk energy. remain balanced. maintain the interplay between solidness and emptiness. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. remember to keep your Zhongqi (energy to keep your axis upright). and thus renders you unable to react properly and to be easily manipulated by the opponent. all these reeling movements are always comprehensively combined together and closely connected. 王 西 安 36 . excessive toughness makes you get too rigid.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
Zhou. so the Single Form Practice and Erlu help to compensate for this disadvantage. Hua (transform) and Na. Zhan (battle). 王 西 安 38 . A wide variety of single movements must be practiced repeatedly. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. relaxed and soft. Erlu explodes In this technique.’ In this way. as well as techniques focussing on various target areas of the body. 3. you need to execute Jin (go forward).1 inTrOducTiOn This is a practical lesson in combat practice. Single Form practice is vital for hand-to-hand Gongfu combat. An. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it.陈 氏 太 极 拳 推 手 技 法 3. who is then inevitably conquered. Kao. Shan (dodge). Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Cai. This practice requires a solid foundation in preparatory exercises. Faji (attack) effectively under any conditions. for example. and exerting energy too forcefully (Ding) while exploding energy. full relaxation of the joints. Erlu and Single Form practice help to accumulate and strengthen Gang. Shuai (fall). Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. Because Yilu lacks speed and Gang (tough) energy.1 Yilu cultivates Qi. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Da. This means that Yilu fosters Zhongqi so that. goes through the Sanguan (Three Gates). As we know. medium and high-level stages. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. Qi will flow around the body to the extremities and skin. Ti. Ji. if practice is diligent. keeping your energy tracks undetected by the opponent.1. To win. Tui (go backward). Lie. movements gradually become agile and flexible. Lü. where ‘Qi spreads to the whole body. It also demands a period of diligent practice to ascend gradually through the primary.
No matter how steady his partners stood in the beginning of a fight. you fail’ and so on. more like a relaxing stretch to enjoy the subtle. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles.Gongfu masters. elbows. sober movements and his relaxed yet vigorous energy explosions. the seizing techniques of Eagle Claw King. back. Hence. we have Master Feng Zhiqiang who is venerated for his steady. be they exponents in internal Gongfu or external Gongfu. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. 拴Shuan (tie). 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. ‘You practice. 搭Da (touch) and 扫Sao (sweep). hands. they always got hit and thrown to the ground. you don’t. Lastly. Single Form practice is of vital importance. so that the path to deeper understanding and realization may be paved. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. each have their own unique combat style drawn from continuous tempering in their practice. Significant gains may be attained by practicing the single forms step-by-step. Chen Zhaopi was the undisputed master of 滚Gun (rolling). resulting in loss of vigor and effectiveness. inner meanings of the mysterious art rather than a competition. Though widely differing in style. These clearly advise diligent practice of the shoulders. after you practice the form ten thousand times’. If prolonged. you harvest. neglectful practice becomes increasingly difficult to rectify. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. such as: ‘Profound principles emerge by themselves. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). Well known examples include the foot techniques of Li Bantian. To do otherwise would be to ‘attend to trifles and neglect the essentials’. legs and hips using relevant principles. ‘Skills come naturally when you are familiar with forms’.
2 feeT pracTice Feet practice includes the following movements. bend and raise your knee slightly. alternating between both legs: kicking forward. 王 西 安 40 Fig. stomach gathered and head suspended from above. swinging up and down and so on. trampling.陈 氏 太 极 拳 推 手 技 法 3. 3.1 Exercise One • • Squat slightly.2. horizontally. face to the front.1 . With one hip relaxed and the opposite foot slightly touching the ground. 3. upwards and sideways. pedalling forward. chest rolled slightly inward.
3. sideways. stepping. make sure your in-step is stretched moderately tightly. collecting the energy at the abdomen. up and down. pedaling. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right.2 41 .2. bend the other leg with toes grasping the ground to maintain a firm centre of gravity. upward and downward swing. 3. • Kicking smoothly. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Roll the chest inward and aggregate energy with the whole body. horizontal. • Relax the feet so energy can reach the toes where it is required.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. Descriptions of some of these exercises are provided below. feet hanging backward and so on.
At this point. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). for example. 3. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. It should be practiced with both feet so that. 3. edges of the foot plate and the sole (Fig. 3.5). they will be able to direct energy explosions to targets with precision and ferocity.陈 氏 太 极 拳 推 手 技 法 Fig. if you kick with the right leg. 3. use the rebounding force of the earth to bounce up and propel your kick (Fig. your left foot prepares to kick with the toes or instep as the right foot lands.3 • This technique is applicable to the toes. Beginners should practice slowly. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. .3). On landing with either foot.4.
3. 3.Fig.4 Fig.6 43 .5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.
3. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. usually the opponent’s chin.7 The Upward Kick is used for high targets. flexible and quick.陈 氏 太 极 拳 推 手 技 法 Fig. The kick should be light. There is no jumping in the Upward Kick. practice kicking with each foot sequentially. . instead. • Switch your centre of gravity to the left foot. a principle also applicable to the Double Kick (Er Qi Jiao). Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. The Upward Kick should match the rhythm of the hands’ movements. The whole body must be kept balanced and straight when kicking upwards.
all the while rolling the chest slightly inward. standing with left leg. feet firmly grasping the ground. keeping the right foot at the same distance from the left foot as before. 3. but try to keep some weight in the un-weighted side as well. grasp the ground with the left toes and.8 • • • Then stamp your right foot on the ground.• Bend the left knee. exploding energy as quickly and fiercely as you can. cup your right fist and left wrist together in front of the chest. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted.8). 王 西 安 45 . raise the right knee gradually (Fig. As your right foot explodes energy stamping downward. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. 陈 氏 太 极 拳 推 手 技 法 Fig. Then empty the Yong Quan point. 3.
陈 氏 太 极 拳 推 手 技 法 Fig. remember to follow instantly and quickly with the other leg.10). e) Forward Kick This consists of a straight kick forward with the sole of the foot. Kick as high as your opponent’s stomach and chest. 3. and then withdraws elastically like a rubber band springing back into shape. In Single Form exercise. 王 西 安 46 .9 Regardless of which leg steps forward first. The key points here are the same as those for the previous segments. including the alternating use of the legs (Fig.9). you can practice with the alternation of legs (after praciticing with the right leg for a while. practice with the left leg) (Fig. The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. 3. 3.
10 Fig. with hitting points mainly on the inside of the foot (with the occasional use of the outside). Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity. prepare well by relaxing the chest and stomach to ensure your kick is fast. 3. As you reach a higher level of skill.11 Kick mainly with the heels. 王 西 安 47 . 3. 3.11). sometimes with the soles.12) and the Outward Kick (Fig. • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front. 3. fierce and perfectly targeted. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig.Fig. 3. Before kicking.13). f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig.
In the Sideways Kick. 3. 3. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. 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). as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). this reflects the relationship between Yin and Yang’.陈 氏 太 极 拳 推 手 技 法 Fig.12 Fig. 王 西 安 48 • .13 • The Outward Kick is executed outward and upwardly. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. the whole body gathers together then opens up with an explosion of energy. while the body becomes straightened when kick is streched). explode energy like releasing the arrow”.
If kicking with the right foot. then bring it backward (Fig. Before kicking. Your swinging foot is targeted at the back of the opponent’s head. be it with the right or left foot. While swinging outward to the level of the shoulder. Kick upward with the back foot. Squat slightly. Always coordinate the kick with your hands. which allows you to use quick and continous forward steps. Eye your target and prepare for the kick by gathering your internal energy and lowering it.15). then swing it outward in a natural arc. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. toes grasping the ground and all muscles of the body relaxed. 3.14 49 .g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. smack the foot with your hand to ensure the integrity of the energy. turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. use the Gen Bu (follow-on Steps). 3. while your hands are targeted at the face. 3.14).
And smash enemies to pieces.15 With openings and closings. 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.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. . 3. And kick upward along with palms coordinated with Lü. I smack in the air by switching into the track of a swing arc. I take the back of the opponent’s head as target.
• The foot hangs to the calf suddenly to make the opponent lose his balance. remember to balance upward Long (close) movements with downward Ti (raise). You should finish Lü. depending on the distance between you. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. • The action must be quick and powerful. The powers of hand and foot combine together. No matter which you use. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. During solo practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 .h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). • Hang one foot backward. palms facing outward. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. • Pay attention to that you finish this action with the guiding of the waist and back. coordinating both with Tou Bu (sneaking steps). • Hold the body in a squatting position for the next few movements. • Use both hands to execute Lü on one arm of opponent behind the body. • Swing both hands backward to the side of the back hanging Foot. rotating it slightly so that it slants to one side. keep your footwork flexible and neat. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. Gua (hanging) and Gai (covering) in a second. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward.
As a Tuishou poem states: With Yin and then Jin techniques.16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. Hold your position and collect yourself enough to kick upward then swing downward. 3. twisting the waist and rotating the back to exert more power (Fig. 3. your face looking upward. I take the opponent’s upper body and chest as target. And kick upward along with palms smashing downward.陈 氏 太 极 拳 推 手 技 法 Fig. I explode my energy with the rotation of my waist. Move forward with Tou Bu (Sneaking Steps). Then lower your foot to the ground.16). 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. And enemies fall to the ground with face to the air. .
3.g.18. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 . The attacking leg must be flexible enough to swing to the left or right. 3. 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). 40:60. Note that while weight distribution ratios may be used as a guide (e. 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.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. 20:80).19).Fig. 30:70. Practice this transfer of weight by alternating the legs. mindful that while one is in the air.. 3. Use Front Bow Steps to practice this movement (Fig.
3. 3.19 Using Short Energy: Short energy should be used in both inward and outward kicks. Short energy attacks are often used to ‘give a shock to the lower limbs’. . I explode and shock the ghosts.陈 氏 太 极 拳 推 手 技 法 Fig. so that the strikes are as rapid and powerful as possible. As one master said: 王 西 安 54 I move my centre of gravity. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. shock their lower limbs and unbalance their upper body with my feet. waist and hands.18 Fig. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. making your intention easily anticipated.
toward the target. Keep your legs reeling from left to right. step your right foot 40 cm forward to the right. As the toes touch the ground. 3. Begin with slow practice. 王 西 安 55 . Xiacai Tui (Downward Cai energy). look in the direction of the moving leg. that is. 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. Nichan Tui (Legs Reeling in Ni Circles). working up your speed in gradual stages. a shoulder width apart from the left foot. ‘Yong Yi Bu Yong Li’.3. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). Lower the tip of the toes of your unweighted right foot to the ground. Practice continuously alternating both legs. repeating the movements while keeping reeling from the left to right. making sure your leg is no higher than 15 cm above the ground.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). When the right foot lands fully on the ground. Change your weight to the left. Lihe Tui (Inward Knee Strike).1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. Move the left foot half a step to the left. then squat and step out with your right foot.3. Waibai Tui (Legs Swinging Outward). Use intention (Yi) rather than physical force (Li). • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. just as in form practice.
You also need to practice Nichan and Shunchan with both legs. Next. and then rotate 360o left stepping on the toes (Fig. 3. then step forward 40 cm to the left.20). Inner knowledge can only develop with concerted. rotate to the left forward at an angle of 360o. continuous practice.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3.3. striking to both sides with each leg. step forward 40 cm with the right foot. Raise the left foot. Step the right foot forward. transferring all your weight to the left.20 56 . Practice these steps in continuous alternating cycles. transferring all your weight to the right. remembering that the inner side of the heel is the striking point. 3. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner.
practice with both legs and with change of directions. change your weight to the front foot.21).22 57 . In Huobu Tuishou (Tuishou while walking). 3.21 Fig.3. 3. 3. attack with Lihe and then move 90% of your weight to the back leg (Fig. 3. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg.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). • While practicing. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. • Combine Lihe Tui with the rotation of the waist and spine.22). • Stand at attention. As such. we usually attack with Lihe Tui using the right leg. then transfer your weight to the left before moving the right foot forward (Fig.
Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. 3. 王 西 安 Fig. step forward with one leg and swing the other outward and then closing inward. Being content with a superficial understanding is fruitless.3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). 3. 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. During practicing Waibai Tui.23 Fig. regardless of whether you practice day and night (Fig. 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.陈 氏 太 极 拳 推 手 技 法 3.24). practitioners will come to realize the deep significance of their efforts.24 58 .23). 3. and requires a sudden outward swing of the leg as weight is transferred. 3. Through diligent solo Tuishou practice.
• Start with your centre of gravity at the back leg. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. Shun Cai and Ni Cai are based on Front Bow Steps. 3. Cai to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. placing your toes slightly inward. placing your toes slightly outward. The outer side can also be targeted once your ability improves.5 Xiacai Tui … Downward Cai Energy Cai means to pull down.26 59 .3. • To do Ni Cai: move the back leg forward. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles). Xiacai Tui consists of Cai to the left. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). 3.25 Fig.
26).陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). striking inward and striking outward.3. Practice with alternating legs during Single Form practice. 王 西 安 Fig. With a spiralling move forward. striking to the front.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).25).27 Fig. 3. keep ankles relaxed and Qi descending (Fig. 3. Bend your knees about 40o – more than this and you will lose your centre of gravity.28 60 . 3. you can enter the opponent’s territory (Fig. bending consists of stretching’. 3. 3. Train your body to understand the meaning of ‘stretching consists in bending.
• • •
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
change your weight to the right leg and step your left foot forward.4. Rotate the right toes slightly outward as the foot lands.陈 氏 太 极 拳 推 手 技 法 3. at the same time hooking the left fist upward. Hold the right fist close to the left side of the chest. fist centre facing inward. 3. Rest the left fist beside the left leg (Fig. However. 王 西 安 66 Fig.37). Next.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. there are three main distinctions: the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used. Rotate the body to the right then strike downward with the back of the right fist. 3.37 . • • • • • • Take a half step to the right with the right foot.
Practice these steps.39) 王 西 安 67 . After striking. both left and right fists rise and descend at the same time. as the left foot steps forward (weight on the right). stepping the right foot forward and exploding the fists before landing. For each step. and lower the left fist from its upward strike position back to the left side of the body). involve your whole body in the attack. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. (Fig. Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest.38). 3.Fig. alternating both sides continuously (Fig. 陈 氏 太 极 拳 推 手 技 法 In summary. downwards on the right and upward on the left. 3. the left fist rises above the right side of the chest and smashes down to the left.39 • • • • • Again. the right fist is raised above the left side of the chest for more power and then smashes down to the right. 3.38 Fig. 3. step the left foot horizontally over the right one. For example. Likewise. when the right foot steps forward (weight on the left). Then repeat with the other foot.
3. 3. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power.陈 氏 太 极 拳 推 手 技 法 3. the left arm gathers inward and strikes backward to the left with the elbow. 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. • Sychronise both arms so that while the right fist flings forward.40 Fig.41). 3. stretching the left hand upward.5 Dan Bi Zhi Chong Quan … Single Fling Fist Single Fling Fist is a forward punch unique to Taijiquan in that its power is generated by rotating spiral energy at the waist and back.40). 3. fingers vertical. • Sink your weight into the right foot and rotate the waist to the right to gather energy. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. This counter-balancing movement helps to accelerate the punch of the right fist.4. 王 西 安 Fig. • Step the left foot forward. concentrating your power in the Quanding (the front of the fist). • Then fling the right fist forward in Ni reeling. • Gather the right fist under the right rib (Fig. Practice this technique on both sides.41 68 .
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.43 69 .42 Fig. 3. 3.43). 3. only about 40% of the jin force generated is exerted as short rather than long energy. energy does not manifest externally. Repeat with the other side. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. bringing the left palm to the front of the body (Fig. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. 3. • • • • Step the right foot forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4. Instead.42).3. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). the main difference being that in the former. and practice alternating both sides. The power of this technique depends very much on the practitioner’s physical condition. simultaneously gathering the right fist beside the right ribs. Then step the left foot forward.
• Clench your fist so the middle joint of the middle finger protrudes. 3. This forms the ‘peak’ of the fist. • Brace the middle finger with the index and ring fingers.44 . 3. up or down.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. 王 西 安 70 Fig. This makes the fist ‘peak’ stable and solid. • Strike with force and ferocity with this fist using short energy. like hammering a nail. using small agile steps (Fig.陈 氏 太 极 拳 推 手 技 法 3.44). • Attack to the left or right.4. and press the tip of the thumb against the middle fingernail.
Form two nail-shaped fists and strike from both sides using short energy. 3. gather the ribs and lower your energy to the Dantian (Fig. Roll the chest and shoulders slightly inward. Guanyang means to hit the temples with two nails.4.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. 3.46). Bring the fists together in the middle about 25 cm apart. Method 1 • • Method 2 • • • Step forward with either leg. 3. Practice both methods using both legs.3.46 71 .45 Fig. 3.45). Place your weight on one leg. hence creating a dual attack with both fists and knee (Fig. Bend the other leg then strike both fists upward together. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
the chest rolled slightly inward and the spine slightly lifted. fingers pointing up (Fig. 王 西 安 Fig.47).47 Fig.48 72 . • Strike forward with both palms. while making sure the chest is relaxed. • Step forward with the other leg. 3. practice using long energy first.陈 氏 太 极 拳 推 手 技 法 3.5. • Step forward with either leg. thrusting them forward with explosive force. • Prepare for the strike by ensuring your axis is upright. transferring your weight to the front.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. and lower the energy to the abdomen (Fig. the ribs gathered. • Place your hands in front of the chest. 3. palms facing forward. 3. 3. though in the initial stages.5 palM pracTice 3.48).
elbows and wrists are lowered. a Double Palm Push needs to be sudden and exerted directly forward.Fig.49 When practicing with short energy. 3. To be effective. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. gather the chest and stomach like a cat stalking a rat. As the energy reaches the wrists. 3.5. 王 西 安 73 . Just before the explosive strike. • Repeat using the left palm.49). The power.51. lower your energy abruptly and push forward with short energy using small steps. 3. Make sure your shoulder. • Thrust the right palm forward or diagonally to the side.52). thrust your arms out about 50% (Fig.50. speed. using long or short energy (Fig. 陈 氏 太 极 拳 推 手 技 法 3.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). 3. • At the same time step forward with the left leg. 3.
3.50 王 西 安 74 Fig. you will be able to explode energy with natural ease by combining both external form and internal spirit.52 . Fig.51 Fig. gradually increasing the speed. abruptness and power of the push. 3.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. and hence conquer your opponents without effort. With continuous practice. 3.
54). enabling you to hit your target with more precision and power (Fig. whilst using the other palm to push at the opponent’s chest or strike at their stomach. Direct energy above the waist upward and energy below the waist downward. 陈 氏 太 极 拳 推 手 技 法 Fig.54 王 西 安 75 . This creates an energy balance that stabilizes your centre of gravity. while gathering the other hand beside the ribs (Fig.53 Fig.5. 3.53). 3. • • Step one foot forward and ward off an arm attack with one hand.3 Bi Peng Qiantui Zhang … Push with Ward-Off This technique is used to fend off an arm strike from the opponent with an upward hand strike. 3.3. 3.
55 76 . 3.55). first at an angle then vertically upward. • At the same time. • Keep the hips relaxed. open the right side of the chest and stomach. • As you push upward.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.5. while gathering energy on the left side. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). and then straighten it while pushing the right palm upward. 3. 王 西 安 Fig. the stomach gathered and the chest rolled inward (Fig.陈 氏 太 极 拳 推 手 技 法 3. • To push with the right palm: bend the right knee.
’ Apply this technique during Single Palm practice. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’. rotate your body to the right.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing.57).57 77 . • At the same time.3.56). Keep your body and energy lowered while doing this. • Then swiftly draw the opponent into your domain by touching their back with your left hand.5. 3. then quickly striking their chest with your right palm (Fig. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig.58). 3. 3. 3. Shun means ‘sequence’) (Fig.56 Fig.
incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. 3.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 78 . left and right. This helps to concentrate energy in the palms. and gather the ribs and dantian. if the opponent seizes your right hand and twists it outwards with Shun reeling. lower the shoulders. 3. For example. Coordinate the movements of your body with those of the palms. • As you lower the body.6 Shunni Tuo Yao Zhang Push Partner’s Waist with Shun or Ni Reeling This technique enables you to push the opponent to either side using both Shun and Ni reeling.58 • • Also apply the usual principles: roll the chest inward. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. moving the body quickly forward.5.
Next. this time at the left side with your right hand. extending the thumb and fingers (Fig. 王 西 安 79 .60). lower your body then extend it forward with Shun reeling. 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. • Again.Fig. 3.60 • • • As you do this. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. 3. 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. • Key points are the same as with the left hand push above. 3. Unify the three actions of stepping forward.59 Fig. inclining outward and exploding with the left palm (Fig.59). respond in this way: • Step forward with the left foot.
• As you seize. change your centre of gravity from the left to the right. 3. so that energy flows to the very tips of the body. coordinate the waist and legs when exploding energy.61). as advised in an essay.陈 氏 太 极 拳 推 手 技 法 Fig.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. goes through legs.5. “Energy comes from heels. Relax your joints to enhance energy application. regardless of the technique or force used. Also. roll your chest slightly inward and bend your right arm inward. especially when stepping forward and exploding energy (Fig. dominates the waist and penetrates to every part of body. 3.” 3. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles.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. .
Fig. 3.63). 3. practice alternating the seizing between right and left hands. you are able to use both palms to seize the opponent (Fig.62 Fig. palm open. Thus. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. 3. • At the same time. 3. 王 西 安 81  ‘Dai’ means to lead. guide or bring along .5. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended. reach under your opponent’s front arm.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. Change your right hand to Shun reeling and your left to Ni reeling.62). 陈 氏 太 极 拳 推 手 技 法 3. To speed up your response. listening closely to your partner as you do so.63 • • • With your right arm. If the opponent escapes.
3. 3. 3.陈 氏 太 极 拳 推 手 技 法 Fig. Bend your right arm 90o inward and form a fist with your right hand. moving your arms to stabilize this rotation. Clench the left hand into a loose fist and push it forward. 王 西 安 82 3. Transfer your centre of gravity to the front. fingers to the front (Fig. palm up.64). gather the right hand beside the ribs. 3. fingers up.64 Fig. Practice on both sides.65 • • • • • Extend your right arm forward. face the left palm outward.5. Change your weight to the back and turn to the right. fingers pointing to the front (Fig.66). Then hit the opponent with the right arm (Fig. .9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. As your step forward. 3.65).
To increase the precision and power of the fingers. to increase the speed and power of the explosion. and then explode both palms forward with a piercing thrust.67). As the right foot lands on the ground. Next. left under right and right under left (Fig. move the left hand and foot quickly forward together. 王 西 安 83 . 3. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. Return the hands to their original positions before the next energy explosion.66 Fig. 3. 3. Also.Fig. place the left thumb and little finger in opposition while the remaining fingers face forward. coordinate the waist and spine when shaking the right palm forward in Shun reeling.67 • • • • • • Lift the left palm over the right. reel the right hand in Shun reeling to the right and step the right foot forward.
3. 3.69). At the same time. As you change your weight to the front. strike forward with the right elbow while hitting backward with the left elbow.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot. Practice striking with both elbows with corresponding weight changes to either side. In this case. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. 3.6.69). palms facing in (Fig. the left arm counter-balances the movement of the right.6 elbOw pracTice 3. 3. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3.69 84 .68 Fig. Remember to apply long energy before you apply short energy (Fig.
Then strike the right elbow down for the second time (Fig. Step the right foot forward and strike the right elbow down forcefully as the foot lands. take a small step forward with the left foot. 3. 3. wrist turned inward and the palm facing backward. bend the right elbow inward. 3. gather it close to the right ribs. Alternatively. As the right elbow descends. step the right foot forward again and extend the left arm forward.6. Lift the left hand when the right elbow completes 90o of its descent. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. At the same time. and clench the right hand into a fist.70 Fig.71 85 .2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right.71).70). palm up. After the strike. return the elbow to the right side. At the same.3. 3. slap the right shoulder with the left palm.
73 Fig.6. 3. Fig. Rotate slightly to the left. then turn right with the right toes facing slightly out.陈 氏 太 极 拳 推 手 技 法 3. 3.74 86 .72 王 西 安 Fig. 3.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward.
Gather the body to prepare for attack by lowering the body slightly (Fig. 3. 3. then step forward with the right foot. palm facing in.75). Step the left foot forward.6.74). clasping the right forearm with the left palm. 3. raise the right hand across the front of the chest to the left in an upward arc. 王 西 安 87 . Step the right foot to the left and bend the right arm. Remember that the right leg moves forward with the right arm and vice-versa. Turn to the left and strike out explosively with the right elbow. transferring your centre of gravity to the left. so that both feet are approximately 50 cm apart. as if warding off (Fig. 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. 3. clench the right hand into a fist. clasping the right forearm with the left palm.72).73). 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. Move the body to the left and transfer your centre of gravity to the right and back. gather the ribs and lower your Qi.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. • • • Practice with the other arm. As you do this. Gather the body by bending it slightly.• At the same time. 3. toe tips slightly touching the ground.
strike the right elbow to the right.75 Fig. balancing this movement with the left hand. with the following differences: . use short and fast energy. gathering it horizontally in front of the chest. step right with the right foot. Simultaneously.陈 氏 太 极 拳 推 手 技 法 Fig.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. turning the body to the right. 3.6. the right fist lowered to front of the left armpit.76 • Spiral the right arm forward with Ni reeling. 3. Next. 3. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). Once familiar with the practice. practice with long and slow energy. 王 西 安 88 3. • In the initial stages. palm down. Practice with both sides (Fig.76).
6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. fingers pointing up. • Turn the body to the right and reel the right palm across the chest to the right.77). • Simultaneously. 3.77 Fig. Touch the right knee with the right palm. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. extend your left palm forward.78 3. • Jump the left foot half a step to the left.78).6. while Xin Zhou is targeted to the front (Fig. landing approximately 50 cm apart from the left foot. 3. • Stand at attention with the arms relaxed at the sides. 3. jump slightly with the right foot. toe tips on the ground. palm down. Before the foot lands. 陈 氏 太 极 拳 推 手 技 法 Fig. 3. 王 西 安 89 .• • Shun Lan Zhou is aimed slightly to the back. palm facing right.
As you change weight. After the strike. clench both palms into fists.79 Fig. step the right foot forward. bending the wrist before striking upward quickly with the back of the right fist. then transfer your centre of gravity to the right. Also. Instead. Next. Return the left fist beside the right ribs (Fig. placing the left fist below the right.80 Fig. 3. 3. toe-tips on the ground. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). 3. then gradually using short and fast energy. . Look to the right side of body while striking upward. avoid letting all your energy flow upward as this will destabilize your root. 3. followed by the right foot. 3.80).陈 氏 太 极 拳 推 手 技 法 Fig. Practice on both sides. toe tips touching the ground (Fig. While striking on the right. balance the energy between the upper and lower body.79). step the left foot to the left.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. Move the right fist toward the right shoulder using Shun reeling. starting with slow movements initially until the steps become familiar. taking the waist as the dividing line.81). 3.
3. then strike with the right elbow. If you stepped to the left. 陈 氏 太 极 拳 推 手 技 法 Fig.3.82). while the left the supplementary strike. 3.83).82 Fig. Change your weight to the left.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.6. Gather the fists close to the chest (Fig. • • • • Step to one side with either leg. In this position. place the left arm inside the right. 3. 3.83 王 西 安 91 . the right elbow executes the dominant attack. Practice alternating both sides. then exploding both elbows horizontally. looking to the left and concentrating energy in the elbow tips (Fig.
85).84 Fig.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows. 3. This increases the force of your attack.6. looking to the front and rolling the chest and shoulders inward.陈 氏 太 极 拳 推 手 技 法 3.85 . Try to feel the effect of this preparation during practice (Fig. 王 西 安 92 Fig. 3.84). As your weight transfers to the front. • • Step one foot forward. 3. 3. holding fists on either side of the ribs (Fig. prepare for the stike by gathering the wrists inward.
extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. palm to the front.86 Fig.3. 3.87 93 . As the weight shifts to the left. Simultaneously. palm facing inward and inclining backward. clench the right hand into a fist. clench the left palm into a half fist and place it beside the left leg.86). You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. Practice alternating both sides. take a big step forward with the right foot in front of the left. 3. 3. then lift it so that the right elbow is positioned over the right knee (Fig.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly.6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.87). As your centre of gravity shifts to the left. At the same time. 3. rotate the body to the right.
shifting your centre of gravity to the front. 王 西 安 Fig. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). As one of the Eight Forces. 3. • Change your weight to the left.陈 氏 太 极 拳 推 手 技 法 3. • After exerting Pie force. • At the same time.88 94 . the legs should be parallel to each other. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. Make sure both hands move and arrive at their destinations simultaneously. then lower it over the right knee.88). you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. 3. • Shift your weight abruptly to the right and form a half fist with the left palm. • Step the right foot forward. • All movements are guided by the rotation of the waist and spine. moving it beside the left ribs.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). In this way.6. strike forward explosively with the right forearm using a short-energy (Fig. palm up. • Extend the right hand outward.
Form a hook (Diao Shou) with the right hand with the little. 3. The thumb and index finger form the character Ba ‘八’. and extend the left hand forward to the right. using downward Ni reeling. • Keep the left hand open so the thumb is separated from the fingers. lower the left hand from the front of the chest to the left ribs. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. palm up. In this way. use Cai technique to strike out explosively with the outside of the right forearm and elbow. • Then.6.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. ring and middle fingers. both internal and external movements are integrated with the movements of the body and limbs. bending the elbow.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. closing it slightly. • While lowering the left hand. using guiding energy from the little finger. • Step backward with the left foot shifting your weight to the left. 3. Shift your weight more to the left as you do this (Fig. • Raise the right hand from the right side.89).89 95 .
you raise the right hand in Ni reeling to descend the elbow (Fig. While transferring weight. 3. especially useful as a defensive move when being attacked while in a passive situation. 3. and then.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. moving your weight to the right (Fig. 王 西 安 96 Fig.90). the right thumb guides energy flow. Note: For maximum effectiveness. At the same time.陈 氏 太 极 拳 推 手 技 法 3.90 Fig. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. • • • • Bend the left knee. 3. make sure power is gathered properly through the whole body and that your timing is correct before you strike.91). strike the right elbow backward at an upward angle (Shang Chuan Zhou). and extend the right leg backward. toes grasping the ground.6.91 . 3.
Ce Jian Kao. 3.92). Xiong Kao.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao.92 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. The right foot and right arm should reach their positions at the same time (Fig.93 97 .1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3.7. As you shift your weight to the right. Shuang Bei Kao and Qi Cun Kao. Ying Men Kao. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. 3. 3.
3.93). pushing it forward and down. if you find you get into an appropriate space for attacking. 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. As the body inclines forward significantly during this move. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward.陈 氏 太 极 拳 推 手 技 法 • • • Then. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). The left hand follows the right hand in support and comes to a rest in front of the right shoulder. 3. . After executing the above. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. use the outside of the right shoulder to execute Qian Zai Kao. Repeat these steps for both sides. As the heel touches the ground. On completion of the shoulder push. Then step the right foot forward again to execute Zai Kao for a second time. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory.94).7. Note: Only push when you are in the correct position. 3. step forward with the left foot and place it next to the right foot. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. Then take another big step forward with the right foot.
94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks.3 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. conversely if one is able to ‘open’ the doors of the opponent. 王 西 安 99 . then techniques such as Ying Men Kao can be used to penetrate defences and attack. When firmly closed.Fig. lowering down but not stiff. Dai (lead and pull) and Ji (attack) energies together. light but not floating” . 3. 3.7. This only comes with closely combining the Yin (guide). arms are a defense against attacks.
move the left foot forward parallel to the right foot and repeat the sequence for another attack. the right hand above the left. 3.96). fingers pointing up and palms facing the sides of the body. • You can use more of the shoulder surface in the attack. At the same time.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. It is easier to hurt the partner using a narrower attacking surface. 3. Next. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. 3. 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.陈 氏 太 极 拳 推 手 技 法 Fig. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. Once the attack is completed.95).95 Fig. cross the hands in front of the chest. move both arms to each side of the body and push the right shoulder forward in attack (Fig. . Separate the hands of the opponent to expose his chest (Fig. 3.
• To begin.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. 3. • Step the right foot forward.97 Fig. Note: Focus on sharpening your sense of timing during practice.7. Only with a thorough mastery of this technique. • Extend both arms from the sides to the front in an embracing gesture. the chest and waist are in a collapsed position. 3. using this shift to deliver a sudden push with the chest (Fig. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. 3. • After this move is completed.98). shifting your weight to the front. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. • Then roll the chest inward and shift your weight quickly from left to right.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.97).98 101 . move the left foot parallel to the right. A good sense of timing is essential for defeating the opponent. can you execute it in actual combat (because you may easily hurt yourself ).
99 Fig. and the shoulders execute Bei Kao to the right .100).7. take a sudden breath in and push the chest forward quickly. • When the weight moves forward the chest rolls inwards. rebounding and shaking power).陈 氏 太 极 拳 推 手 技 法 3. Note: As mentioned in previous techniques. • When the whole body holds and collects to a moderate extent.100 102 .99). as the shoulders deliver Bei Kao backwards (Fig. This technique also uses Duan Jing (short power). • Stand with feet parallel. 3. 王 西 安 Fig. • Gently rotate backwards with both palms facing backwards. remember to gather and withhold energy before delivering the strike. a capability that comes only with extended Quan practice. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. 3. shoulders slightly concave and with power guided by the thumbs (Fig. 3. 3.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. You may lead with either leg.
fingers pointing down. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack.7.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao.101 103 . if further away. • Practice pushing from both the right and left sides. Note: If the opponent is at close-range. Find a stable centre of gravity with the body and gather your body in this position. continue to transfer your weight to the right. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Turn the body slightly to the left as the right hand rises. • Once your root is stabilized. use short power in your push. 3. 3. • Gradually move the right arm downward toward to the inside of the right leg. • Extend the right foot and arm forward.101).3. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. extend the distance of your Kao slightly.
7. 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. This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice. 3. Place the elbow below the knee (Fig. Note: Power applied in the initial stages should be slow rather than quick.102).102 104 .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.陈 氏 太 极 拳 推 手 技 法 3. • • • • Take a large step diagonally forward with the left or right leg. 王 西 安 Fig. 3. Incline the body forward in the same direction.
103 Fig. and Shuang He Na. palm facing in. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. Shuang He Fu Cai Na.103). Tui Na. 3. Chan Rao Na. • Relax the left side of the crotch and shift your weight forward to the left. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. palm up (Fig. • Extend the left foot and left hand forward. 3. 3. 3.3.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. 3.8.104).104 105 . • At same time. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. Diao gai Na. Fu Na. Xiong Na. • Rest the right hand near the right ribs.
this time reeling in Shun direction with the left hand and Ni direction with the right. After seizing. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. you will be able to execute these changes quickly and smoothly. Repeat the above sequence. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. if you practice each side diligently. drop the elbow. roll the chest in. 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. Note: Shun and Ni reeling are interdependent and cannot be separated. and lower your waist and Qi. Your moves will become more effective as your internal Qi integrates more closely with the external movements. changing the weight from left to right. move the weight slightly backward then move forward again. but she evades your attack by ducking down. tighten the ribs. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. Shun reel with the right hand and Ni reel with the left. then you must respond promptly by swapping the reelings to the opposite hands. lower the shoulders. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. Seizing techniques are quite difficult to practice. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. in order to block the opponent’s energy path. i. even though you deliver the power later than the partner. . 王 西 安 106 Closing with the left while seizing with the right and vice versa. With practice. When seizing.e.
placing it in front of the chest. 3.105).107 王 西 安 107 . 3.106). As you do this. 3. Relax the left side of the crotch. lower the Qi. roll the chest in. • • • • • 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.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. 陈 氏 太 极 拳 推 手 技 法 Fig.3. Then lower the right hand to the right ribs.107).8. 3. palm out. 3. and shift your weight to the right side. At the same time. Then rotate the right hand and body to the right. Again.105 Fig. relax the left side of the crotch and shift your weight to the left. 3.106 Fig. extend the left hand forward to rest in front of the body (Fig. tighten the ribs. and clench the right hand into a fist. The shift to the left enables you to hit the target clearly (Fig.
• Step the right foot forward and pass the right hand across the left side of the body. The strike is actually applied by the left side of the chest. Move quickly and follow your partner but do not lose power. Relax the crotch. The left hand leads by closing the power causing the right hand to follow.8. and gather energy in the ribs.109). • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground.” 3. palm facing right (Fig. • At the same time. palm facing left (Fig. Make sure to keep your own axis when seizing the opponent.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.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. • Close the crotch. roll the chest slightly inward and gather the ribs. lower Qi to the abdomen in preparation for the inward roll and seizing. 王 西 安 108 . the force of upward suspension maintains the axis. while the two hands serve as supports. rotate the body. 3. Draw the arc with the intention of meeting the opponent’s hand. 3. • As the weight shifts to the left. Match the speed of your movements to that of your partner. Move the whole body in a natural and relaxed state. the palm forming a “八” (Ba) shape. • Step the left foot forward and extend the left hand to the front. Shift your weight forward and accumulate power well. reel with both hands in a Shun direction. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen.108).
110).109 Fig. whose movement is heavier (Fig.110 109 .Fig. The eyes look forward and to the left. clench the left hand. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. The abdomen provides the main supporting element. seize with the right and roll the abdomen – these three actions combine to become one power.108 • • As the Qi descends. 3. the left hand moves lightly and assists the right. 3. 3.
112). palms about 10 cm from the lower abdomen. the right hand moving down while the left moves up. • • • • 王 西 安 110 • • Take a half step forward with the right foot. bending them at the elbows. the right foot steps forward. At the same time. Move swiftly without hesitation. 3. 3. capture and immobilize the opponent. while the hands use Na (seizing) power to collect inward. Concentrate your energies then pounce on your opponent like an agile cat. and gather them towards you (Fig.陈 氏 太 极 拳 推 手 技 法 In summary. Continue to shift your weight forward. 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. keep your intention firm for victory or failure will be decided in a second. .111). Direct the eyes to the front. As you seize. extend both arms to the front. do not be kind to the foe for the opportunity to attack comes just once. immobilizes their wrists by bending them outwards. push the abdomen out suddenly (Fig. whereby the abdomen gathers power to support the hands. Both hands extend forward in sequence. facing in so that the fingers are directed towards each other. and both feet standing steadily as the hands move. roll the chest slightly inward. As your weight shifts. followed by the left. 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. move the palms up to chest level and seize the opponent’s elbows using Na power.8.
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. 3. 3. • • • • Step the right foot forward and pass the right hand across the chest.8. 陈 氏 太 极 拳 推 手 技 法 3. fending the opponent off upward to the right (Fig. 王 西 安 111 . 3. supported by the warding right hand. Step the left foot forward and shift your weight to the left. Lower the right hand then cover it with the left. so that you respond by moving your weight forward. and lower Qi in your abdomen before protruding it forward.111 Fig. Reel the left hand forward.113).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.
But remember: practice like an adept.114 • • • • Put your body in a squatting position by bending the knees slightly. this technique can be used effectively to break wrists. . not like a thug.113 Fig. Combine them with the power of chest to become one power (Fig. Collect the body by rolling the chest slightly inward.陈 氏 太 极 拳 推 手 技 法 Fig. Collect the hands inward to about 15 cm in front of the chest. bones. tendons and veins. 3. gathering the ribs and lowering the waist and Qi. 王 西 安 112 Note: If Qi descends smoothly.114). Alternate practice on both right and left sides. by taking a step forward (Shang Bu) each time. 3. Step the right foot forward again and repeat the above steps. 3.
8. and move both hands to assist the left leg. • As the knee swings inward.115). the Three Powers (Jing Qi Shen) combine to seize the opponent. The powers of the left arm and right hand unify as one. lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni reeling to seize downward from the right side. • As you step. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. • As the weight moves forward. • Bend the left arm inward to gather both palms.116 113 . 3.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. • As soon as the right hand reaches the level of the left leg.115 Fig. shift your weight forward and bend the knees slightly so that the body squats like a bent bow. 3. Lower your Qi. fingers pointing forward. • Step forward with the left foot and extend the left arm to the front. In this way.3. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. relax the crotch. roll the chest in and gather the ribs (Fig.
117). shift your weight quickly to the left and step forward with the right foot. 3. spiral the right hand up from the right side into an arc. • Step forward with the right foot.116).118 114 . As you step forward. The changing of the legs happens quickly.117 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. guiding it to the right ribs for support (Fig.7 Diao Gai Na … Seizing with Both Hands This technique uses both hands to seize: the right hand moves up from the right to grasp the opponent’s arm from the bottom while the left presses down from the top. • At the same time. • Then lower the right arm by executing Lü downward in Ni reeling. shift your weight to the front and extend the left arm again to repeat the steps and seize once more.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. gradually guiding it inward to rest in front of the right ribs. 王 西 安 Fig. 3. 3. 3.8. 3. Then step forward with the left foot.
Fig. roll the chest slightly inward and bend the knees slightly into a squatting position. 3. Continue to move the right hand and foot forward. As the right foot touches the ground. lower the shoulders.118).119). The intention is to have the whole body collecting and seizing together with the hands. 3. As the hands move. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 . 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. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. 3. When the right hand moves up. shift your weight to the right and step forward with the left foot. shift your weight to the right and move the left foot and hand forward (Fig.119 • • • • • • As soon as the right foot touches on the ground.
This step marks the transformation of Peng (ward off ) to Na (seizing). 3.陈 氏 太 极 拳 推 手 技 法 3.120). 王 西 安 Fig.121 116 . Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. Combine this with the power gathered in both hands and seize with one force. 3. then gather both hands and grasp the opponent’s wrist firmly downwards. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig. Bend your knees so your body squats like a bending bow.8.121). 3.120 Fig. 3. step forward with the left foot and shift your weight to the front. Prepare for the seizing by lowering Qi to the Dantian. At the same time. strengthed by whole body coordination. rolling the chest inward and tightening the ribs.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize.
• Next. • Stand with both feet in parallel. Diao Wan Qu Zhi Jie Tuo 3. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. such as a waist grasp from the rear to throw you down. eyes looking forward. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. then the ring finger. 王 西 安 117 . 3. • Move Qi in from the outside and lower it to the Dantian. ‘Wars Among Three Countries’ by Guan Yu.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. Qu Wan Fan Na Jie 6. and finally the index finger. middle finger. curve the fingers into hooks and raise them in front of the ribs with the little finger leading.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. shoulder-width apart. • Hang the hands naturally at the sides. Guan Gong Jie Dai 2. • Inhale. the Guan Gong Jie Dai technique is said to be named after its creator. Shan Jing Ce Jian Jie 7.3. Fan Na Cu Bu Jie 9.122). Shuang Wan Zhi Jie 4. Chuan Zhang Jie 5. Guan Gong. Shan Jing Zhen Zhang Jie 8. This technique enables a practitioner to avoid capture or break a hold.9.
In this way. hook the wrist and bend the fingers to escape.123 • Synchronise the speed of this movement with that of the body. 3. the squatting of the body.122 Fig. otherwise it is not easy to unfold (Fig.陈 氏 太 极 拳 推 手 技 法 Fig.9. 3. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip).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. the gathering of the ribs and the hooking of fingers should combine to become one unit. . If the fingers are being held.123). and also with the speed of Qi descending. 3. 王 西 安 118 3. This technique becomes effective only after extended practice.
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. join the fingers of your hand together and point them diagonally upward to the right (Fig. 3.Fig.124). Move your body to transform the attacking power. As you move. lowering the elbows.125 • • • • • If the fingers of one hand are seized by the opponent.124 Fig. your conjoined fingertips and knuckles should be able to escape with ease (Fig. unblocking the arm area being attacked. 王 西 安 119 . rolling the chest inward. By the end of your movement. slowly bend the wrist and fingers. so that Tuo (escaping) power can reach the fingers effectively.125). you relax and elongate your encaptured arm. and lowering your Qi as you do so. Practice these steps with both hands in turn. 3. By doing this. 3. relaxing the shoulders. 3.
bend the arms. clench both hands into fists. then move your arms forward and upward as your weight shifts forward (Fig.陈 氏 太 极 拳 推 手 技 法 3.127).3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. tighten the ribs. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. and lower the Qi so that power can flow smoothly to the inner side of the wrists.126). 3. At the same time.126 Fig.9. lower the shoulders and elbows. 3. Just focus on relaxing and lower the Qi. It is not necessary to use large movements in this technique. 3. closing your hands while opening the opponent’s.127 120 . 王 西 安 Fig. While doing this. roll the chest inward. • • • Step one foot forward and shift your weight to the other leg (Fig. 3.
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. • Bend the knees slightly to place the body in a squatting position. 3.128 Fig.9. placing the right hand on the left (Fig. tighten the ribs. elbows. 3. and Qi.128). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. two eyes look forward horizontally. • Bend both arms 90o inward and cross them in front of the chest. 3. It is most often used in the transition between the Jin Gang Dao Zhui posture (Buddha’s Warrior Attendant Pounds Mortar) and the Lan Zha Yi posture (Lazily Tying Coat). and roll the chest inward. • Two feet stand flatly and the body stands straight.129 121 . and lower the shoulders.3.
130 Fig.131 122 . and move the right hand in Shun reeling while the left does Ni reeling. It requires you to twist the captured fingers outward in Shun reeling.129). swapping the Shun and Ni reeling to the opposite hands. and lock the palms of the opponent. 3.陈 氏 太 极 拳 推 手 技 法 • • • If you choose to turn to the left: rotate the body to the left then right. 3. 3.9. Then ward off (Peng) by pushing both palms outward. 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.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. 王 西 安 Fig. then rotate forward again. 3. If you choose to turn to the right: rotate the body to the right then left. Do not rush forward but defend you territory in straight postures (Fig.
Fig. then bend it about 450. If you practice diligently. step the right foot forward (Fig. palm facing left (Fig. Apply the principle of constant change and flexibility in Taiji circles. As the right toes touch the ground. 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.131). relax the shoulders. 3. raise the elbows.132 Fig. 3. Your movements should be relaxed and executed with power at all times. 3.130). While rotating the arm. wrist bent inward in readiness to seize and fend off danger (Fig.133). Rotate the arm about 1800 outward in Ni reeling.132). 3. 3. As you do this. 王 西 安 123 . 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. extend the left hand forward to support the right hand as it seizes downward (Fig. 3. it will be difficult for opponents to overcome your attacks.133 • • • • • Extend your right arm forward.
• Simultaneously. • The right wrist bends inward with the arm to rotate the hand in Ni reeling. 3.135 124 . move the left hand rightward to the front of the chest. roll the chest inward. right fingertips initially pointing downward.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling.134 Fig.9. this sequence of movements make up the Shan Jing Ce Shen Jie technique. 3. • As the right palm reels outward. so that the power of the left hand combines with the right to become one. Together.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. Next. the palm gradually guided by Ni reeling to slant externally to the right. then move swiftly to the right to destabilize the opponent. In response. • Extend the right arm horizontally and bend it 900 inward. you should rotate externally and upward in Ni reeling. palm facing right. coordinating it with the lifting of the back and the descending Qi. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push).
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.135). giving him a sense of losing of Qi. 3.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent.134). touching the ground with the toe tips (Fig. All the above movements of the hands. and thus enabling one to evade capture. Almost at the same time. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. The above movements of both arms and the right foot should occur in one very smooth and swift motion. 3. make a big step forward with the right foot. 王 西 安 125 . then quickly step the right foot forward (Shang Bu). because with these. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. 陈 氏 太 极 拳 推 手 技 法 3.• • • As your left hand moves. shift your weight to the left . then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). So Shan and Jing serve as the pre-condition of escaping. Note: Move in Ni reeling while the opponent moves in Shun reeling.9. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall.
王 西 安 Fig.138). 3. 3. slowly raise both hands and bend them inward about 1800. palms facing up and the two little fingers placed on the middle of each arm. 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. This power should be quick and strong. 3.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time.138 126 . At the same time. As soon as you surprise and destabilize them with your moves.137 Fig. then Shang Bu (take a step forward). open both fists and shift them away from the sides of the body. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. then the whole body sends a Dou in a circle in Shun reeling (short power). Simultaneously. and both palms draw inward. step forward quickly and attack with the palm (Fig. Next. 3.137). palms facing up and eyes looking forward. 3. 3.136 Fig.136). When the body and two hands send the Dou power. the body squats.
because sometimes appropriate retreating gives one a closing power. At the same time. extend the left hand from left to right. 3. the partner cannot reach you though his attacking power is strong. which is against principle. thumb separated from the fingers (Fig. Two elbows draw inward and hands move outwards. With Shan and Jing. Then push the left palm to the right.140). Step diagonally right with the right foot. 3. It is not wise to grasp the opponent’s elbow with your fingers. Bend the knees slightly to place the body in a squatting position. you find escaping easy. As the right foot steps on the ground.9. 3. and attacking by the Cu Bu or Dun Bu technique (stomping).139).It is just like the poem reads: ‘It is not a failure if you retreat your pace. holding and collecting a quicker speed. palm facing out. then shift your weight to the left and inclining the body to the right to hold and collect. since he or she can easily twist your fingers and get you caught’. extend the right hand diagonally forward to the side. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. first bending it inward then moving it outward to the right. 王 西 安 127 .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. fingertips slanting up (Fig.
王 西 安 128 . do not react or become anxious but remain confident in your prowess. 3.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. from long power to short power. side pushing with the left palm and exhaling at one time. paying attention to the upper and lower body and your surroundings.139 Fig. Even if you sense the opponent’s intention to move. the body should move from high to low. Stand rooted like a big tree. Incline your body and explode the energy with great unity by stomping with the right foot. from slow to quick. During the practice. Be patient and diligent with practice. 3. only by this will you increase in strength. This power can only be gathered with greatly unified power.陈 氏 太 极 拳 推 手 技 法 Fig. Then you will free yourself from capture.
the left hand in Ni reeling and the right in Shun reeling.3. breathing in as you do this. tighten the ribs and lower Qi to the Dantian. the hands wrest free of the opponent’s wrist grip.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. eyes looking forward (Fig.142 129 . roll the chest in.9.141). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Extend both arms forward. 3. 3. 3. As you do this.142).141 Fig. exhale. palms facing each other. 3. separate the hands to the sides of the body. • Then bend both wrists inward. • Step the right foot forward. palms facing in (Fig. bending inward about 90o. • Next. • In this way. lower the shoulders and elbows.
王 西 安 130 . During practice.144). If you still can’t free your wrists with this technique.143). then separate them to each side. 3. insert both palms downward (Xia Cha Zhang. 3. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. You can escape from seizing by one closing and one opening. 3. keeping both arms tightly together like pincers. If you cannot push the opponent’s hands away.143 Fig. finally returning them to the front of the chest to repeat the cycle (Fig. then raise your hands. Palm Inserting Down) (Fig.144 Notes The extent to which you separate your hands depends on the opponent’s grip. then you transform and eliminate the seizing on your wrists. 3.陈 氏 太 极 拳 推 手 技 法 Fig.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
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). This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. each of which can be practiced individually or in sequence: 1.陈 氏 太 极 拳 推 手 技 法 4. Wu Ji Zhuang (Wu Ji Posture) 2. These movements are applied throughout the whole system of Taiji and Tuishou practices. its leaves and branches must flourish. As Qing Dynasty Taiji Master. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. opening and closing. Taiji Yangsheng Zengqi Gong can be divided into six postures. Chan Si Zhuang (Reeling Silk Posture) 6.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). San Ti Shi (Three Postures) 5. Chen Xin. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. states: “If a tree has deep and strong roots. Kai He Zhuang (Opening and Closing Posture) 4. 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. Ji and An. .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. rising and falling. Peng. Lü.
4.1 Postures a) Posture 1 • • • • Stand upright. keeping your mind relaxed. breathing gently and slowly. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2 wu ji zhuang (wu ji pOsTure) 4. eyes closed. Concentrate your intention (Yi) in the Dantian.1 133 .2. Hang both arms at the side of the body and relax. Open your eyes gradually. feet parallel and shoulder width apart.4.
Take care of these points and you will not lose power (Diu Jin) unnecessarily. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body.2). when it should actually be solid. palms facing downward and slanted diagonally (Fig.3). Maintain the hands at shoulder height. 王 西 安 Fig. On the other hand. the reverse for females (Fig. 4. 4. 4. Lower the hands onto the abdomen.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. 4.3 134 .2 Fig. the right hand rotating in Shun reeling and the left in Ni reeling. Try to expand your arms moderately. the right over the left for male practitioners. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. do not do it so gently that Qi becomes too soft and weak to reach every part of the body.
2. The neck should be firm and straight. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. Your shoulders should be loose and slightly lowered. inhale and then swallow saliva down into the stomach. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 . It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. lower it when exhaling. Gather the chest and ribs inward. bend the knees slightly and grasp the ground gently with the toes.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). until they reach the lower Dantian. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. guiding the Qi and saliva through to the middle Dantian. 2. Pay attention to the following points when practicing the Zhuang posture: 1. Your elbow joints should be lowered. so that the waist descends naturally. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. the mind and facial muscles naturally relaxed. 4. Lift the buttocks and anus up a little. 4.2 The requirements for every part of the body 1. 3. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed.2. The whole body will be steady if you gather the internal organs consistently.4.
until it reaches the Bai Hui point. Feel the sensation of all the body joints. While exhaling Lower every part of the body. lower the waist and gather the Qi in the Dantian. Raise your Yi (intention) from the Hui Yin point (perineum). Maintain your vertical axis. keeping your body upright and lifting your back slightly. While inhaling Gather your chest and abdomen inward while breathing in Qi. which will help with the distribution of Qi around the body. roll the chest slightly inward.陈 氏 太 极 拳 推 手 技 法 2. across the Yu Zhen point. you will enlarge your vital capacity and exercise the diaphragm muscles. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). so that they all have the same rhythm. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. including the internal organs. leading to Qi filling and blocking the chest. 王 西 安 136 . up along the spine. through the Wei Lü Guan point. skin and fine hairs opening as the Qi rises. While lowering the internal Qi. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. 3. Practice also enhances your ability to guide Qi with Yi (intention). By practising the above key points.
Practitioners should modify the scope of their practice according to their level and progress. and achieve the smooth Zhoutian circulation and help with body combat. thinking. external movements) follows Qi.4. and emotions. Qi follows Yi. patients and the correct mastery of key points. quietude and concentration. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. The key requirements for practice are relaxation. so it is recommended that they do not practice Yi and Qi until they become familliar with the form.2. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). Only through mastering your mental activities such as intention. Only these can guarantee normal and healthy internal Qi circulation. Beginners generally find it difficult to remember the postures and key points. consciousness. Qi cannot be separated from Yi (intention).4 Additional Notes • In Taiji Yangsheng Zeng Qigong. just as Xing (posture. these can be accomplished only by hard learning. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . During Wu Ji Zhuang. However.
4.” Hence.陈 氏 太 极 拳 推 手 技 法 4.3 hunyuan zhuang (circle pOsTure) Zhuang skill.1 Postures 王 西 安 Fig.5 138 . also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars. 4.3. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill. 4.4 Fig. is an important basic skill in Chinese Martial Arts. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.
the neck. then move them back to the middle. Keep the head naturally erect. Lower the elbows and shoulders slightly. if closed. then lower the waist (Fig. Leave your eyes naturally open or close them. Stand with your feet parallel. Keep the fingers evenly open and slightly bent as if half grasping a sphere. with practice duration increasing gradually from short to long. Execute the posture as if embracing a big tree. focus your attention on the Dantian (Fig. The palms face each other. fingers pointing at their counterparts about 30 cm apart. shift your weight to the right and lift the left foot and take half a step to the left. waist and crotch. a little more than shoulder-width apart. The upper body should be kept upright. Next. Relax the shoulders. b) Posture 2 • • • Separate the hands when the left foot reaches ground.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. The old and weak may practice using a high body stance. 王 西 安 139 . focus on a static object at the same level as your eyes.3. 陈 氏 太 极 拳 推 手 技 法 4. 4.5).a) Posture 1 • • • • • Start with the same initial posture as the previous posture. 4. mid-level and low. Bend the knees so that the body is squatting a little. waist and back straight. If your eyes are open.4).
More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. swallowing your breath with saliva. Que Qiao. For example. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). up the spine. 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. 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. Should this happen. graduating to midlevel. inhale slowly first. you should raise your stance slightly to rest. This relieves or may even stop the trembling for a period. the thigh muscles and even the whole body may tremble rhythmically. then a low stance. then lower your body again. Practice duration can last just a few minutes in the initial stages. then bend the knees to lower the body until the buttocks are at the same level as the knees.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. Du Mai. touch the palate with the tip of the tongue. At this point. Wei Lü Guan. Now lower the tongue and inhale. Inhale again as the body rises. and guide the saliva down to the middle and lower Dantian. when doing Standing Zhuang at a high stance. past the Yu Zhen point. although this may become more obvious with prolonged practicing at mid or low stances. through the Ren Mai. until it reaches the Baihui point. becoming gradually longer. 王 西 安 140 . raise Qi from the heels up the legs. In this case. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. and slight trembling may occur. At the same time. Beginners will find that the thighs may ache after two weeks of practice.
The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. as it responds to the circulating blood. The body weight is always subtly moving in various directions.As you exhale slowly. Standing on the ground steadily like a mountain. Zhuang skill is actually a practice using static strength and tension. the body quivers in a relaxed and peaceful state of mind. but the apparent non-activity is misleading. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . Practice this process repeatedly.3.3 Breathing Breathing is an important element of Zhuang skill. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. like a wild goose flies off and falls. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. 4. breathing motions and digesting processes. It rises and falls like a boat in the ocean.
the breath is usually short.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. 4. The distance between both arms starts short then grows longer.6 Fig. In the initial stages of practice.4. 王 西 安 Fig. The navel and Ming Men are in the same rhythm. the body rises slightly with the inhalation. as are the requirements and key points for the body parts.陈 氏 太 极 拳 推 手 技 法 4.7 142 . relax and open the internal organs. 4. the palms face inward and the eyes are slightly closed (see Fig. extend your breath slowly through the practice process. 4. At the same time. The only difference is that in this posture. the middle fingers connect.8). Gather the chest and abdomen. 4.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side.
crouch down and lower the elbows. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Qi appears between finger tips of both hands like a magnetic force. Acting slowly. the navel and the Ming Men Mai swell out. Relax the body. Roll the chest slightly inward. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. lower the waist and gather the rib muscles.Note: when you inhale and open up. Drop the wrists and hold the palms facing inwards in a concave shape. Focusing on your intention (Yi). 4. using your intention (Yi). you will detect a current of energy released from both palms which seems to be difficult to gather at this point. Do this practice slowly. use your intention to guide the current outward. b) Posture 2 • • • • • • Exhale and gather the organs. At the same time. All internal organs are filled with strength.8 143 .
For example. gentle and even. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention.2 The relationship between Thought. when extending the hands. Lastly. This is called. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. as well as breath control.4. Qi here refers to the fresh air exchanged between the lungs and the outside. For thought (or attention) to combine with intention. it also helps increase internal strength and distributes Qi around the whole body. and also helps the practitioner build skills in relaxation and quietness. and when Qi rises – the body and internal organs gather slightly. one’s thoughts need to implement intention consistently. For example. “the internal Qi moves inside”. then your strength must be soft. . as well as the internal Qi moving in the body with the guidance of your intention. if you require the breath to be slow. In this way.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. 4. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. intention and Qi. This practice also strengthens the practitioner’s ‘root’. the ebb and flow of Qi and strength (or power) are in synch with each other. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. Qi and strength.
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. Its purpose is to stimulate the nerve system by muscle movement. and are one of the main requirements in Zhuang skill. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . the chest. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. abdomen and back. In particular. With practice. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. Guided by intention. this movement becomes a conditioned reflex and helps move muscles which are normally static.
raise both hands above the right leg. At the same time. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. The length of inhalation should match the speed of the weight shift. Next. This posture could also be called a sideways Bow Step (Fig. the right hand in front of the left.9). The fingers are poised as if grasping the air. 4.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. Swallow the fresh air inhaled. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. When inhaling. Expand the crotch like a circle.10). . then open your eyes and look into the distance. then breathe it out slowly as you move forward (Fig. Start the posture with your eyes closed.陈 氏 太 极 拳 推 手 技 法 4. Purify this saliva with your intention. 4. When the weight shifts completely to the left leg. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. inhale and move your weight backward. focusing your intention in the Dantian. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. make sure your eyes are drawn inward to looking internally. then shift your weight forward from the left foot to the right knee. Gather the Lao Gong points of both hands inward.
Repeat this process alternating the left and right sides.Fig. As you exhale and shift your weight forward. 4.11). You need to have the feeling of closing before opening.10 Fig. close and fold your strength into your chest and waist. 4. then push both hands forward slowly (Fig. 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.9 b) Posture 2 • • As Qi is lowered into the Dantian. lower the waist. 4.11 147 .
Through serious dedication. persistence may be engendered. confidence is a critical prerequisite. Only after prolonged practice can confidence be nurtured. determination. practioners will make the expected progress. With confidence comes determination. and great determination. Confidence in Zhuang skills grows with practice as difficulties are overcome. and hold firm to these attributes throughout path of practice and study. You can persevere only if you firmly believe in the benefits of Zhuang skills. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. your practice hesitant and inconsistent. on the contrary. practitioners are required to cultivate their Three Spirits when they begin practice. with confidence and determination. confident and diligent practice. 王 西 安 148 . So where does confidence come from? From practice. leading to progress and experience of the benefits.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. and persistence. In sum. Indeed. your belief is half-hearted. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. If. then your progress will be poor.
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. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line).1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward.12).6. 4. inhaling all the while (Fig. In this way. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill.4. As you step forward.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. both palms facing forward. 王 西 安 149 . • At the same time. Peng force is maintained while the foundation of the body is reinforced as well. • The fingers of the both hands point to each other. extend both hands forward with the right hand before the left.
4.13 Fig.14 .陈 氏 太 极 拳 推 手 技 法 Fig.12 王 西 安 150 Fig. 4. 4.
When this happens. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. turn the waist and twist the crotch. inhale and crouch the body slightly. As this happens. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. 4. suffusing it with Qi before lowering it down to the middle and then lower Dantian. relax the right crotch and shift your weight gradually to the right. rotate the left hand in Shun reeling in front of the lowered abdomen. keeping the left hand inside and the right outside (Fig.14). As you shift your weight.b) Posture 2 • • • • • • • Next. relax both arms. the right hand in front of the left. otherwize. 王 西 安 151 . gather and close the whole body so it forms a posture prepared for opening activities.13). Both hands make a half fist when reeling. As the weight shifts. Inhale and swallow saliva. lower the shoulders. 4. 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. withdraw the right hand so it intersects the left. When the left hand executes Lü (roll back) to the middle of the body. At the same time. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. you start to repeat the sequence. open both fists into palms facing inward. you will lose your weight and axis). step the right foot on the ground. drop the elbows.
and even to one or two times per minute. This helps in the exchange of carbon dioxide and promotes metabolism in the body. Dual practice with Yi (intention) and Qi connects the whole body. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. 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”). decreasing to seven or ten breaths per minute. This is a primary sign of beneficial Zhuang practice. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. Ren Mai starts 王 西 安 152 . The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. you will feel your key joints and your arteries and veins become unblocked and re-connected. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). The normal breath frequency of adults is six to twenty times per minute. your breath should be natural and of the proper duration so that it enhances body combat and health. This phenomena of “connected arteries. the breath can become slower and longer.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill.陈 氏 太 极 拳 推 手 技 法 4. then to five times per minute. When you practise Zhuang skills to a certain level. Therefore. Only by this can you avoid errors and side effects. you should focus on increasing the duration and depth of your breath. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. Inhalations and exhalations should be of proper length.6. After mastering the key principle of natural breath. and comes only after accumulated practice. After practicing Zhuang skills for a period. inhalation/exhalation being one breath.
Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. The Qi of Da Zhou Tian originates from the Yong Quan point. deeper. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. In Da Zhou Tian. more gentle. reaches the perineum through the Dantian and then connects to Du Mai. For both. the body should be relaxed. even and quiet. all channels extended and unfolded.from the tip of the tongue. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. then infusing Qi into the Dantian. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. and Yi and Qi should move in the required routes. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . the five sense organs internally gathered. Du Mai starts at the perineum. Jia Gu Guan. The whole process of moving Qi through Ren Mai and Du Mai. the difference being that Da Zhou Tian extends Qi to the lower limbs. reaches the Bai Hui point through Wei Lü Guan. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. except that the breathing in the former is longer. and Yu Zhen Guan.
bring in the arms and place both palms in front of the abdomen (Fig. At the same time. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. 4. a) Posture 1 • • • Shift your weight gradually to the left leg. close your eyes and inhale. then infuse it into the lower Dantian.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”.15 Fig.15). 4. then bring in the right foot so that both feet are a shoulder-width apart.16 154 . Swallow Qi down with saliva and guide it down to the middle Dantian.陈 氏 太 极 拳 推 手 技 法 4. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. 王 西 安 Fig. 4.
palms facing in (Fig. Then using the little fingers to guide the energy. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. 4. palms facing each other. fingertips pointing obliquely down. lift both arms upright. finally placing them in front of the shoulders. swallow Qi and saliva and infuse them into the lower Dantian (Fig.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. As the body lowers. pointing the fingertips upward.17 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.18).17). 4. 4. separate the arms to the sides. Clench both hands into fists and lower them to ear level as the body lowers. 4.16). 4.18 155 .
陈 氏 太 极 拳 推 手 技 法
c) Posture 3
王 西 安
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
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
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.
王 西 安
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.
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
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.
王 西 安
rectocele. 王 西 安 161 . Yuan Dang. 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. A brief introduction is provided below. 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. a short introduction of key Dang movements. advocating contraction of the anus during physical exercise as a remedy. For example. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. This requires the left leg to be solid with the lower leg standing upright. This realization caused the ancients to suggest that “the ground door should be always closed”. After humans evolved to the upright posture and started to walk.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. In ancient times. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. To help you master correct Dang postures in routine and Tuishou practice. In Taiji practice.2. womb prolapse and so on. Jian Dang and Tang Dang.The Anus In the same way that the positioning of Dang is very precise. the left knee and ankle vertically aligned to each other and the ground. and it became difficult for vena blood to flow to heart. womb and so on. anus contraction should only be slight and done in a natural way. Doing so over an extended period can have a positive effect in curing hemorrhoids. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. the weight distribution is 3:7. are described below: 陈 氏 太 极 拳 推 手 技 法 5. Ding Dang.
when the right leg moves to the side. the root of Dang should be relaxed. 王 西 安 162 . This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. That is. In traditional teaching methods.陈 氏 太 极 拳 推 手 技 法 In this way.2. which means there will not be opening-closing power if he or she crouches in the Horse Stance.” Indeed. As for practitioners. it is very difficult to correct bad practice habits solidified with prolonged practice. and at this moment Dang should open in a circle so that both legs can support all parts of the body. energy in the legs is strengthened and the body is well supported. the body crouches as the right knee moves outward. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. These traditional teaching methods should be changed as implied by the adage. If a practitioner is advised to relax. at the end of the Dan Bian (Single Whip) posture. 5. For example. Some perform better than others due to learning abilities. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. Hence. “closing in opening” and that “Dang should open in a full circle”. the right knee should incline outward. “It is easy to teach but hard to change what is learnt. innate talents. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. This should be corrected at the earliest stages of learning. A practitioner trying to eliminate the habit of Ding Dang in his or her postures will require a long period of re-adjustment as the new correct Dang posture will initially feel very uncomfortable. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. there are many opportunities and responsibilities.
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
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
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
王 西 安
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.
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
王 西 安
Chen sTyle Taiji Tuishou CaTegoRies
陈 氏 太 极 拳 推 手 技 法
王 西 安
your opponent may respond defensively with Xiong Kao (Kao by chest). Indeed.1 Overview Within the Chen style Taiji routine. the attack-defense stances change dynamically. practitioners may master its secrets and principles with serious study. if you advance using Ying Men Kao (Kao diagonally to the front). For example. While the combinations of Tuishou moves are infinite. since both the attacking and defensive movements are interrelated and cannot be separated. we will describe how to apply these eight Tuishou techniques in sparring practice. 王 西 安 168 . Tuishou is commonly divided into eight categories. then strike back with Jian Kao.陈 氏 太 极 拳 推 手 技 法 6. For example. with attackers changing to defensive roles in an instant and back again without warning. you can defend using An (pressing). if the opponent attacks using Jian Kao (Kao with shoulder). In this chapter.
He Bu Tuishou with static footwork. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. Jin San Tui San (both parities advance and then retreat for 3 steps. silk reeling in the shape of a flower) 2. while Tuishou) 8.1. Dan Wan Hua (Coiling Flower with Single Hand. and any movements can be exerted by intention. i. where the the practitioners are no longer oblidged to the sequences or fixed routines.e. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. normally a forward step then a backward step) 6. Shun Bu Tuishou (Tuishou with movable footwork. which is regarded as the highest level of Tuishou. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . Luan Cai Hua (Picking Flower. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. Da Lü (larger scale movements) 7.6.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1.
e. Cha Bu (inserting steps) 6. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. Huo Bu (moving footwork) 3.陈 氏 太 极 拳 推 手 技 法 6. feet placed together ) 7. An) is usually applied. novices should start by learning one set at a time. these consist of the Cai. Zou. Qie Zhang (palm chop) In static footwork. There are many categories of footwork techniques. Ji. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. and not be limited to one or the other. Ding Bu (static footwork) 2. Dian Bu (stepping on toe-tips) . However. including: 1. Shuang Tuishou (Tuishou with double hands) 3. Xuan Wan (rotating wrists) 4. Lü. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. or Kao hand techniques. Bing Bu (step touch. Si Yu Shou hand techniques are always used. Duli Bu (standing on a single foot) 8.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. Bie. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. Si Zheng Shou (Peng. i. During sparring. Dan Tuishou (Tuishou with single hand) 2. as follows: 1.1.
it is also often used when pushing or rotating in various directions in both Shun and Ni reeling.1 Fig.2.2. 6. you need to place the body in a crouching position. when both players retreat after being mutually warded off. The elbow must be dropped.1).2). 6. 6. one arm is extended horizontally sideways. 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. In single practice. it is also applied to Gun (roll). 6.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. with the forearm bent toward the upper arm at an angle of 450. palm facing in. Da (meet) and Sao (sweep) movements. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. roll the chest slightly inward and lower the waist and shoulders.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout.6. Shuan (bind). When cutting downward. the four fingers extended and joined together to form a slightly concave palm (Fig. The roots of the fingers are relaxed.2 171 . with the wrist lowered and fingers relaxed. In this posture.2 TuishOu handwOrk Techniques 6.
3). 6. The palm posture during this direction change is called Xie Tuo Zhang. one player may guide the other to reel first in the Shun direction. the little finger is used to guide energy and draw inward toward the thumb. where the raised hand lies above the middle of the upper arm. 6.3 Fig.陈 氏 太 极 拳 推 手 技 法 6. In this instance. 王 西 安 Fig. During sparring. As you rotate the hand downward or outward. then reverse to the Ni direction when the hands arrive at his or her body. the hand is stretched upward to the sides (Fig. Xie Tuo Zhang is also applied in the process of Big Lü. 6.4 Xie Tuo Zhan In this technique. 6. 6. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig.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. the power lies in the root of the palm.2. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. if the opponent executes Lü on you.4 172 . This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory).4). For example.2. when hands are rotating horizontally in a circle.
the hand is inserted upward or vertically/diagonally downward. then lower your shoulders and drop the elbows. and gradually press your hands toward the opponent. see above).5). Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions.5 173 . see above). 6. insert your hand downward and rotate it in the Shun direction. This technique is called Diagonally Upward Cha. Cha Zhang is widely used in Tuishou. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6. fingers slightly parted (Fig.6. as the hands insert downward. separate them and switch to Cha Zhang. for example: • When you rotate both hands in vertical circles.5 Cha Zhang … Slanting Palm In this technique. • In Luan Cai Hua (palms reel in non-predictable angles.2.
6 王 西 安 174 . and the little finger bending inward. while the thumb and the index finger form a “ 八” shape. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. you can rotate your arm with the middle finger.陈 氏 太 极 拳 推 手 技 法 6. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (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.2.6). 6. and your partner exerts An to your hand. the ring finger. Fig. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation. 6. When you guide your partner via Shun reeling to the front of your chest. This way.
7). The other leg bends with the intention to straighten. In this posture. the Yong Quan point should be empty while the Dang is open with the intention to close. 6. the knee positioned approximately above the tip of the foot (Fig.3 TuishOu fOOTwOrk Techniques 6. the thigh nearly parallel to the ground. This knee is turned slightly outward to provide a frame for all parts of the body. following the principle of ‘closing in opening’. 6. One knee is bent so that the body is in a half crouch. 陈 氏 太 极 拳 推 手 技 法 Fig. toe tips bent slightly inward. The toe tips point slightly inward.7 王 西 安 175 . the sole fully touching the ground. following the principle of ‘straightening in bending’.6.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground.3.
3 Qian Dian Bu … Forward Tipping Step In this step. knee bent slightly over the toe tips. 6. Fig.8 6. When the weight is completely transferred. toes grasping the ground.2 Hou Zuo Bu … Back Seat Step In this posture.8). It is applied widely in Tuishou. 王 西 安 176 . 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.3. Position both feet fully on the ground. big Lü and Luan Cai Hua. 6.3. the heel touches the ground with the toes pointing up at about 450 (Fig. 6. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles). body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. straighten the front leg so that the back leg becomes the Bow leg.陈 氏 太 极 拳 推 手 技 法 6. • This step is always used in Shun step. 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. if the opponent presses on any part of your body with his or her hands or arms.9).
9 6. 6.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü.3.10).Fig. followed by the sole then heel (Fig.10 177 . 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and Luan Cai Hua For example. 6. move your weight back and withdraw the front leg backward by stepping the toe tip back first. if an opponent applies Lü on you.
12). 6. When the opponent applies Big Lü on you. Big Lü and Luan Cai Hua. 6. 6. Hence the name ‘Falling Step’. and is widely used in forward or backward movements (Fig.11).11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. For example. This posture is applied to Shun step. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg. Lü applied through large-scale movements) (Fig. 王 西 安 178 Fig. which now lies close to the ground.陈 氏 太 极 拳 推 手 技 法 Fig. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. in the ‘Dragon sweeps ground’ form.12 .e. 6.
with the little finger guiding energy as it points to the thumb when it is drawn inward. the term ‘reeling’ means to spiral energy.13 179 . when the opponent executes Lü on you. The principle of Shun Chan is that with the elbows guiding the hands. the shoulders guiding the elbows and the waist guiding the shoulders. exerting Ji and Na in confronting reelings).e. enters the bone marrow through gaps in the scapula and travels down the arms. In addition. while simultaneously executing Kao on the opponent. For example. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. spirals around the waist and shoulders.6. you draw the opponent inward into your territory. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. In Silk Reeling technique. power rises from the heels up the legs.1 Shun Chan … Conforming reeling In Taijiquan.4. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. in Bei Zhe Kao (Lean with back). you can use Shun Chan to gather energy and edge into the opponent’s territory. Shun Chan means to spiral energy from the outside to the inside. 6. This move is called Shun Ji Shun Fa (i. with the other fingers slightly turned outward. where it returns to its original position of circulation.4 hand Techniques in TuishOu reeling 6.
Note: to apply this technique precisely. 王 西 安 Fig. Ni Chan is used to open outward. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside.14 Fig. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent. by using the waist to urge the shoulder. 6.陈 氏 太 极 拳 推 手 技 法 6. roll your chest slightly inward and lower your waist. 6. while the other fingers turn out slightly (Fig. 6.4. 6. Zuo Wan (descending wrist) technique is adopted (Fig.4.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’.14). concentrate you energy in the wrist.15).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. the shoulders to urge on the elbows and the elbows guiding the hands. 6. In Ni Chan. Here. the thumb gathers inward and guides the little finger. In horizontal circle rotations with single hand.15 180 . shoulders and elbows.
4. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). Lü. 6. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. and adhere to him or her. Kao). Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent).4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. • For example. while trying to ‘listen’. At this point. 6. Diao Wan is also widely applied in response to a Lü attack. your right hand rotates at 90o towards the right side of body in Ni reeling. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. by holding on to the opponent by the hand. which is formed by pointing the little.6. the Shun hand changes to Diao Shou (Hooked Hand).16). Lie. Cai. to provide a closing and opposing force with the three fingers (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Ji.16 181 . Zhou. in case of single hand rotation in the horizontal circle. The wrist is drawn inward to form a Diao Wan (Hooked Wrist). then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand.
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
Relax the arms and hang them at the sides. 王 西 安 187 .2. Maintain the vertical axis. As your weight shifts.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. eyes looking forward (Fig. stepping without thought) (Fig. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. 7. 7.7. empty the Yong Quan point. 7.2.e. relax the crotch and lift the right knee. in preparation for the right leg step forward lightly. 7. heel first with toes pointed up. Shift your weight slowly to the left leg. straightening the neck and lifting the top of the head.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. the left toes grasping the ground.1).2).2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. Step the right foot forward.2. 陈 氏 太 极 拳 推 手 技 法 7. so as to avoid empty stepping (i. palms lightly touching the sides of the legs. precise and full of intention of listening. then slowly roll down the rest of the foot to the ground. Continue relaxing the crotch.3). Your step should be light.
.2 Fig. As the weight shifts.4). thumb behind the fingers (Fig. 7. While the right arm moves.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. 王 西 安 188 Note: in later movements.2.1 Fig. 7. right elbow and wrist. relax the left arm so that the left hand hangs down. Complete the movement by raising the right fingers to form the Li (erect) palm.3 7. 7.陈 氏 太 极 拳 推 手 技 法 Fig. the left elbow and the right hand should move coherently in collaboration with each other. 7.
5 7. 王 西 安 189 . 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. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig. 7.4 Fig.2.5 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.5). As you reel. 7.Fig.
the weight shifts completely to the left. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig.6 Fig.7 7.2. right palm facing down and wrist bending 450 inward using the little finger as a guide. 7. At this point. Step the right foot either flatly on the ground or with toe tips pointing up. . 7. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. The other fingers reel outwards in coordination with the elbow (Fig.7).6).陈 氏 太 极 拳 推 手 技 法 Fig. The right forearm now moves transversely in front of the abdomen. 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. When the right arm moves downward. 7. 7. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs.
shift your weight to the right. Return the bent arm and the bow leg to their original positions (Fig. While the right arm reels. power is most concentrated and exerted on the external side of the thumb and index finger. pointing the right knee slightly outward and moving it in a helix. Shun.7. 7.2. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. draw the chest slightly inward and relax the right side of the crotch. Ni. Rotate the waist to the right. using it as a pivot to rotate the right shoulder rightward. extend the right hand slightly forward.2. Ni.7 Part 7 • • • • Using the little finger to guide the energy. 王 西 安 191 .9 Part 9 • • Now using Ni reeling.2. At this point. followed by the hand. bend the knees slightly to place the body in a squatting position. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. 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. Shun.8). 7.9). that is. until it reaches the front of the right ribs. 7. a 900 arc to the right side of body. As the arm changes to Ni reeling. three Shun reelings and two Ni reelings. changing into Ni reeling. The 3600 rotation of the arm follows this sequence of changes: Shun. 7. Then place the palm downward (Fig.
that is. the lower body follows. Practice until you reach a level where when one body part keeps still then all other body parts keep still. Relax the waist and shoulders.陈 氏 太 极 拳 推 手 技 法 Fig. Notes In these horizontal-circle rotations. the arms rotate with the waist and the axis while the hand guides the energy. all parts moving together collectively. The middle body moves in coordination with the upper and lower bodies. 7. Ni. that is. When you feel tired practicing on the right. the reeling sequence being Ni. Ni. practice on the left by switching to the left leg and the left hand. rotate the wrist. three Ni reelings and two Shun reelings. and ensure your body weight moves back and forth in synch with the body movements.9 • The left arm rotates from the left. Shun. 王 西 安 192 . when one body part moves then all other body part follow.8 Fig. 7. Shun. The movement of every part of the body should be continuous and synchronised – when the upper body moves. the upper body guides the lower body’s movement. Practice alternating rotations with both arms so that there is a feeling of balance.
switch to Ni reeling. 7.10). The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. heel first with the right foot. with eyes looking forward (Fig. Next. palm slanting upward with intention to gently guide and draw in.12). Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. Focus the eyes on the right palm (Fig. then switching to 90o Shun reeling. Finally. drawing an arc of about 90o to the left.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. relax the left side of the crotch. • • • • • Keep your body weight on the left leg and step forward. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. Next. It only requires vertial hand revolution and very small shifts in weight. The whole movement is mainly guided by the rotating waist and relaxed shoulders.7. lower your Qi. then turn the body to the left and raise the right hand in Shun reeling. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . with the rest of the foot gradually fully touching the ground. Bend the left leg so that you squat slightly. drawing an arc of about 180o which goes downward and then up to the right. 7. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet.11).
7. Practice rotating both arms in turn. reel in Ni to the right at 90o. 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. then reel in Shun.12 • • When rotating in the opposite direction.10 Fig. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. 7. 7. Finally. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward. Vertical arm rotation is guided by spiraling movements of the waist and back.陈 氏 太 极 拳 推 手 技 法 Fig.11 Fig. 王 西 安 194 .
palms facing to each other. Raise the forearms 90o upward. otherwise the shape of the posture will be lost (Fig. 7. then raise the right foot.7. 7. 7. 7.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed.16). eyes facing the front (Fig. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. the palms should move forward at an inclined angle (see picture). pushing both palms forward (Tui Palm) at the same time. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the forward shift of the body should stop once the palms reach their natural end position.15 195 . 7. in preparation for action (Fig. toes relaxed and pointing downward (Fig. Shift your weight gradually to the left leg. shift your the weight gradually forward.14).13).14 Fig. Relax the left crotch and while focussing on the right crotch. This body posture is now one of holding and collecting.15). Note: when applying Tui Palm. Bend the left knee to put the body in a crouching stance. 7. Also. 7.13 Fig.
陈 氏 太 极 拳 推 手 技 法 Fig. 7.16 Fig. 7. Practice this cycle. Repeat the Tui Palm movement again. palms vertical. 7. 7. then lowering to the front of the abdomen. this time relaxing the right crotch and focussing on the left crotch. 王 西 安 196 .15) by drawing a circle by the sides of the body.17).17 • • • Next. then pushing both hands forward. imagining the hands seizing the opponent’s wrists by Diao (Fig. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. shift your weight backward and separate both hands to the sides of the body.
toes relaxed and pointing downward (see Fig. then raise the right foot. in preparation for action (Fig. Bend the left knee to put the body in a crouching stance.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. drop the elbows and sink the Qi downward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. palms facing to each other. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. 7. This body posture is now one of holding and collecting. 7. 7. Shift your weight gradually to the left leg. 7. stated as follows: Stand at attention with the body upright and relaxed.7. While raising the hands.19 197 . eyes facing the front. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.18 Fig. Raise the forearms 90o upward. Grasp the ground lightly with the toes and face the eyes forward (Fig.19).18). draw the chest inward. 7.14). lower the waist and shoulders.
7. the palms descend to the sides. with the intention of supporting something upward.21 • • • • 王 西 安 198 • Next. 7. cross both hands slowly in Shun reeling. continue to draw your chest inward.陈 氏 太 极 拳 推 手 技 法 Fig. both palms facing inward. Next. stopping at shoulder level (Fig. palms facing forward. As both hands separate upwards.21). push the crossed palms over the head in Ni reeling. Then. 7. finish the weight shift to your right leg. after another small Ni reeling upward. extending the hands forward so that the left hand crosses over the inner side of the right wrist. At the same time.20). During this process. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. Extend both hands forward in an ‘offering’ stance. 7.20 Fig. . step the left foot on the ground and shift your weight forward (Fig.
palms cross together. Both hands then draw a downward arc to fall to each side of the abdomen. finger-tips pointing down. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. that is. only that palms in the latter move horizontally. Closing form: palms continue to Shun reel. With body gathering. shoulders. the chest. so as to start a new cycle. upper arm. palms facing each other. forearm. strike out in succession to the sides so that the arms become a pulled bow. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. then hands. • • Now the left hand reels in Ni while the right hand reels in Shun. You will feel the power after long practice.Note: as both hands separate outward. while weight totally switches to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 .
陈 氏 太 极 拳 推 手 技 法 7. palm facing forward. Open every body part to make your rotations natural and flexible. then bend it inward 45o. 7. • Stand at attention. The key points are the same as those of solo Tuishou. Coordinate the movements of your hands.22 Fig.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. When practicing. thumb pointing down and the little finger pointing upward. palm facing in. 7. body and steps. Extend the left hand transversely and place it on the middle of the right upper arm. • Shift your weight to the left leg and lift the right foot to step forward. extend the right hand diagonally forward to the right. Ji. 王 西 安 Fig. eyes. Lü.23 200 . • As the weight shifts. with the foot gradually stepping fully on the ground. and An. Note that one should practice with intention rather than by force. heel first. act as if sparring with a partner.
7.25 201 . During this process. 7. lower the right shoulder and drop the right elbow. focus your intention on meeting and holding the opponent’s hand. and the eyes look forward to the right (Fig. 7. visualize placing the outer edge of the right hand on the outside of the opponent’s elbow joint Then execute Lü with both hands slowly to the left side of the body until the right hand reaches the front of the right breast. relax the left crotch. the left hand ahead of the right. Shift your weight to the left slightly then to right.24).23). the wrist bent slightly inward and palm facing inward. 7.• • • • • The left arm intends to Peng outward. as the left hand moves inward in Ni reelings. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and so continue to Peng upward before executing Lü. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. Meanwhile. Next. shift your weight left and focus your eyes on the front of the right hand (Fig. As the left hand rises. raise both hands in Ni reeling. Move the right hand in Shun reeling. 7.22). the arm opens like a circle. Relax the right crotch and turn the body to the right. At the same time.24 Fig.
the right hand executes Peng. pushing it outward. 7.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. You will also need to use your left shoulder to push and use the right hand to help press forward. shift your weight forward to the right leg. visualize your left hand pressing down on the hand of the opponent. and the left hand helps the right to execute Lü. alternating left and right sides. The right hand reels in Ni direction also with the intention to push outward (Fig. Peng and An are transitional actions executed in 王 西 安 202 . As this happens. If the left leg is in the front. At this point.25). The edges of the hands become power-exerting points.22). Note: In this movement. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. an instant. eyes looking forward. Execute An forward with both hands the palms facing each other about 33 cm apart. 7. This is the same as the starting posture of Da Shou posture. Repeat the process.
draw the chest inward. Keep the eyes looking to the front right (Fig. Hand movements consist of four Zheng hands: Peng. 7. In practice. raise both hands to attack by pushing them to the front right of the body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. sink the shoulder downward and drop the elbows.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. moving forward is combined with Ji and An hand movements. As the weight moves forward. Step the left foot on the ground with the inner side of the foot touching the ground. These actions drive two the hands forward. • • • • Step forward with the right foot then shift your weight forward. 7.26). Ji and An. Lü.26 Fig. Face the outer hand edges. 7. moving backward uses Peng and Lü hand movements. outward. Lower the waist. where the pushing power is exerted.27 203 .7.
7. Bend the left leg to squat further and extend the right foot forward. Raise the right hand in Shun reeling. As this happens. shift your weight to the left and lift the right foot. As the arm moves. turning the right elbow out and upward. toes pointing down (Fig. 7. rotate the right hand slightly downward in Ni reeling. 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. Push the shoulder forward. 7. 7. followed by the arm and the hand (Fig.28 Fig. tiptoe first.28). Relax the left crotch after pushing and shift the weight to the left.陈 氏 太 极 拳 推 手 技 法 Fig. thumb pointing down and palm facing down. withdraw the left hand gradually and place it on the middle of the right upper arm. At the same time. At the same time. Eyes look to the front right (Fig. with the intention to close before opening.29). . 7.27). Note that Qi should not be allowed to float upward. The body moves forward following the shift in weight. and in preparation for moving.29 • • • • • 王 西 安 204 • • • After the pushing attack.
陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . 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. 7. 7. Both hands are about 33 cm apart (Fig. gradually squat the body. thumb pointing down and palm facing forward. As the weight shifts. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. the upper and lower body form a balanced block of strength with the waist as the boundary.30). then in Shun direction downward to the left. Raise the right foot and take a step backwards to the right.31). Eyes look to the front left (Fig. 7. Then the right hand switches to Lü. Eyes look to the left (Fig. 7. While the right hand switches to Lü. raise the left hand in a spiral to form a Lü movement with the right hand. Next. Reel the left hand first in Ni direction.which takes place in an instant.Fig. 7. then draw a circle downward. Eyes look to the front left (Fig.33).31 • • • • • • Relax the left crotch and shift your weight to the left. raise the right hand quickly to push forward together with the left hand toward the left side of the body. Next.30 Fig.32). then shift your weight to the right. The outer edges of the hands are power-exerting points. 7.
34). At the same time. 7.35 206 . extend the right hand to the right front of the body following the right foot. 7.陈 氏 太 极 拳 推 手 技 法 Fig. until the left hand reaches the middle line of the body. take a step forward with the right foot. Raise the body gradually and slowly shift your weight to the left leg. As the weight shifts.33 • • • Both hands execute Lü from left to right following the body. the right arm then bends to 450 inward. 7. 王 西 安 Fig. Eyes look to the front left (Fig.32 Fig. 7.34 Fig. 7.
Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.37 • • Simultaneously. thumb pointing down.35). 7.38 Fig. 7. 7.36). 7. Then shift your weight slightly rightward. Eyes look to the front right (Fig. Note that the waist power descends to the left first then the right.Fig. 7. place the left hand on the right upper arm.39 207 . Eyes look to the front right (Fig.36 Fig. 7.
王 西 安 208 . As soon as both arms finish pressing forward.38). Start a new cycle (Fig. Next. At the same time.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. 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.39). execute Lü downward with the left hand. Eyes look to the front right (Fig. move the right hand in front of the left hand quickly. 7. Eyes look to the right (Fig. 7.37). Relax the right crotch and shift your weight to the right. raise the right hand quickly and exert An forward with power. visualizing that you are pushing the opponent’s hand outward to the right. then move it out to the right. 7.
7. Zou. literally meaning “big falling step”.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng.41 209 . Lie. the whole body will become stiff when you try to squat down in the big body movements. Ji and An is the same to those in Shun Step (forward or backwards Step). the only difference being that the extent of the steps in Da Lü is bigger. we will only refer to two main Da Lü postures as shown in the pictures which follow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Lü Ji and An. One is Da Pu Bu. The other movements are the same as the movements in Shun Step (forward or backward step). If not. a major weakness with which you cannot even hope to attack the opponent. then the fives methods of solo Tuishou practice.40 Fig. Bie. whereby Player B executes Lü on Player A. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. The other picture demonstrates the big Frontward Bow Step. Bie Zou. It is not easy to practice Cai. Zhou. The circulating of steps in Da Lü when practicing Peng. beginners should first practise the routines. Kao with large-scaled body movements. 7. and Kao. In this chapter. and Kao. As such. Furthermore. 7. Lü. It uses the combat techniques of the four hand techniques in corner directions – Cai.
This way you will not lose energy unnecessarily nor become stiff.陈 氏 太 极 拳 推 手 技 法 7. Ji. 王 西 安 Fig. It’s features include free movement with no fixed direction. The body movement and gait should be neat and swift. and also uses the Si Zheng Shou. Luan Cai Hua is also built on the foundation of Peng. Lü. you should pay attention to the following points.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. See how to execute Dian step in Figure 7. and flexible.42 210 . You need to rotate neatly when executing a step forward as the partner changes his or her direction. and An. precise rotation. 7. In the Luan Cai Hua Tuishou practice. 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.
An). Do not just practice at fast speeds or you will lose your energy or get stiff. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 .In this technique. the steps are small but the speed is fast. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. the only difference being in the stances of the body. It is not easy to apply Die Fa. Lü. and thus impede any progress in Tuishou. You should practice listening repeatedly. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. looking for the attacking opportunity. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. heavy but not stiff. When circulating the four Zheng hand techniques (Peng. When you apply Luan Cai Hua in Tuishou sparring. and entice the partner to advance and show his or her weak points. Your movements should be quick but not chaotic. light but not empty and floating. getting close to their upper body while causing them to raise their lower body or slant it. Ji. you feel the partner’s energy as you rotate.
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 .
Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. Pair Tuishou embodies the essence of Taiji Tuishou. moving as the partner moves. Nian (sticking). movements in pair practice should start simply before gaining in complexity. An introduction to Tuishou pair practices has been provided in the following pages. If possible. Pair practice Tuishou improves combat skills. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. I hope that the reader will use this to practice diligently and master the key points. whereby your actions should be precise. Faster progress may be made if your partner is proficient in Taiji. flexible and without weaknesses.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. try to choose a partner of similar level for pair practice. In addition. Like solo practice. If both partners have Taiji proficiency. Lastly. pair practice becomes beautiful to watch. lowering to mid-height then low stance. so you must strive to concentrate. the practice stance should start high. 王 西 安 214 .陈 氏 太 极 拳 推 手 技 法 8. Lian (connecting) and finally Sui (following). similarly. like a flowing river: smooth. pair practice should start slowly. gathering speed in the later stages. development should follow the stages of San Shou to Zhan (coherence). then pair Tuishou may be described as “acting as if there is no partner although you have one”. flexible and rapid. agile.
8. The distance between both right feet should be about 10 cm. arms hanging relaxed by the sides. These may be shortened to ‘A’ and ‘B’.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. Player B refers to the female practitioner dressed in red.1 Posture 1 Both players stand at attention facing each other. 陈 氏 太 极 拳 推 手 技 法 Fig.8.1 Both players take a step forward with their right feet. 王 西 安 215 . 8. Their bodies are upright. an arms length from each other so that their fists touch when arms are outstretched.2. gradually forming a front Bow Step. toes pointing slightly outward to form a 八 shape.
2.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. As both players draw this arc. Fig. using the middle line of the nose as the boundary. A’s weight shifts backward. The back of the palms touch each other. B’s weight continues to move forward to form a single-hand An (pushing) power.2 8.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. Alternatively. 8. both players raise their right palm and extend it forward. Both players watch their hands throughout this step. with the middle fingers at nose level. and his body crouches slightly to form a closing power. eyes focussed on the right hands. The right hand extends forward with the left hand akimbo. corresponding with the rotation of the waist. the left hand can also be placed naturally along side the body. .
Repeat this cycle. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4 217 .3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right.3 8. then Ni reels 90o to the front of Player B’s abdomen.Fig. then she guides A’s hand to the front of his abdomen. 8.2. B shifts her weight gradually backward while her hand draws an arc following Player A. 8. At the same time.
3 single-hand verTical circle wan hua in pair pracTice 8.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand). before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. . 8. Both players then rise.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation. the only difference being that here the Da Shou (meet partner with hand) position is higher. Player A guides Player B to move first in Shun reeling.5 8.3. Fig. both hands perpendicular to each other and eyes looking forward.陈 氏 太 极 拳 推 手 技 法 8.3. then then draws a 90o arc to the left.
turning to the right (B’s left side). Partner B relaxes the left crotch.7 219 . B always adheres to A. 8. For example.3. 8. During the above process. guiding Player B to Ni reel 900 to his right side. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3 Posture 3 Player A relaxes his right crotch and turns his body to the right.Fig. when A draws an arc to the right side. with eyes looking at the same direction. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position.6 8.
王 西 安 Fig.4. placing them outside A’s hands. Both players step forward simultaneously with their right foot. Now both players wait in a defensive mode. eyes looking forward. Both right feet start to uncurl to the ground. heel first. Then Player B extends her hands forward. toes turned up (optional). lower the shoulders and drop the elbows. 8. Player A raises two hands in front of his chest. draw their chests inward and gather their ribs. ready to move and attack if hands touch.1 Posture 1 Both players stand at attention facing each other. While waiting. they lower their waists. with aim to form a front Bow Step.陈 氏 太 极 拳 推 手 技 法 8.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. having first shifted their weight onto the left leg.8 220 .
8.4. Here. 陈 氏 太 极 拳 推 手 技 法 Fig.9 王 西 安 221 . As Player A pushes his hands forward. A’s weight shift to the right foot has been fully completed.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. B’s little fingers “stick” to A throughout the process. In other words. her hands reel in Shun. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks.8. As B’s weight moves backward. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. He stops pushing when his hands are 20 cm away from Player B’s chest.
8. Then both players return to the original position. While Player A separates. 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. 王 西 安 222 .3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. While A draws arcs. B moves her weight forward to form a Bow Step. He shifts his weight backward.4.10 8. Fig.陈 氏 太 极 拳 推 手 技 法 8. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. then separates Player B’s hands to the sides of her body at shoulderlevel.4. using the outer edges of his palms.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. She relaxes her chest as her hands separate.
8.Fig.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .
draw a vertical circle outward. guiding Partner B to raise her hands.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. The two parties’ eyes always follow their movements. B has been shifting her weight to the left. all eyes look forward.5. 8.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward.陈 氏 太 极 拳 推 手 技 法 8. The positions of all hands are higher than the eyes. . Fig.1 Posture 1 Player A and B stand facing each other. and separate hands to the sides of the body at shoulder level. Now.12 王 西 安 224 8. Both players extend and raise their hands in front of their bodies with Player B’s hands placed on the outer edges of Partner A’s hands. A’s weight is all at the right foot.5. Now. with the inner sides of both feet facing each other and 10 cm apart. then step their right feet forward simultaneously. the weight for both parties starts to shift to the right.
14 225 . while he shifts his weight backward. she shifts her weight forward to form a front Bow Step. While Player B rotates her arms downward following Player A. 8. Both players’ eyes face forward. his little fingers slightly catching Player B’s wrists. 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.13 8.Fig.5. and draw arcs to the lower abdomen.3 Posture 3 Player A switches to Shun reeling. Player A draws outwards while Partner B draws inwards.
陈 氏 太 极 拳 推 手 技 法 8. Note: The steps are the same. Both players can practice this in turn.5. and continues to move her weight forward. whether Player A separates B or vice versa. 王 西 安 226 . his hands crossing before the chest with both palms facing in. Then Player A returns to the original position by Ni reeling and separating his arms outward. Both players face forward. Repeat this cycle. the body squats to prepare for openning.4 Posture 4 Player A continues Shun reeling. Player B follows Player A closely and feels his change.
backs of the hands touching.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8.6. yet start to shift to the right. Both players then shift a little more weight to the right. and then extend their right hands forward so they cross each other. the weight for both parties are both in the left. then step their right feet forward simultaneously. 陈 氏 太 极 拳 推 手 技 法 Fig. with the inner sides of both feet facing each other and 10 cm apart. eyes looking forward.8. Now. 8.15 王 西 安 227 .1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. Player A and B stand facing each other.
6. During this process. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. While the right arm turns.6. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. he places his left hand on the middle of the right upper arm.陈 氏 太 极 拳 推 手 技 法 8. he places his right hand on the middle of B’s left upper arm.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. then extends forward to press against A’s left forearm.16 8.2 Posture 2 Player A shifts his weight forward. At the same time. Fig. In this way. Her right hand presses Player A’s right hand slightly downward. then turns his right hand left in Shun reeling following the turn of his body. . Player B places her left hand on the right upper arm of Player A as he moves. 8. both of B’s arms form an An (Pushing) power. Player A relaxes his left crotch and moves his weight slightly leftward. gradually switching from Peng (ward off ) to Lü leftward.
17 8. In response. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Partner A withdraws his pressing hand and places it on his own right upper arm. Then Player B wards off Player A’s left hand upward.Fig. and executes Lü (roll back) again. Player A executes Lü on B’s hand and presses it downward. thus returning to the original position.18 229 . Player B switches from An (push) to Peng (ward off ).4 Posture 4 Player B executes Ji (press) on Player A. Repeat this cycle. 8.6. shifting his weight forward to add more pressure. In response. 8. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand.
Player B steps her right foot forward at the same time. placing it on the outside of A’s right leg.1 Posture 1 Both players stand at attention.19 230 . so that both knees touch (A’s inner knee and B’s outer knee). bending it 450 inward. then places his left hand on the middle of his right upper arm. Player A steps his right foot forward to form a front Bow Step.7. Player B’s right hand crosses the outside of A’s right hand. and places her left hand on the middle of A’s right upper arm. 王 西 安 Fig. A’s left hand then crosses with B’s left hand. palm facing outward.陈 氏 太 极 拳 推 手 技 法 8. 8. Both players look at each other from the side. Player A raises his right arm as his right leg moves.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8.
he lowers his left shoulder and left elbow. raises his left hand. and then wards off Player B’s left hand upwards.2 Posture 2 Player A then relaxes his right crotch. Both players look to the front. executing Lü (roll back) with his right hand. and switches both hands to double-hand Shun reeling to ward off outward gradually. he places his right hand on the middle of B’s left upper arm. turns his body to the right. 陈 氏 太 极 拳 推 手 技 法 Fig. At the same time. Both players look to the front and gather themselves to prepare for futher movements. 8. Player B shifts her weight forward to double her pressing power. Simultaneously. shifts his weight slightly to the right.20 8. Player B continues to move her weight forward when Player A applies Lü.3 Posture 3 Player A relaxes his left crotch first. 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.7. 王 西 安 231 . This switch from Peng to Lü happens in an instant. As Player A’s body turns right.7.8. and moves his weight leftward.
王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. forming an An force. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. When Player A presses downward.7. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. 8. 8. then pushes her left hand rightward.22 232 . with the aim of getting her to fall to his right side.21 8.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. with the coordination of his right hand. At the same time. he presses Player B’s left hand downward to the front of her lower abdomen.
王 西 安 233 . Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. 8. At the same time.6 Posture 6 Player A shifts his weight back to the left leg after pushing. her right crotch relaxes and she shifts her weight to the right. At the same time. his right hand switches to Ni reeling to force Player B to step backward.8. A’s upper and lower body move as one.7. tiptoe first. and his forward push corresponds to the hardness or softness and speed of B’s Lü power.5 Posture 5 Player B’s left foot steps on the ground. 陈 氏 太 极 拳 推 手 技 法 Fig.7.23 8. As Player B executes Lü. Player A moves his weight first to the left and lifts his right foot quickly to step forward. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. then her foot gradually steps on the ground fully. In this move. 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 response. While this happens. then pushes Player B’s right hand first down then left using the pressing power of his left hand. Player B wards off slowly outwards with both hands in Shun reeling. then takes a step forward with her right foot. Fig. and steps within A’s left leg so that their two knees connect. Player B relaxes her left crotch. shifts her weight leftward. Player A places his left hand on B’s right upper arm. to form Ji (press) power with her right arm. 8. so as to form Peng and Lü with both of his hands. Both players look diagonally to the front.7. B also places her left hand on the middle of her right upper arm. turns his body slightly left and shifts his weight slightly leftward. Both players look to the side at each other. Simultaneously.陈 氏 太 极 拳 推 手 技 法 At the same time. B steps forward in synch with A’s guiding hand.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. palm out.24 8. . shifting her weight gradually rightward.
7. 8. Simultaneously. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then switches her left hand instantly from Peng to Lü. then raises her left hand in an upward Peng on A’s left hand. At the same time.25 8. Player B lowers her left shoulder and left elbow.Fig.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. 8.26 235 . B also places her right hand on the middle of A’s right upper arm.
Both B’s hands work together to form an upward pressure pose. then raising his left hand upward onto B’s right upper arm to warding off (Peng). Both players look to the sides. 8.7. then quickly forms a pushing power towards B. In this instance. Then with her left hand. Player A continues to shift his weight forward. both A’s arms form an outward Peng power. 8. His right hand then comes into contact with B’s right hand.陈 氏 太 极 拳 推 手 技 法 As this happens. then withdraws his right hand to place it on the middle of his left upper arm. she presses Player A’s left hand first down to the front of his lower abdomen. A responds first by flowing downward. As Player B pushes A’s left hand downward. 王 西 安 Fig. At the same time. Both players look diagonally to the front. then to her left.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. she presses forward on the middle of A’s right lower arm.27 236 .
王 西 安 237 . Player A steps his left foot on the ground. Player B shifts her weight first to the left.8. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. 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. 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. In response to A’s Lü. 8. Both players should defend and stick to defend their own territory.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. relaxes his left crotch. 陈 氏 太 极 拳 推 手 技 法 Fig.10 Posture 10 Both players keep moving and rotating.7. following A’s Lü power. leading to increased exposure to attacks. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. He moves in Lü until his left hand reaches the mid-line of his body.
Simultaneously. shifts his weight leftward.26.28. At the same time. 8.陈 氏 太 极 拳 推 手 技 法 8. foot gradually steps fully on the ground. Player A places his left hand on the middle of his right upper arm. At the same time. Player B shifts her weight backward to her left leg.11 Posture 11 After pushing forward. as well as an accomplishment of one cycle of Peng. to form a Ji power with his right arm. her two hands forming a Lü posture. one full cycle consists of one step forward and one step backward. Lü. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. 8. Both their knees connect. and 8. tiptoe first. Both playesr look diagonally to the front. both players return to their original positions. B places her left hand on the middle of A’s right upper arm. A relaxes his left crotch.25. Ji and An. Finally. You may have found that. her right hand changes to Ni reeling to force Player A to step back. and are ready to start a new cycle.27. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg.7. palm out. for both of the two players. As B shifts her weight backward. 王 西 安 238 . The rotating methods are the same as those on Figures 8.
The practice of Da Lü movements is very important in learning how to apply low body movements in combat without impacting on other combat movements or losing agility and flexibility.8 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. which is aimed at reinforcing your lower body stance and leg power in this technique. 8. Bie. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. This technique consists of larger scale body movement. 陈 氏 太 极 拳 推 手 技 法 Fig. Zhou and Kao.8.29 王 西 安 239 . In this low body movement. you should combine Si Zheng Shou practice with Si Yu Shou. and is based on Shun Bu Tuishou. which is Cai.
so as to transform the opponent’s power. Gun Shuan is an extension of Da Sao.陈 氏 太 极 拳 推 手 技 法 8. the opponent cannot discern your target. or power direction. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. Gun Shuan (roll and seize). 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. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. up and down. During combat. push and press against the opponent to force them into a defensive mode. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). left and right. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). 王 西 安 240 . With this method. Sao means to sweep or clear away. From this position. nor the location of your body weight. Instead of sweeping the arms horizontally. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. Only this way. reel them in Shun and Ni directions.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. If you choose not to attack under some circumstances. try to feel the Gongfu level gap between you and your opponent by listening. use your elbow or Kao (shoulder strike) to attack when you find a weak point. In Da Sao. can you win consistently. depending on the circumstances.
8. if the opponent retreats one step. flexible. coordinated with Shang Long Xia Ti. you can advance two or three steps to gain a territorial advantage. For example. This is an example of the Die Fa. Combine the power of both your hands so that they become one indivisible power. Apply Ti (lift) and Long (holding close) unpredictably and precisely. there are no restrictions in the application during practical body combat. which you think harmful to your opponent. These are the main methods and purpose of Luan Cai Hua pair practice. Your footwork should be based on the speed. 8. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares.31 王 西 安 241 . Your Dian Bu should be light.30 陈 氏 太 极 拳 推 手 技 法 Fig. agile and swift. Fig. Actually.Your footwork should be coordinated with your handwork. direction and angle of changes. 8. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward).32 Fig.
While the Taiji form has undergone many changes through the ages. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. 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. culminating in the modern-day Chen. . This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. that is. At its foundation. our world and the human body through the interactions. According to this philosophy. of two fundamental forces: Yin and Yang. much of the theory in this book is based on the guidelines written by Yang Chengfu. Sun and Wu Styles. the philosophy of Taiji attempts to explain the workings of the universe.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. Yang. For this reason. through Taiji forms and postures. 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. Earth or Human realms. opposing and complementary.
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. A work of intense scholarship which took over fourteen years to complete.com .CHEN XIN The illustrated Canon of Chen Family Taijiquan “The Illustrated Canon of Chen Family Taijiquan” is universally acknowledged by the Taoist community and Taiji practitioners as the seminal sourcebook of Taiji philosophy and techniques. and a referential resource for Taiji instructors and practitioners for generations to follow. www.inbiworld. this tome was intended by its author to be both the first ever written repository of Taiji lore. including his meticulous inscriptions for over 400 illustrations.
Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. founder of the Yang style. 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. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. Henan Province. Q. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. Q.com .chenxiaowang. China. How do I purchase calligraphy or make a contribution A. Who was Chen Changxing? A. www. Q.Chen Village Restoration Project • Q. Wenxian. How is the project being funded? A. What is the Chen Changxing - Chen Village Restoration Project? A. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue listening from where you left off, or restart the preview.