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王 西 安
Chen Family Taijiquan Tuishou
Chenjiagou Wenxian County Henan, China
陈 氏 太 极 拳 推 手 技 法
Published by INBI Matrix Pty Ltd po box 775, Maroubra 2035 NSW Australia English Edition © 2009 INBI Matrix Pty Ltd Copyright © 1998 Wang Xi’an
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retreival system, without permissing in writing from the publisher.
First edition, 2009 Printed in China
王 西 安
Project management & design: Roman Mukhortikov Editors: Juliana Ngiam, Tom Watson Translation: Zhang Yanping
ISBN-13: 978-1-87693-500-6 ISBN-10: 1-87693-500-6
Thoughts on Taiji
Ever since it came into being, Taiji has been passed down from generation to generation. Foremost among many historic figures, was Chen Zhaopi (1893-1972), who stands out for his determination to train young successors. Thus, today we witness a substantial and energetic development of Taiji in the Chen Village, from where its reputation has spread worldwide, inspiring both young and old in the practice of Taiji. Chen Zhaopi was passionate in sharing his heritage and knowledge. My only regret is that I failed to be more focused and to practice more diligently. As a successor of the Chen family heritage, I have undertaken to continue his legacy by writing this book, but despite all best attempts, I struggle to reveal all the subtleties in this vast body of knowledge. I sit with a lonely lamp, recalling the past and sigh to the sky.
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法 王 西 安 vi .
belongs not only to China but to the rest of the world. I look forward to Master Wang’s future works with great enthusiasm. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. an impressive feat of concentration and energy considering Master Wang’s teaching workload. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . his high disciplinary standards and outstanding martial arts techniques serves as an inspiration to all Taiji learners in Japan and we greatly appreciate his tremendous contribution to Sino-Japan Taiji relations and the spread of Taiji knowledge all over Japan in years past. Tokyo. indubitably a result of the efforts of Taiji followers in both countries. to consist of everything’. ‘to exist everywhere.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. we believe that Taiji. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. is to be published. In the spirit of Taiji’s original meaning. as an expression of the profound spirit inherent in all human beings. Indeed. One of the finished manuscripts resulted in this book. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. More than ever. Atsuko Noguchi January 1998. newly written by Master Wang Xian.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
........................................................................................................................................................... Na (Seizing) Techniques .....................................35 Chapter Three: Single Form Practice 1....34 10................... Misleading and Transforming Techniques ............................................... Leg Practice .................................................................21 4..................... Palm Practice .............................. Lian Sui Energies ..................................................................................................................Table of Contents Chapter One: Introduction 1.................................................................... Energy Explosion ...................................16 2..............................................................18 3..31 9...........29 8. Opening and Closing ........................................................................................................................... Ti (Raising) Energy .... 4................55 4............. Na (Seizing) Practices ............. Elbow Practice ......40 3.. Kao (Push) Practices............................................ Dongjin – Realization of Energy ....................................... 3.84 7................................... Zhan Nian Techniques............................................................................................................................................23 5............................................. Fist Practice ....... Jietuo (Escape) Practices.......................................... Introduction ................................................................................... Step by Step ....................4 The Core of Tuishou ....................... Listening to Energy ..............3 Tuishou Practice – Going Inward.................. The Relationship Between Three Stages of Taijiquan Practice and Tuishou .38 2.....................................................................25 6................ The Origin of Taijiquan Tuishou ....................105 9................................ Feet Practice ............ 2............................................................63 5...........................................................................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix ...26 7.97 8......................................10 5................... Tuishou: the Only Criterion to Judge the Gongfu of Taiji..........................13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1................................................. Reeling Silk ......................................................................................72 6........................................................................
.................................. Shuang Shou Ping Yuanwan Hua ........149 7.............210 Chapter Eight: Pair Practice in Tuisho 1.......................................................................................230 8.................................................................................................................................................................................................................. Tuishou Steps ..........................................132 2...... 183 Chapter Seven: Solo Practice in Tuishou 1...................224 6....................................................................... Hand Techniques in Tuishou Reeling....................186 2....... Chan Si Zhuang (Reeling Silk Posture) .... San Ti Shi (Three Postures).. Shun Bu Tuishou ................................................................................................ Solo Wan Hua ..... He Bu-Tuishou ........................... Solo Double-hand Wan Hua in a Vertical Circle ....... Single-hand Vertical Circle Wan Hua in Pair Practice .............................. Hunyuan Zhuang (Circle Posture) ........ Introduction ............... Wu Ji Zhuang (Wu Ji Posture).................154 Chapter Five: Practice for the Buttocks and Crotch ....................................................................................................................175 4...........................................................239 9.......................171 3.................. Tuishou Footwork Techniques..................................................... Solo Double-hand Flat Circle Wan Hua .....................................218 4.......................................142 5................ Solo Luan Cai Hua Tuishou ..... Kai He Zhuang (Opening and Closing Zhuang) .....................240 王 西 安 x ................. Pair Practice in Luan Cai Hua Tuishou....................................................193 4....................................................... Single-hand Horizontal Wan Hua in Pair Practice ................179 5.....................................187 3.................................. Solo Danren Da Lü Tuishou ................209 9.......... Shuang Shou Li Yuan Wan Hua................. Classifications of Tuishou ............ Pair Practice in Shun Bu Tuishou.....195 5.............. 133 3............................168 2.................................................227 7............................... 157 Chapter Six: Chen Style Taiji Tuishou Categories 1................................ Introduction .................146 6............................................ Introduction ........................................203 8............... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ..... 138 4...........................200 7.........220 5...................................................................... Solo Tuishou With Static Footwork ........ Pair Practice in Da Lü Tuishou ..............................................197 6.......................... 215 3....214 2............. Solo Ping Yuanwan Hua ...........陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1............................. Tuishou Handwork Techniques ......................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
is a practical combat technique based on grabbing. As a combat techniqiue. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. location or access to equipment. it helps maintain fitness. Henan Province. Wenxian County.1. Taiji Tuishou practice is not restricted by a practitioner’s age. the ‘Book of Changes’). As it is not stressful to the body. sword and stick routines. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. he drew on the theories of the Yijing (I Ching. and he was recognized as the creator of Chen Family boxing. originally known as Jieshou or Dashou. throwing and striking. In doing so. Its creator. According to the book. China. Tuishou. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . Chen Wangting.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. in the period between the Ming and Qing Dynasty. Chen Wangting. was the creator of Taijiquan and 9th generation head of the Chen Family. ‘The Family Tree of Chen’. reducing illness and prolonging a healthy life. agility and flexibility. it helps build health and defence as well as to develop a sensitivity to movement. gender. as well as the principles of Yin and Yang. With the accelerated pace of modern life. catching. transforming. (also known as Zouting) was a famous martial arts master. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. and will continue to do so in years to come.
principles. Become familiar with the single hand horizontal and vertical practice.2 TuishOu pracTice – gOing inward. With sustained practice over a period of time. intuitive and subconscious. and do not disconnect or oppose your partner’s energy. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. to the realization of Jin. Initially. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. Tuishou practice should be soft and modest. or appreciate the interplay of the slow/quick. enabling you to throw opponents meters away without hurting them. you will be able to release explosive energy to both small and large targets. so much that you will be able to apply combat techniques. that is. Tuishou translates as ‘push hands’. You will not realize inner transformation. A Taijiquan proverb pertains also to Tuishou. listen to each other’s energy flow. throwing. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. and what it consists of. you must know its significance. Less well known is Tuishou’s other application as a technique for internal transformation. Literally. hard/ soft. an athletic activity based on mutual pushing. followed by the double hand horizontal and vertical practice. Relaxation is fundamental. catching. and striking. As you reach the level of adept.陈 氏 太 极 拳 推 手 技 法 1. from the realization of Jin. 王 西 安 4 . to the Deity’. Follow the circling movements with the whole body. pacing your learning step-bystep. transformation is the basis. be relaxed. such as grasping. with greater efficacy and subtlety. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. ‘From the familiarity of forms. nor will you be able to intuit your opponent’s energetic intention. sTep-by-sTep To practice Tuishou.
In solo practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . be calm and concentrated in your demeanour. mind and spirit with determination. imagine a partner practicing or competing with you. Practice makes perfect. To cultivate ‘inner listening’. force and speed in your actions. you will ultimately enhance your health and combat techniques. but never practice just in order to practice. Skill arises from consistent and accumulated practice. your intention and commitment must be deeply held. combining your heart. As long as you practice persistently and make progress.Remember that ‘inner listening’ is the one essential skill required to improve your technique.
follow) and Chansi Jin (Reeling Silk). Sui (stick. Qing (light) and Zhong (heavy). and so on. Nian. adhere. distance and direction of energy. continue. Tuishou practice is based on thirteen ‘forms’ or energies. 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. .陈 氏 太 极 拳 推 手 技 法 1. upward or downward movements.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. Movements alternate freely between Gang (hard) and Rou (soft). opening or closing. while its theoretical basis builds on the philosophies of Yin and Yang. which are also the essential elements of Taiji. actions to the left or right. gathering or exploding. When you can control these energies within yourself. Kuai (quick) and Man (slow). you will develop the capacity to subconsciously anticipate quick or slow changes. it will enable you to feel. with the lightest of touches. speed. your partner’s weight. You will learn to follow your partner’s intention and forget your own. At a more advanced stage. Lian. attacks or retreats.
concentrate on one direction at a time. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. be calm and relaxed To release bursts of energy effectively. 王 西 安 7 . it is the force of friction that enables you to hold and seize their arms etc. ‘if the opponent does not move. this energy refills automatically to its original ‘full’ state. or other deformation.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. stretching. don’t move’. ‘follow slow attacks unhurriedly’. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. When releasing explosive energy. Like a balloon whose air has been exhausted. 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’. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. Use the forces of elasticity and friction Use these forces when applying techniques such as ‘draw the opponent into one’s orbit to destroy their centre of gravity’. ‘if the opponent moves slightly. expansion. move before they do’ etc. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands.
push or strike your opponent you do so without alerting them in order to capture their energy. and is worth remembering.陈 氏 太 极 拳 推 手 技 法 As stated in the General Song of Taijiquan by Chen Wangting (also known as the ‘Song of Taiji Practitioners’): “…remembering the principle of following. I always follow their intention. utilizing the techniques of Kao. known as Shang Long Xia Ti (which means to place the opponent in a passive position unawares by holding close to his or her upper body while lifting their lower body). 王 西 安 8 . Even if attacked by a monster. when you move forward in your turn to press. results in the shaking off of the opponent’s upper body and lifting of their lower body. whether they strike or twist. I follow my partner. none of your opponents can defeat you. I can conquer a force of a thousand jin with a tiny force of four Liang. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. push or strike. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. Using this. The canon of Taiji teachings is rich with such sayings. I perform strictly to the principles so as to make me unassailable. also states: “No one knows when I gather or stretch. whether ascending or descending. Similarly.” Chen Changxing. the 14th generation master. no matter how hard they press.” This technique.
In order to inherit and develop this Chinese cultural heritage. One with four Yin and six Yang is among the group of the adepts. As a science. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. 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. 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. 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. Only one with five Yin and five Yang is called adept. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined.
Zhao Shu (familiarity with the forms) Outer form drives Qi. 3. Correspondingly. as stiff as a stick’ evolves to ‘two-yin eight-yang. 2. is San Shou’. ‘three-yin seven-yang. Dong Jin (realizing the inner energy) Qi drives outer form. still regarded hard’ turns into ‘fouryin six-yang. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. . 2. The three stages of Taijiquan are: 1. ‘Chen Style Taiji Laojia’ (Old Routine).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. one comes into the group of the adepts’. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. Zhong Quan (medium circle) At this stage. with fuller details available in Chapter Two of my book.陈 氏 太 极 拳 推 手 技 法 1.
Note that ‘no circle’ denotes a state of subtlety and skilfulness. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). all parts of the body become as highly sensitized as finger tips so that when competing. enjoy a feeling of lightness. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. That is to say. that is. medium and small circles. By this stage. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). in addition to a diligent assimilation of knowledge. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. along with the Tuishou practice of Zhong Quan (medium circle). At the third stage of Shenming (deity). the complete fusion of external form and internal spirit. Following a correct program of practice as outlined above. and does not mean total stillness.3. along with the Tuishou practice of Da Quan (big circle). 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. ‘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. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). at the first stage. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. one is regarded as a Deity’. At the second stage of Dong Jin (realization of energy). and be able to achieve constant internal changes between Xu and Shi (void and solid). as well as the combination of the respective techniques applied in the big. that is. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). possess abundant internal energy. an adept may say.
” 王 西 安 12 . you surely go backwards. Also known as ‘Five-Yin Five-Yang’.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. as our ancestors tell us. even though I don’t know how I do it’. This is not unattainable. “Taiji practice is like rowing in the river. if you don’t make efforts to go forward. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void).
Nevertheless. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. Remember too where your weight is placed to maintain control of your centre of gravity. It simply requires practitioners to have sufficient physical force for competition. Skilled practitioners rely on a highly developed sense of touch. 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. While appearing deceptively easy. This is called. In other words. Without the latter. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. Ding meaning ‘stiff resistance’). When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’.5 TuishOu. These reflexes are faster than thought and only come with constant practice. When forces are equally matched during competition.e. four Liang defeats thousands of Jin’. softness can break through hard. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. Hence. hence it is essentially a competitive activity. no techniques can be executed. ‘Weak side strikes strong side. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. It is this dynamic that we need to explore during practice. the stronger force) also can defeat the weaker force. 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. tough energy. 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. meaning ‘loss of energy’. ‘thousands of Jin’ (i. However. nor is it just a matter of pitting one’s physical force against others.1. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. Tuishou develops one’s sensitivity to others. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 .
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 .
alluding not only to listening with the ears. The entire body surface of a high level practioner is highly sensitive. ‘Without being known.陈 氏 太 极 拳 推 手 技 法 2. follow) as fundamentals. a practioner’s body can react instantly with great accuracy and flexibility.1 lisTening TO energy In the context of Taiji and Tuishou. and taking Zhan Nian Lian Sui (stick. squeeze and press. Listening can be divided into three areas: listening with the bones. her body light and flexible. With your skin. feel your partner’s movements. On receiving these signals. During Tuishou sparring. and a highly-tuned awareness of sensations in the heart and nerves as well. but also with the eyes. the skin. continue. What is listening with the skin? It means following the command of the heart and mind. allowing both body and mind to enter into the level of deity and transformation. 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. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. no matter if the changes are in the opponent’s rotation. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu).’ 王 西 安 16 . adhere. the act of ‘listening’ has profound resonances. At this stage. sensing through the skin enables reaction in any manner within the rules. I know others and sweep all enemies aside. One’s skin is the key weapon. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. Hence the saying. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. her changes in rotation. filled with abundant internal Qi. position and magnitude. Similarly. a rise or fall in height or changes in weight. with the skin and with the fine hairs on the body surface. one’s force is injected into the marrow. when an opponent touches one’s fine body hairs.
Failure to do so will cause one’s energy to remain stuck in the chest. ‘clear manifestation of emptiness and solidness’. Without this preparation. where every knot of one’s body opens and stretches without crude force. slow. special attention should be paid to ‘the intervals of fastness and slowness’. so a practioner cannot generate energy for sparring if he or she is unable to listen. listen without hearing. rising to the upper body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . You will look without seeing.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. In all this. let alone the attainment of energy for combat. While the majority of practitioners are able to listen with the bones. descending. Only through accumulated practice can one’s sensations detect the smallest changes. Just as a deaf person is unable to comprehend a conversation as he cannot hear. leading only to failure. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. opening and closing (快、慢、沉、稳、虚、实、 开、合). ‘descending Qi and steady steps’. Listening is essential to Tuishou. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. How good it would be to attain this level. Your reactions will become slow. defending and attacking blindly. your listening untrue. you fight back. very few achieve the ability to listen with the skin. which is essential for constant adjustments to frequently changing circumstances. blood and breath. that is why it destroys the strongest of enemies”. emptiness. solidity. listening would be impossible. As Sunzi Bingfa says. until it is too late to repel danger. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. calm. Nervously. “The most super-human strategy is formless and soundless. your judgement confused. making all one’s muscles stiff.
Zhe (hide). Ying (stiff ). Pai (squeeze out). You may find yourself being too stiff (Jiang). transform. Dang (block off ). speed. Lou (hold). Ba (seize by force). Jia (stiff ). Tui (push). Gou (hook). Even for those who achieve this skill. We call such shortcomings. new challenges such as ‘being too fond of competing’. Shi (tight). Zhuan (cheat). you cannot note any of the above changes in the oponent.陈 氏 太 极 拳 推 手 技 法 2. Be warned that mistakes will occur on this learning path. Shan (dodge or flash). It is the ability to note present or potential changes in emptiness and solidity. Peng. 发fa – explode) at the appropriate opportunity. Meng (sudden). Ba (pull out). 拿na – capture. Hua. Bo (move with hand). Cuo (rub). Di (resist) and Gun (roll). Qi (insult). that is. Failure to overcome these shortcomings would be to fail to realize energy. Realizing energy is based on listening. straightness and curvature. await them. A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Qin (intrude). Teng (jump). Gua (hang on). the ability to circle and the principles of Zhan Nian Lian Sui. length. An (press). Ji (hit). Duo (escape). Zhan (chop). direction. Hun (mix up). It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. magnitude and hitting point. your energy too resistant (Ding) or being lost unnecessarily (Diu). Ling (pressing). Fa (引yin – lead. 王 西 安 18 . your posture too straight (Zhi). Na. “faulty palms” or “faulty body”. Ya (push down). vertical axis and flexibility. While beginners may find this difficult to achieve. Zhi (straight). Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. this skill may eventually be attained with diligent practice and a good teacher. hardness and softness. Li (leave). Ke (knock). 化hua – change. Ting (stick out). Without ‘hearing’ the energy of one’s partner.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. you cannot realize it.
Cai. Ji. 14th generation Taiji master from the Chen family. In effect. Sanda complies with basic Tuishou principles. hence its continuing ties with Tuishou and. changing one’s centre of gravity and flexibility) in synchronous movements. In fact.The practice for ‘realizing energy’ also tests one’s position. jumping. Whilst all Chinese martial arts possess unique characteristics. the Tuishou practitioner must aim to apply these techniques (seizing. utilizing the techniques of Kao in spiralling. Concordant with the adage that ‘external forms are the method and the pathway’. Sanda can simply be taken as a higher evolution of Tuishou. transforming. falling. striking. I always keep remembering to follow their intention. these eight techniques form the method for Tuishou. Ultimately. form and quality of Tuishou. they share the common practice of ‘realizing energy’. ‘The Taijiquan Formula’: No one knows when I gather or stretch. Zhou and Kao). grasping. As Chen Changxing. relaxation and health practice for the old and infirm. but also in the combat arts and and Sanda (free sparring). angle. ultimately. An. When attacking. Tuishou is the combat application of Zhan Nian Lian Sui. I follow my partner. is misleading and does not take into account its fundamental role across the Chinese martial arts. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . 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. rather than use them as disparate forces to enhance one’s attacking prowess. and shares many common principles with Sanda (free sparring). Hence. Lü. with Taijiquan. says in a verse from his book. twisting. no matter if they use the technique of Kao or twist. Lie. dodging. and also in one’s facilitiy with the eight energies or techniques (Peng. look around and maintain an upright axis during Tuishou practice. the poplular stereotype of Taijiquan as a non-combat. which is used not only in Tuishou. Whilst acknowledged as a combat technique in its own right. developed from further transformations of Tuishou routines.
along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. push or press. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. The third. Again. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. to act naturally and follow one’s intention. Li. “From the familiarity of forms. until I come to the level of Deity”. Hence.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. The second sentence of the verse means to follow the other partner’s intention while circling them. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. As mentioned. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . adaptable to both Tuishou and Sanshou. we can clearly see that in all movements. this verse confirms Taijiquan as a profoundly practical Martial Art. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. Chen Xin once said. step by step. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. that is. With the development of modern weapons. fourth and fifth sentences refer to the application of Taiji Sanshou. to forget about one’s own intentions and follow the opponent’s. In addition to applying Master Chen Changxing’s advice. press and hold back. Everyone knows how to hook. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. the Chinese martial arts have evolved into health and fitness promoting practices. ‘listening and realizing energy’. ward off. strike. and horizontal Cai are also irresistible. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. The author stressed the importance of ‘follow’. leading to a wider understanding of the profound benefits and applications of Taijiquan. to the realization of energy. Indeed. The attacks from me by twisting. that is.
“Form practice is the essence of Zhan Nian training. like glue. direction and the position of a partner’s energy flow. and its natural and intuitive use. It is commonly used in attacking strategies. Whilst it is said that form practice cultivates a capacity to know oneself. and come to realize the laws of movement and force. 2. the adhesive force that allows a practitioner to become strongly attached. will be able to instantly sense the delicate changes in the movement. This is why it is said.3 zhan nian Techniques Zhan & Nian are forces directed forward. with which one’s opponent will find difficult to escape. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. A practitioner. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development.effectively. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. Tuishou practice cultivates the capacity to know others. Zhan Nian techniques develop one’s capacity for high precision. the first being ‘familiarity with form’ and the last being ‘realizing deity’. while Tuishou exposes the quality of Zhan Nian techniques. Conversely. that is. so that he finds it hard to escape. magnitude. extent. Zhan Nian energies work as a pair. This ability comes through great patients and a life-long perseverance of effort through the three stages. Nian means to chase and follow one’s opponent. this results in a deeper and more precise understanding of energy. capturing and transforming his energy and using it to attack at the first opportunity. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 .” Zhan literally means ‘stickiness’. Ultimately. Only with the awareness of both oneself and others can others be conquered. Through reeling-silk practice. in this way maintaining the upper hand at all times. on reaching the final stage of ‘deity’. to one’s opponent. At this point.
Zhan Nian energies can only be realized through thorough theoretical understanding and careful. as indicated by these teachings: ‘Follow my partner’s intention. one can never accomplish quality ‘chasing’ (Nian). but even many long-term practitioners find total understanding or realization elusive. 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. beginners find Zhan Nian energy difficult to comprehend let alone detect. slow reactions to slow attacks’. 王 西 安 22 . This is why it is said that at this relatively high level. Understandably. an internal energy manifesting externally. but certainly achievable for diligent practitioners with good teachers. Once the whole body is enveloped. ‘I move before them on feeling their slightest motion’. the practitioner can exert Zhan Nian forces towards the opponent. yet arrives at the hitting point earlier than the opponent)’. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. It is Zhan energy that envelops the body. ‘Fast reactions to fast attacks. and then through the entire body. Zhan Nian energies can be detected by sensations that start at the palms. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. and so on. ‘I don’t move if they don’t move’. Not an easy task for ordinary practitioners.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). Simultaneously. Ultimately. victory or defeat is decided in an instant. despite prolonged practice. especially those who. During Tuishou. flow up the arms to the shoulders and back. continuous and diligent practice. inflexible muscles and joints. have failed to attain high proficiency in the art. these techniques will lead the opponent into faulty moves. and forget my own’. ‘I win by striking after the enemy has struck (My fist starts late. as reflected in their stiff bodies and tense. When Zhan Nian techniques are applied.
non-pressing. moving effortlessly between quick/slow and forward/ backward movements.2. how can Sui be achieved? Sui technique means to react. no resistance). Without Zhan’s adhesive force over the partner preventing escape. taking any opportunity to attack.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. In so doing. Used in concert with Zhan Nian energies. adhesiveness. Sui. so that ‘as one falls. ‘Bu Diu Bu Ding’ (no loss of energy. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. there can be no Lian. emerges from the application of Lian. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. Lian has a rich amalgam of meanings. ‘to react while following’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . Lian is dependent on one’s use of Zhan. fast reactions to fast attacks. and can only exist in the presence of the latter. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. the opponent cannot escape because if one follows closely using Zhan Nian. continuity. one observes and reacts to the opponent’s Zhan Nian techniques. can we execute Yin Jin Luo Kong efficiently. that is. non-forcing. Unless one follow’s the opponent with Lian (co-relation). follow and move in the same direction as one’s opponent. including consistency. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. Once palms come in contact. another rises’. It can be summarized as ‘co-relating to the opponent’. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. and no chance to escape. slow reactions to slow attacks.
following their energy flow without interruption. 王 西 安 24 . whether through form practice or Tuishou”.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. 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. It is vital that beginners are able to feel the movement of internal energy inside their bodies. on the other hand. so that they can ascertain if their energy levels match the purpose and intention of their actions. Beginners may attain the preliminary stage of Lian Sui. without any break in flexibility or continuity. As the teaching says.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. “The lower body automatically follows any motions of the upper body. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. Adepts. Lian and Sui can never function without the other. therefore it is advisable to practice the combined application of both. the basic ability to follow the opponent’s movements. successfully use Lian and Sui to attack and prevent escape. upper and lower coordinate any motion in the middle.
“We strike by coordinating forces from different directions (Yin Jin Luo Kong). using our arms. reeling my back inward before suddenly striking outward. legs and so on”. Yin is the ability to draw the opponent’s energy into one’s control. so as to mislead my partner’s energy and upset their centre of gravity. I apply Shun reeling downwards. using Lian Sui to follow their energy flow. going up or down. hence ‘misleading’ and transforming the opponent’s energy. I lower my body then stretch my right foot toward his or her crotch. one should avoid Diu and Ding (losing energy and resistance). While moving. elbows. if my partner presses my right arm with their palms. we should apply She Ji Cong Ren without being detected. and cannot exist without Yin first being applied. knees. turning left or right. I use Yin Jin Luo Kong to constrain my partner’s energy while simultaneously gathering energy carefully to prepare for an explosive release of energy at any angle or position. Literally meaning ‘to draw’ or ‘to lead’. hands. or feet to upset their centre of gravity.2. When we feel the changes in our opponent’s energy flow. and in this way mislead and neutralize your opponent’s energy. For instance. Once neutralized. hips. Use these principles whether you are going backward or forward. As Chen Xin explains. Note that while applying Yin and Hua forces. When applying Yin. A particularly effective combination is Luo Kong. palms. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . we then use our shoulders. the adept draws the opponent into his or her domain. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). Hua is the transformative force.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. Using these complementary techniques. then gradually upwards. neutralizing any opportunity for attack.
6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. I “roll over. that of Taijiquan is accepted as the most refined. hence rendering them helpless. just as one should attack forcefully without hesitation. Any hard fan guanjie (joint twisting. Instead. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. As Chen Changxing advises. That is to say. In Tuishou and San Shou. and their pain penetrates right to the marrow. touch. wrists or hands to inhibit their rotation or movement. i. rotate an opponent’s joint towards its unnatural direction. Hua and Xu (gathering). dodge. shock. As Chen Xin suggests.e. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. meaning the direction which hurts the natural structure of joint. and hence the harder the opponent falls. 2. so as to accumulate and release energy effectively. When I attack. depending on circumstances. Opponents will feel as if their tendons and bones are about to break. the further one’s arrow flies. look one way and go another”. I know my partner without being known. destabilizing their centre of gravity and transforming their energy in order to conquer them. tie up. he or she can easily capture his opponent through the combined use of all . explode energy as if releasing the arrow”. the more one stretches the bow. they are conquered. elbows. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. However. using all these techniques to mislead my opponent. “gather energy as if pulling on the bow. sweep. my Taiji harmony within emerges so that even ghosts fail to predict my next move. In this way. It is important to remember that one must gather energy well before misleading one’s opponent. one must cultivate the forces of Yin.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways.
’ as Sun Zi Bing Fa says. The seizing technique in Tuishou is very important. Indeed. techniques such as Zhan Nian Lian Sui. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. agility.their gathered forces. Zhua (grabbing). applying the energy smoothly and judiciously without over-exertion. Na (seizing). you still have the opportunity to move in quickly and seize them by their palms before they move away. you must react quickly and flexibly to any changes in your opponent. Tuishou accentuates Taijiquan’s martial power. ‘Na (seize) always goes with Da (strike). flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. ‘Only this. With the combined application of seizing. I utilize Na to prevent my partner from escaping or from transforming their energy. If you fail to attack lightly and skilfully and your intentions are detected. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. a Tuishou practitioner can exert the invincible might of Taiji. There is a saying. I move using the principles of Qing Ling Huo Qiao (lightness. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. so that I may capture my opponent without hesitation or detection. This is called ‘dual-utilization of seizing and gathering’. This is why it is said that Na is the pre-condition of Da. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. To apply Na effectively. If he or she succeeds in escaping. you need to seize first’. agile. throwing. in order to strike well. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . These recovery measures also depend on a light. Shuai (throw). so that I can strike them cleanly and successfully. transforming and striking. In Tuishou. thus reaching their goal. ‘is called the “best of the best”’. When utilizing Na. Hua (transforming) are all preconditions for striking (Da). flexibility and skilfulness).
your root will become unsteady. remember to maintain a relaxed state by lowering your whole body. stomach and the protruding and concaved parts of the shoulders. Miscalculations often result in injuries. in which case. and sensing the amount of force the partner’s joints can withstand. releasing your force like bullets rushing out of a gun. stomach and legs. By relaxing.’ 王 西 安 28 . Next. Na is the synchronous manifestation of the internal and external. especially amongst beginners. During practice. Then strike directly forward in a spiral and hit your target accurately. your centre of gravity destabilized and you will find it difficult to protect yourself. In peace every part of my body moves at the time of movement’. application of appropriate angles and techniques. include controlling one’s speed and magnitude of attack. he will be able to press forward. Exert your energy first lightly then with force. If you fail to Peng (ward off ) your opponent adequately. and all parts in a gathering motion. When relaxed. ‘No part of my body is not peaceful. you have no option but to relax your joints. twist his right arm inward with your left hand. both palms covering his right wrist. use the Na technique carefully to avoid hurting your sparring partner. if you want to seize your opponent. Common problems. hence it is advisable to heed the teaching. whether you exert Na by the co-ordination of your hand and chest or with your ribs. with no part tense. How then can you hope to seize another? Indeed. Never let Qi float upward and never let your feet lose their roots. and your ribs. Na technique works together with Cai technique. the targets for both being the arms. seize him then guide his pressing force into your territory using Lü energy.陈 氏 太 极 拳 推 手 技 法 When applying Na. shoulders and crotch all gather downward in concert. just as it is stated. Using this will overcome the opponent without fail. every part of your body works in harmonious cooperation. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. making sure your hitting points are clearly defined. your chest rolls inward naturally. chest. ‘Never be rude and rash when you begin to practice Na. If Qi ascends.
Mengzi. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. This is an important concept which bears deeper contemplation. opening and closing illustrate the subtlety of Taijiquan. Inhale from the stomach so that it remains solid. In all Tuishou and Taiji movements. relax the shoulders. As Chen Xin says. Even masters of Chinese philosophy – Kungfuzi. Indeed. The opportunity to transform the partner’s energy lies in the process of movements in various directions’.Work on your technique step-by-step: develop a closed crotch.7 Opening and clOsing In the martial arts. every part of the body is engaged in the action of opening and closing. Remember – to attack your target with agility and flexibility requires long accumulated practice. Keep every joint relaxed before you exert Na. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . Opening (Kai) means to stretch and reach. gathering versus exploding. Sanda and form practice. just as Chen Xin mentioned in his works. are widely used in Tuishou. OpeningClosing techniques. bend and gather. Closing (He) means to draw in. making sure all movements are steered by the waist. one cannot ‘open’ without first being ‘closed’ and vice-versa. solid stomach and slightly concave chest. Gather the ribs. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. transform. often meaning to ‘guide and attack’ in the martial arts. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. preserve. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. As complementary opposites. 2.
that is. Likewise. As the saying attests. 王 西 安 30 . muscle energy (Qi). Yi moulds changes in external shape while Jin (force) rises with Qi. forceful. Thus positioned. from the soles of the feet. the rebounding force exerted by the ground can be used to energise any upward movement. every part of your body follows suit. The Opening-Closing technique starts from the closed state. swift and powerful. you will find your opening powerless. sometimes appear before our eyes. with the qualities of both solidity and emptiness. crude and slow. Kai (opening) energy originates in the root of your body. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. pressing the ground with your heels to empty the Yong Quan points. Your heart acts as the guide and leader during energy explosion – when your heart opens. filling you with great vigor. your intention (Yi). While standing. ‘Opening-Closing.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. Closing not only means to bend and withdraw your upper body. you will find that Qi penetrates your whole body more smoothly and powerfully. Without closing well. these changing motions. In practice. your ‘opening’ explosion will be natural. the louder the explosion. since Yi (intention) follows wherever Xin (heart) goes. this means that one needs to be closed first before one can open. if your energy is gathered and conserved well. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. grasp the floor with the toes and soles. so that your targets become accurately defined and attacks successful. so that all parts of the body work together. and sometimes they disappear. The quality of the effort you put in to closing determines your ability to open with power and effect.’ Only diligent practitioners have the opportunity to experience this phenomenon. external shape (Xing) and spirit (Shen). but also to coordinate the heart (Xin).
or worse still. while being mindful of the adage. To master this elastic force. Beyond this range. albeit swift and powerful. you need to train your muscles in relaxation and gathering. your centre of gravity may be lost. spirals up the legs to the waist control-center. After exploding energy. the energy released unhindered. lower your waist and let Qi flow along the spine. To gather energy of this quality. then to every corner of the body. the whole body returns to a state of softness and relaxation. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. This energy originates from the soles of the feet.33 cm. you will need to drop and relax the shoulders. Exploding energy at close-range is best as Kai energy. roll your chest slightly inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . land on the ground on your in-steps. flexible and compact enough to mislead and upset your opponent’s centre of gravity. strikes may not find their mark. Practitioners also need to build-up a reasonable level of muscular strength. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. The solution is to make your energy round. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. 2. is limited by its short duration and small coverage which extends only as far as your body. presenting your partner with opportunities to attack. then spiral your internal energy up the legs to the waist. or you may find your Kai technique lacking in power and precision. which then distributes it to the other extremities.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). The explosion should be short. and to develop high sensitivity and rapid responses to external stimuli.As you explode energy. keep your elbows down.
The main external force that we humans experience is gravitational force from the earth. Without these. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. The external force of both parties affects each’s internal energy flow. utilize. and with that outburst. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. dissipate or absorb her external force. However. there are also a myriad of other forces which influence our bodies – supporting forces. you must practice Changjin 王 西 安 32 . Gathering. skilfully. 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. abundant internal energy and intense physical and energetic concentration. To do this. in effect. and to explore the interactive relationship between them. consistent good performances will not be achievable. To combine the power of the three. frictional forces. not strength”. flexibly and harmoniously. When doing Tuishou exercises. all these are prerequisites to “destroy something already in a state of ruin”. spiral forces. Constant diligence. straight forces. horizontal forces and so on. internal forces. though random wins may happen. The force that you and your partner exert on each other in Tuishou is external force. not relying on rigid or crude force. Transforming and gathering are complementary and cannot function without each other. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. and exploding energy with elastic vibrations. your opponent is vanquished. that you are unable to neutralize.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. counter forces. which manifests as our weight. but also that of your internal energy and combat strategy. transforming and attacking are closely related. Your performance in competition depends not only on the quality of your sensitivity. one must explode energy smoothly. it is necessary to distinguish clearly the respective functions of internal force and external force. Failure to counter your partner’s force means.
there would be no striking the partner from one inch”. Continue developing these techniques step-by-step until the level of deity is reached. An attack. leading to very smooth and swift responses. For example. imagine a line between the navel and Mingmen. At this level of Gongfu. during Tiaozhou practice (upward strike with elbow). Good Hands’. and the small or no circle practice. despite its ferocity. Still Tough’ and ‘Four-Yin Six-Yang. To reach this level. As it is said. will find the opponent flung far and wide. the medium circle practice. Close-range attacks require a high-level of competence. below which energy flows downward and above which energy flows upward. easy conquest of the opponent does not necessarily follow. Alternate between these three with slow. and even when elastic cunjin (hitting a target at very close range) is executed. as their attacks flow naturally from their heart and intention. you will find it easier to hit targets more accurately and swiftly. elastic or vibrating variations. especially exhaling-inhaling and opening-closing motions. This means that if one finds it difficult to attack from a distance. Only very high-level practitioners may achieve this.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. while downward flowing energy helps maintain a firm and stable root. beginners need to do the following: do the big circle practice. By mastering the key points of energy explosion. quick. it is not advisable to exert Changjin (long energy). “Without striking the partner from a distance of three metres. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . the whole body moves as a synchronized force to follow the slightest movement of intention. one should not attack at close target. At the transitional stage between ‘Three-Yin Seven-Yang. Upward energy and downward energy exist in opposition to each other. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. instantaneous. even with the slightest touch.
and may lead to loss of control. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body.9 Ti (raising) fOrce Ti means to ‘rise spirally’. rotate your Dantian so that your body lifts with greater speed and accuracy. heart. Remember to maintain your centre of gravity with the coordination of the other leg. 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. This means that no matter what Tuishou techniques you use. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. Remember to maintain full concentration. keeping your axis upright and combine your eyes. while you maintain a state of relaxation. First. powered by upward spiralling energy. To conquer your opponent. Instead. To apply Ti successfully requires the whole body to work in coordination. The arms and legs work together. 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. while you keep your intentions and energy flow undetected. and intention into one entity. waist and arms.陈 氏 太 极 拳 推 手 技 法 2. As Qi flows up the spine. shadow your opponent with agile steps. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. When applying Ti. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . combine your rising force with your elastic force. never let your partner know your intention before you act. then your instant and precise attack can never fail”. Using Zhan Nian Lian Sui. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. Even if not thrown completely off balance. To lift your opponent up with Ti requires the combined effort of legs. your opponent’s upper body will shift out of their control. The rising force is difficult to use if forced. At the same time. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape.
2. reeling to the left or reeling to the right. You roll. reeling upward. The Reeling Silk consists of great varieties: reeling inward.and power. When this happens. You will attack like a flying dragon. mislead. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . you will come to sense it with practice. Do not try to strike others before you have attained a reasonable level of competence. go forward or backward. but once attained. on the verge of losing their centre of gravity. whether you rise or descend. and manifests externally as it permeates through to the fine hairs on the skin. tie. Adequate practice will naturally lead to success. revolving energy which originates internally in the body. their root and they will certainly fall. you will be able to transform energy while striking. Attaining high-level skills will make you braver. transform and defeat your opponent’s attacking energy. touch or sweep in response to the circumstances and you remain always observant and alert. your force will reach its target just with intention. and not even know from whence your power emanates. until it reaches the fine hairs of the skin. as it emerges from the feet. your attacks will never fail. so you feel able to “protect your descendents and kill the rebels”. reeling outward. you will find it easier to follow. passes through the legs up the spine and arms. follow the primary principles and develop your skills stepby-step. you will lose awareness of your physical body and location. For beginners. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. walk with such assurance as to shock evil spirits.10 reeling silk Reeling Silk is a spiralling. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. Though undiscernible initially. Mastering this energy requires much effort and practice.
Shun reeling (conforming) and Ni reeling (contrary). The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process.陈 氏 太 极 拳 推 手 技 法 small circles. The solution lies in the middle path: keep a balance between softness and toughness. remain balanced. reeling horizontally or reeling vertically. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. all these reeling movements are always comprehensively combined together and closely connected. Yin (guiding. reeling to the front or reeling aside. remember to keep your Zhongqi (energy to keep your axis upright). Be humble and respectful during form practice. While reeling. 王 西 安 36 . focusing your energy internally and guiding the flow of your responses from Yin to Yang. and so on. and thus renders you unable to react properly and to be easily manipulated by the opponent. When being utlilized. reeling forward and backward. misleading) always comes with Jin (approaching forward or attacking) and vice versa. collapse the waist and establish a stable centre of gravity in the legs. and apply opening and closing techniques. quiet and calm. one must avoid being too soft or too tough. maintain the interplay between solidness and emptiness. Keep a firm root. When using Reeling Silk energy. excessive toughness makes you get too rigid. As for posture.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
and exerting energy too forcefully (Ding) while exploding energy. Cai. Qi will flow around the body to the extremities and skin. where ‘Qi spreads to the whole body. if practice is diligent.1. keeping your energy tracks undetected by the opponent. as well as techniques focussing on various target areas of the body. Kao. you need to execute Jin (go forward). This practice requires a solid foundation in preparatory exercises. Hua (transform) and Na. goes through the Sanguan (Three Gates). Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. To win. This means that Yilu fosters Zhongqi so that. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Lie. for example. Ti. Zhan (battle). Erlu and Single Form practice help to accumulate and strengthen Gang. Da. A wide variety of single movements must be practiced repeatedly. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). 3. medium and high-level stages. Single Form practice is vital for hand-to-hand Gongfu combat. Shuai (fall). 王 西 安 38 .陈 氏 太 极 拳 推 手 技 法 3. relaxed and soft. An.1 inTrOducTiOn This is a practical lesson in combat practice. who is then inevitably conquered. As we know. Because Yilu lacks speed and Gang (tough) energy. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. Shan (dodge).’ In this way. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. Tui (go backward). Lü. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’.1 Yilu cultivates Qi. Faji (attack) effectively under any conditions. Erlu explodes In this technique. full relaxation of the joints. Ji. It also demands a period of diligent practice to ascend gradually through the primary. movements gradually become agile and flexible. Zhou. so the Single Form Practice and Erlu help to compensate for this disadvantage.
Well known examples include the foot techniques of Li Bantian. If prolonged. He was known to say that he found throwing partners too easy. 搭Da (touch) and 扫Sao (sweep). No matter how steady his partners stood in the beginning of a fight. These clearly advise diligent practice of the shoulders. Chen Zhaopi was the undisputed master of 滚Gun (rolling). more like a relaxing stretch to enjoy the subtle. after you practice the form ten thousand times’.Gongfu masters. you fail’ and so on. back. legs and hips using relevant principles. Significant gains may be attained by practicing the single forms step-by-step. ‘You practice. you harvest. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . inner meanings of the mysterious art rather than a competition. we have Master Feng Zhiqiang who is venerated for his steady. you don’t. Though widely differing in style. be they exponents in internal Gongfu or external Gongfu. neglectful practice becomes increasingly difficult to rectify. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. so that the path to deeper understanding and realization may be paved. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). the seizing techniques of Eagle Claw King. they always got hit and thrown to the ground. resulting in loss of vigor and effectiveness. Hence. Single Form practice is of vital importance. elbows. 拴Shuan (tie). ‘Skills come naturally when you are familiar with forms’. hands. To do otherwise would be to ‘attend to trifles and neglect the essentials’. Lastly. sober movements and his relaxed yet vigorous energy explosions. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. such as: ‘Profound principles emerge by themselves. each have their own unique combat style drawn from continuous tempering in their practice. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’.
3. bend and raise your knee slightly.1 . alternating between both legs: kicking forward. face to the front. stomach gathered and head suspended from above.陈 氏 太 极 拳 推 手 技 法 3.2 feeT pracTice Feet practice includes the following movements.2.1 Exercise One • • Squat slightly. swinging up and down and so on. With one hip relaxed and the opposite foot slightly touching the ground. 王 西 安 40 Fig. upwards and sideways. trampling. 3. horizontally. chest rolled slightly inward. pedalling forward.
sideways. • Kicking smoothly. collecting the energy at the abdomen.2 41 . feet hanging backward and so on. stepping. up and down.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. horizontal. pedaling.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Relax the feet so energy can reach the toes where it is required. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. make sure your in-step is stretched moderately tightly.2. bend the other leg with toes grasping the ground to maintain a firm centre of gravity. upward and downward swing. 3. • Roll the chest inward and aggregate energy with the whole body.
3 • This technique is applicable to the toes.5). if you kick with the right leg. edges of the foot plate and the sole (Fig. they will be able to direct energy explosions to targets with precision and ferocity. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form).陈 氏 太 极 拳 推 手 技 法 Fig.4. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. 3. 3.3). It should be practiced with both feet so that. . 3. 3. your left foot prepares to kick with the toes or instep as the right foot lands. On landing with either foot. for example. use the rebounding force of the earth to bounce up and propel your kick (Fig. At this point. Beginners should practice slowly. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick.
3. 3.6 43 .4 Fig. 3.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig.
.陈 氏 太 极 拳 推 手 技 法 Fig. • Switch your centre of gravity to the left foot.7 The Upward Kick is used for high targets. practice kicking with each foot sequentially. a principle also applicable to the Double Kick (Er Qi Jiao). instead. The whole body must be kept balanced and straight when kicking upwards. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. The Upward Kick should match the rhythm of the hands’ movements. usually the opponent’s chin. flexible and quick. 3. The kick should be light. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. There is no jumping in the Upward Kick.
raise the right knee gradually (Fig.8). 3. Then empty the Yong Quan point. 陈 氏 太 极 拳 推 手 技 法 Fig. cup your right fist and left wrist together in front of the chest. standing with left leg. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. feet firmly grasping the ground. As your right foot explodes energy stamping downward. but try to keep some weight in the un-weighted side as well.• Bend the left knee.8 • • • Then stamp your right foot on the ground. exploding energy as quickly and fiercely as you can. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. keeping the right foot at the same distance from the left foot as before. 王 西 安 45 . 3. all the while rolling the chest slightly inward. grasp the ground with the left toes and.
The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal.9 Regardless of which leg steps forward first.10). 3. and then withdraws elastically like a rubber band springing back into shape. The key points here are the same as those for the previous segments. e) Forward Kick This consists of a straight kick forward with the sole of the foot. you can practice with the alternation of legs (after praciticing with the right leg for a while. including the alternating use of the legs (Fig.9). remember to follow instantly and quickly with the other leg. In Single Form exercise. Kick as high as your opponent’s stomach and chest. 王 西 安 46 . 3. 3.陈 氏 太 极 拳 推 手 技 法 Fig. practice with the left leg) (Fig.
王 西 安 47 . 3. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity.10 Fig.11).12) and the Outward Kick (Fig. fierce and perfectly targeted. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. As you reach a higher level of skill. 3.Fig. prepare well by relaxing the chest and stomach to ensure your kick is fast. Before kicking. • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front. 3.11 Kick mainly with the heels. 3. sometimes with the soles.13). with hitting points mainly on the inside of the foot (with the occasional use of the outside). 3.
12 Fig. In the Sideways Kick. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. with the hitting points mainly on the outside of the foot (occasionally inside). the whole body gathers together then opens up with an explosion of energy. while the body becomes straightened when kick is streched).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.陈 氏 太 极 拳 推 手 技 法 Fig. 3. explode energy like releasing the arrow”. 3. this reflects the relationship between Yin and Yang’. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. 王 西 安 48 • .
While swinging outward to the level of the shoulder. smack the foot with your hand to ensure the integrity of the energy.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. then swing it outward in a natural arc. Squat slightly. while your hands are targeted at the face.14 49 . Before kicking. turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. Eye your target and prepare for the kick by gathering your internal energy and lowering it. Kick upward with the back foot. 3. use the Gen Bu (follow-on Steps). toes grasping the ground and all muscles of the body relaxed.15). Your swinging foot is targeted at the back of the opponent’s head.14). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. which allows you to use quick and continous forward steps. Always coordinate the kick with your hands. If kicking with the right foot. be it with the right or left foot. 3. then bring it backward (Fig.
And smash enemies to pieces.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. . I take the back of the opponent’s head as target. 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. 3. I smack in the air by switching into the track of a swing arc.15 With openings and closings. And kick upward along with palms coordinated with Lü.
palms facing outward. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. • The action must be quick and powerful. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. • Swing both hands backward to the side of the back hanging Foot. remember to balance upward Long (close) movements with downward Ti (raise). • Pay attention to that you finish this action with the guiding of the waist and back. • Hang one foot backward. rotating it slightly so that it slants to one side. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. The powers of hand and foot combine together. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. 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). coordinating both with Tou Bu (sneaking steps). • Hold the body in a squatting position for the next few movements. Gua (hanging) and Gai (covering) in a second. • Use both hands to execute Lü on one arm of opponent behind the body. keep your footwork flexible and neat. depending on the distance between you. You should finish Lü. No matter which you use. • The foot hangs to the calf suddenly to make the opponent lose his balance. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated.
As a Tuishou poem states: With Yin and then Jin techniques. your face looking upward. Then lower your foot to the ground. And kick upward along with palms smashing downward. 3. I take the opponent’s upper body and chest as target.16). I explode my energy with the rotation of my waist. Move forward with Tou Bu (Sneaking Steps). twisting the waist and rotating the back to exert more power (Fig. Hold your position and collect yourself enough to kick upward then swing downward. 3. . 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.16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force.陈 氏 太 极 拳 推 手 技 法 Fig. And enemies fall to the ground with face to the air.
3. 20:80).17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. 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. Use Front Bow Steps to practice this movement (Fig.18..17). mindful that while one is in the air. 3. Note that while weight distribution ratios may be used as a guide (e. 30:70.Fig. Practice this transfer of weight by alternating the legs. 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. The attacking leg must be flexible enough to swing to the left or right.g. 40:60.19). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 .
shock their lower limbs and unbalance their upper body with my feet. Short energy attacks are often used to ‘give a shock to the lower limbs’. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. 3. making your intention easily anticipated. As one master said: 王 西 安 54 I move my centre of gravity. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. so that the strikes are as rapid and powerful as possible. waist and hands.陈 氏 太 极 拳 推 手 技 法 Fig.18 Fig. I explode and shock the ghosts. . 3. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles.19 Using Short Energy: Short energy should be used in both inward and outward kicks.
toward the target.3. then squat and step out with your right foot. ‘Yong Yi Bu Yong Li’. Lower the tip of the toes of your unweighted right foot to the ground. Xiacai Tui (Downward Cai energy).3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). that is.3. change the weight to the right and step out with the left foot. Lihe Tui (Inward Knee Strike). Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). 王 西 安 55 . Move the left foot half a step to the left. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. Keep your legs reeling from left to right. working up your speed in gradual stages. Waibai Tui (Legs Swinging Outward). Change your weight to the left. a shoulder width apart from the left foot. 3. just as in form practice. As the toes touch the ground. Use intention (Yi) rather than physical force (Li). repeating the movements while keeping reeling from the left to right. When the right foot lands fully on the ground. Nichan Tui (Legs Reeling in Ni Circles). Begin with slow practice. step your right foot 40 cm forward to the right. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. making sure your leg is no higher than 15 cm above the ground.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. look in the direction of the moving leg. Practice continuously alternating both legs.
3. step forward 40 cm with the right foot. transferring all your weight to the left. continuous practice.陈 氏 太 极 拳 推 手 技 法 3.3. 3. Next. Step the right foot forward. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. Inner knowledge can only develop with concerted. striking to both sides with each leg.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. rotate to the left forward at an angle of 360o. and then rotate 360o left stepping on the toes (Fig.20). remembering that the inner side of the heel is the striking point. 王 西 安 Fig. You also need to practice Nichan and Shunchan with both legs. then step forward 40 cm to the left. transferring all your weight to the right. Raise the left foot.20 56 . Practice these steps in continuous alternating cycles.
we usually attack with Lihe Tui using the right leg. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. As such. • Combine Lihe Tui with the rotation of the waist and spine.22 57 . • While practicing.21 Fig. attack with Lihe and then move 90% of your weight to the back leg (Fig. then transfer your weight to the left before moving the right foot forward (Fig. 3. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg. change your weight to the front foot.3 Lihe Tui … Inward Knee Strike Lihe Tui is an inward strike using the inner side of the knee and is widely used in Qian Gong Bu (Front Bow Steps) and Ban Gong Bu (Half Bow Steps). 3.21). In Huobu Tuishou (Tuishou while walking). practice with both legs and with change of directions.3. • Stand at attention.3.22). 3. 3.
24 58 . Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. During practicing Waibai Tui. Being content with a superficial understanding is fruitless.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. step forward with one leg and swing the other outward and then closing inward. 3. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig.23).24).23 Fig. 3. Through diligent solo Tuishou practice. and requires a sudden outward swing of the leg as weight is transferred. practitioners will come to realize the deep significance of their efforts.陈 氏 太 极 拳 推 手 技 法 3. regardless of whether you practice day and night (Fig. 王 西 安 Fig. 3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). 3.
• Start with your centre of gravity at the back leg. 3.3.25 Fig. placing your toes slightly inward. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. placing your toes slightly outward. The outer side can also be targeted once your ability improves. • To do Ni Cai: move the back leg forward. Cai to the right. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles).3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Shun Cai and Ni Cai are based on Front Bow Steps. Xiacai Tui consists of Cai to the left. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). 3.5 Xiacai Tui … Downward Cai Energy Cai means to pull down.26 59 . • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent.
striking to the front. bending consists of stretching’. keep ankles relaxed and Qi descending (Fig. 3. Bend your knees about 40o – more than this and you will lose your centre of gravity.25). 3. Practice with alternating legs during Single Form practice.27 Fig. 3.3. Deepen your understanding of Jin Li (energy and force distribution). 3.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down).26).28 60 . With a spiralling move forward. striking inward and striking outward. 3. you can enter the opponent’s territory (Fig.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. Train your body to understand the meaning of ‘stretching consists in bending. 王 西 安 Fig.
• • •
All the above incorporate shifting of weight forward and back. Move the left foot forward then strike out the right knee, aiming it at the partner’s crotch (Fig. 3.27). While striking forward, roll the chest slightly inward and gather energy in the abdomen. Also, keep the hip and ankle relaxed, focusing your energy exertion on the target. Change your weight to the front, raise the knee, then strike it with an open palm (Fig. 3.28).
Li He Bu (Tuishou with Static Footwork) requires you to bend your knee, strike to the left, hit the inner side of partner’s right leg or the outer side of his left leg. (Fig. 3.29). Striking up and outward is called Waizhuang (Striking Outward). Key points are the same as in the previous striking practice (Fig. 3.30).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.29 Fig. 3.30
陈 氏 太 极 拳 推 手 技 法
3.3.7 Houbai Tui … Backward Swinging Kick
This is a wide-spanning movement and beginners are advised to imagine an opponent or target as they perform the technique during solo practice. • Lift the right foot to step forward and as you lean forward, swing the right leg backward using both the waist and spine. • As the right leg swings backward, fend off the opponent’s arm and attack with both hands. This technique of ‘attacking the upper parts and shocking the lower parts’ is often used to throw opponents to the ground (Fig. 3.31). Key points to remember are the same as in preceding techniques, all of which require whole body involvement.
王 西 安
3.4 fisT pracTice 3.4.1 Shangchong Quan … Fist Striking Upward
This technique consists of striking either fist spirally upward. • Step forward with the left leg, bending your knees slightly to transfer your centre of gravity to the left leg, then strike with the right fist using the ‘Ligou Quan’ (Fist Hooking Inward) technique, taking care not to overshoot your blow above the opponent’s head. • Simultaneously, use your bent right knee to hit at the opponent’s crotch (Fig. 3.32). • Integrate both fist and knee strikes with practice principles of rolling the chest slightly inward (Hanxiong), lowering the waist (Tayao), relaxing the stomach (Songfu), and drawing up the anus (Tigang). • Strengthen your centre of gravity to improve your accuracy by ensuring your left leg is slightly bent with toes grasping the ground (Fig. 3.33).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.32 Fig. 3.33
陈 氏 太 极 拳 推 手 技 法
3.4.2 Xia Zai Quan … Fist Striking Downward
This technique encompasses a downward strike with either fist at any angle. For example: • If the right leg goes forward, transfer your centre of gravity from the right to the left leg. • Clench the right hand into a fist, thumb tucked inside neither too tightly nor too loosely. • Strike the opponent’s upper body with the right fist, using your left arm to balance your movement. • You can also use the Bei Kao technique or attack with the elbows as well. • Again, effectiveness of this technique requires involvement of the whole body in the movement: ‘once you move, your whole body follows’ (Fig. 3.34).
王 西 安
3.4.3 Shuang Fen Quan Splitting Fists or Double Bursting Fists
• • • •
Take a half-step to the left (or right). Bend your knees slightly and gather both fists to the chest, centres (Quanxin) facing downward (Fig. 3.35). Prepare to strike by gathering in the crotch and knees, and rolling the chest and shoulders slightly inward. To strike, transfer your weight to the right (or the opposite leg) and simultaneously split both fists explosively from the chest to either side of the torso, fists facing upward. As you strike, open the crotch, knees, chest and shoulders. Remember to keep the external and internal energy consistent, and the energy flow smooth (Fig. 3.36).
陈 氏 太 极 拳 推 手 技 法
王 西 安
3. Rotate the right toes slightly outward as the foot lands. change your weight to the right leg and step your left foot forward.4. Rotate the body to the right then strike downward with the back of the right fist. fist centre facing inward.37 .陈 氏 太 极 拳 推 手 技 法 3. 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.37). 3.4 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. Hold the right fist close to the left side of the chest. • • • • • • Take a half step to the right with the right foot. 王 西 安 66 Fig. Next. at the same time hooking the left fist upward. However. Rest the left fist beside the left leg (Fig.
the right fist is raised above the left side of the chest for more power and then smashes down to the right.Fig.38). Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest.39) 王 西 安 67 . 陈 氏 太 极 拳 推 手 技 法 In summary. both left and right fists rise and descend at the same time. and lower the left fist from its upward strike position back to the left side of the body). For each step. stepping the right foot forward and exploding the fists before landing. 3. Practice these steps. as the left foot steps forward (weight on the right). involve your whole body in the attack. when the right foot steps forward (weight on the left). the left fist rises above the right side of the chest and smashes down to the left. For example. step the left foot horizontally over the right one. Likewise. 3. After striking. (Fig. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. 3. alternating both sides continuously (Fig. 3. downwards on the right and upward on the left.38 Fig.39 • • • • • Again. Then repeat with the other foot.
concentrating your power in the Quanding (the front of the fist).4. avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig. • Sink your weight into the right foot and rotate the waist to the right to gather energy. • Step the left foot forward. 3. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power. the left arm gathers inward and strikes backward to the left with the elbow. fingers vertical. • Then fling the right fist forward in Ni reeling. stretching the left hand upward. 3. • Sychronise both arms so that while the right fist flings forward. 3.41 68 .40).陈 氏 太 极 拳 推 手 技 法 3. 3. Practice this technique on both sides. 王 西 安 Fig.5 Dan Bi Zhi Chong Quan … Single Fling Fist Single Fling Fist is a forward punch unique to Taijiquan in that its power is generated by rotating spiral energy at the waist and back. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’.41).40 Fig. This counter-balancing movement helps to accelerate the punch of the right fist. • Gather the right fist under the right rib (Fig.
bringing the left palm to the front of the body (Fig.42). The power of this technique depends very much on the practitioner’s physical condition. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the main difference being that in the former. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. simultaneously gathering the right fist beside the right ribs. • • • • Step the right foot forward.3. 3. 3. Then step the left foot forward. Instead.42 Fig. Repeat with the other side. 3.43). energy does not manifest externally. only about 40% of the jin force generated is exerted as short rather than long energy.6 Baokong Quan … Half-Moon Fist Baokong refers to the half-moon shape that is formed by the arms as you strike the centre of one palm with the other fist. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. and practice alternating both sides.43 69 .4. 3.
up or down.44 .7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force.陈 氏 太 极 拳 推 手 技 法 3.44). • Strike with force and ferocity with this fist using short energy. and press the tip of the thumb against the middle fingernail. using small agile steps (Fig. • Attack to the left or right. 王 西 安 70 Fig. This forms the ‘peak’ of the fist. • Brace the middle finger with the index and ring fingers. This makes the fist ‘peak’ stable and solid. 3. like hammering a nail. • Clench your fist so the middle joint of the middle finger protrudes.4. 3.
Form two nail-shaped fists and strike from both sides using short energy. gather the ribs and lower your energy to the Dantian (Fig. hence creating a dual attack with both fists and knee (Fig.3. Bring the fists together in the middle about 25 cm apart. Place your weight on one leg. 3. Bend the other leg then strike both fists upward together. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’.45). 3. Practice both methods using both legs. Roll the chest and shoulders slightly inward.46 71 . Method 1 • • Method 2 • • • Step forward with either leg.46). 3. 3.45 Fig.4. Guanyang means to hit the temples with two nails.
3. • Place your hands in front of the chest. while making sure the chest is relaxed. and lower the energy to the abdomen (Fig.47). • Step forward with the other leg. practice using long energy first.5. transferring your weight to the front. • Strike forward with both palms. palms facing forward.48 72 . 王 西 安 Fig. 3. 3.5 palM pracTice 3. thrusting them forward with explosive force. • Step forward with either leg.陈 氏 太 极 拳 推 手 技 法 3. though in the initial stages. fingers pointing up (Fig.48).47 Fig. • Prepare for the strike by ensuring your axis is upright. the chest rolled slightly inward and the spine slightly lifted. 3.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. the ribs gathered.
The power. 3.52). • Thrust the right palm forward or diagonally to the side. As the energy reaches the wrists. 3. • At the same time step forward with the left leg. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. 王 西 安 73 . elbows and wrists are lowered. gather the chest and stomach like a cat stalking a rat. To be effective.5.50. • Repeat using the left palm.49 When practicing with short energy.51. 3. 3. lower your energy abruptly and push forward with short energy using small steps.49). a Double Palm Push needs to be sudden and exerted directly forward.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). using long or short energy (Fig. Just before the explosive strike. Make sure your shoulder. 陈 氏 太 极 拳 推 手 技 法 3.Fig. speed. 3. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. thrust your arms out about 50% (Fig.
3. gradually increasing the speed.51 Fig. Fig.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. 3.50 王 西 安 74 Fig. With continuous practice. and hence conquer your opponents without effort. 3.52 . abruptness and power of the push. you will be able to explode energy with natural ease by combining both external form and internal spirit.
54). whilst using the other palm to push at the opponent’s chest or strike at their stomach. 3. while gathering the other hand beside the ribs (Fig.5. enabling you to hit your target with more precision and power (Fig. Direct energy above the waist upward and energy below the waist downward. 3.54 王 西 安 75 . 3. 3. This creates an energy balance that stabilizes your centre of gravity. 陈 氏 太 极 拳 推 手 技 法 Fig.53).3.53 Fig.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. • • Step one foot forward and ward off an arm attack with one hand.
• Keep the hips relaxed. and then straighten it while pushing the right palm upward. 3. Explode this energy through the right side of body out through the right palm. • At the same time. the stomach gathered and the chest rolled inward (Fig. 3. open the right side of the chest and stomach. • As you push upward.55 76 . while gathering energy on the left side.陈 氏 太 极 拳 推 手 技 法 3.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. • To push with the right palm: bend the right knee. first at an angle then vertically upward.55). 王 西 安 Fig. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line).5.
’ Apply this technique during Single Palm practice. Keep your body and energy lowered while doing this. 3.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • At the same time.5.57 77 . 3. 3. Shun means ‘sequence’) (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.58). • Then swiftly draw the opponent into your domain by touching their back with your left hand.56). 3.3.56 Fig.57). then quickly striking their chest with your right palm (Fig.
陈 氏 太 极 拳 推 手 技 法 Fig. For example. This helps to concentrate energy in the palms. if the opponent seizes your right hand and twists it outwards with Shun reeling. Coordinate the movements of your body with those of the palms.6 Shunni Tuo Yao Zhang Push Partner’s Waist with Shun or Ni Reeling This technique enables you to push the opponent to either side using both Shun and Ni reeling.5. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. 3. lower the shoulders. 3.58 • • Also apply the usual principles: roll the chest inward. left and right. moving the body quickly forward. and gather the ribs and dantian. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. • As you lower the body. 王 西 安 78 .
59). • Again.Fig. this time at the left side with your right hand. lower your body then extend it forward with Shun reeling. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. 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.59 Fig. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. thrust forcefully at the opponent’s ribs. • Key points are the same as with the left hand push above. Next. respond in this way: • Step forward with the left foot. 王 西 安 79 . Unify the three actions of stepping forward. extending the thumb and fingers (Fig. 3. 3. 3.60 • • • As you do this. inclining outward and exploding with the left palm (Fig. 3.60).
coordinate the waist and legs when exploding energy. Relax your joints to enhance energy application. Also. • As you seize. change your centre of gravity from the left to the right. “Energy comes from heels. dominates the waist and penetrates to every part of body.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. regardless of the technique or force used.61). .5. as advised in an essay.陈 氏 太 极 拳 推 手 技 法 Fig. so that energy flows to the very tips of the body. 3.” 3. goes through legs. 3. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. especially when stepping forward and exploding energy (Fig. roll your chest slightly inward and bend your right arm inward.
Change your right hand to Shun reeling and your left to Ni reeling. Thus.5. 3. practice alternating the seizing between right and left hands. • At the same time.62 Fig. 3. guide or bring along . reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended.63 • • • With your right arm. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. 王 西 安 81  ‘Dai’ means to lead. To speed up your response. reach under your opponent’s front arm. listening closely to your partner as you do so. you are able to use both palms to seize the opponent (Fig.62). 3.8 Shuang Dai Zhang Danshi Yanlian Fa Double Dai Palms Single Form Practice Step your right foot forward and transfer your centre of gravity to the front.63). palm open. If the opponent escapes. 陈 氏 太 极 拳 推 手 技 法 3.Fig. 3.
3. palm up. gather the right hand beside the ribs. As your step forward.5.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. moving your arms to stabilize this rotation. Clench the left hand into a loose fist and push it forward. 王 西 安 82 3. Bend your right arm 90o inward and form a fist with your right hand. Then hit the opponent with the right arm (Fig. 3. face the left palm outward. fingers to the front (Fig.陈 氏 太 极 拳 推 手 技 法 Fig.66). fingers up. 3. Transfer your centre of gravity to the front. Change your weight to the back and turn to the right.65 • • • • • Extend your right arm forward. Practice on both sides. 3. .64 Fig. fingers pointing to the front (Fig.64).65). 3.
to increase the speed and power of the explosion. place the left thumb and little finger in opposition while the remaining fingers face forward. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms.67).67 • • • • • • Lift the left palm over the right. Also. 王 西 安 83 . 3. and then explode both palms forward with a piercing thrust. reel the right hand in Shun reeling to the right and step the right foot forward. Return the hands to their original positions before the next energy explosion. 3. move the left hand and foot quickly forward together. As the right foot lands on the ground. left under right and right under left (Fig.66 Fig. coordinate the waist and spine when shaking the right palm forward in Shun reeling.Fig. Next. To increase the precision and power of the fingers. 3.
Practice striking with both elbows with corresponding weight changes to either side.6.69). bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. 3.6 elbOw pracTice 3.69 84 . At the same time.陈 氏 太 极 拳 推 手 技 法 3. strike forward with the right elbow while hitting backward with the left elbow. 3. As you change your weight to the front. the left arm counter-balances the movement of the right. 3. 3. 王 西 安 Fig.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot. In this case.69). palms facing in (Fig. Remember to apply long energy before you apply short energy (Fig.68 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. 3. gather it close to the right ribs.70 Fig.71). At the same. slap the right shoulder with the left palm. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. return the elbow to the right side. 3. As the right elbow descends. 3. bend the right elbow inward.3.2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. Step the right foot forward and strike the right elbow down forcefully as the foot lands.70). Lift the left hand when the right elbow completes 90o of its descent. At the same time. After the strike. 3. palm up. take a small step forward with the left foot. Then strike the right elbow down for the second time (Fig.6. wrist turned inward and the palm facing backward. and clench the right hand into a fist. step the right foot forward again and extend the left arm forward. Alternatively.71 85 .
3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. then turn right with the right toes facing slightly out.72 王 西 安 Fig. 3. 3. Rotate slightly to the left. Fig.6. 3.73 Fig.74 86 .陈 氏 太 极 拳 推 手 技 法 3.
so that both feet are approximately 50 cm apart. 3. 3. gather the ribs and lower your Qi. as if warding off (Fig. 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.6.• At the same time. toe tips slightly touching the ground. clasping the right forearm with the left palm. Gather the body by bending it slightly. raise the right hand across the front of the chest to the left in an upward arc. 3. Turn to the left and strike out explosively with the right elbow. Step the left foot forward.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. 3.73). palm facing in. transferring your centre of gravity to the left. 王 西 安 87 . clasping the right forearm with the left palm. As you do this. 3. 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. Move the body to the left and transfer your centre of gravity to the right and back. Gather the body to prepare for attack by lowering the body slightly (Fig.72).74).75). 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. then step forward with the right foot. clench the right hand into a fist. • • • Practice with the other arm.
Once familiar with the practice. with the following differences: . Simultaneously.76 • Spiral the right arm forward with Ni reeling. gathering it horizontally in front of the chest.陈 氏 太 极 拳 推 手 技 法 Fig.76). Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). use short and fast energy.75 Fig. 3. turning the body to the right. step right with the right foot. 3. • In the initial stages. 3. practice with long and slow energy. palm down. Practice with both sides (Fig. balancing this movement with the left hand.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart.6. the right fist lowered to front of the left armpit. 王 西 安 88 3. strike the right elbow to the right. Next.
• Jump the left foot half a step to the left. 3.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. palm facing right. • Turn the body to the right and reel the right palm across the chest to the right. • Simultaneously. landing approximately 50 cm apart from the left foot. jump slightly with the right foot. palm down.6.78 3. 3. fingers pointing up. toe tips on the ground.• • Shun Lan Zhou is aimed slightly to the back. 3. Touch the right knee with the right palm. while Xin Zhou is targeted to the front (Fig. Before the foot lands. 3. • Stand at attention with the arms relaxed at the sides.78). 陈 氏 太 极 拳 推 手 技 法 Fig.77 Fig. extend your left palm forward. 王 西 安 89 . In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig.77).
toe-tips on the ground. toe tips touching the ground (Fig. . clench both palms into fists. followed by the right foot. step the left foot to the left. placing the left fist below the right. step the right foot forward.80 Fig.79 Fig. balance the energy between the upper and lower body.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. 3.80). Practice on both sides. 3. 3.陈 氏 太 极 拳 推 手 技 法 Fig. 3. As you change weight. Instead. then transfer your centre of gravity to the right. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). 3. Return the left fist beside the right ribs (Fig. starting with slow movements initially until the steps become familiar. Also. taking the waist as the dividing line. 3. Look to the right side of body while striking upward. Move the right fist toward the right shoulder using Shun reeling. bending the wrist before striking upward quickly with the back of the right fist. then gradually using short and fast energy. Next.81).79). After the strike. avoid letting all your energy flow upward as this will destabilize your root. While striking on the right.
3. • • • • Step to one side with either leg. while the left the supplementary strike. 3.83 王 西 安 91 .83). If you stepped to the left. the right elbow executes the dominant attack. In this position. 3. looking to the left and concentrating energy in the elbow tips (Fig. 3.7 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. 陈 氏 太 极 拳 推 手 技 法 Fig. Practice alternating both sides. Change your weight to the left. then strike with the right elbow.3. then exploding both elbows horizontally. place the left arm inside the right.82 Fig. Gather the fists close to the chest (Fig.82).
84 Fig.85). As your weight transfers to the front. looking to the front and rolling the chest and shoulders inward. holding fists on either side of the ribs (Fig.84).陈 氏 太 极 拳 推 手 技 法 3. • • Step one foot forward. 3. 3. 3.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows.6. This increases the force of your attack. 3.85 . Try to feel the effect of this preparation during practice (Fig. 王 西 安 92 Fig. prepare for the stike by gathering the wrists inward.
As the weight shifts to the left.87 93 . clench the left palm into a half fist and place it beside the left leg.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. rotate the body to the right. As your centre of gravity shifts to the left. palm to the front. palm facing inward and inclining backward. clench the right hand into a fist. take a big step forward with the right foot in front of the left. 3.86 Fig. then lift it so that the right elbow is positioned over the right knee (Fig.6.3. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Simultaneously. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. 3. 3. 3. Practice alternating both sides. At the same time.87).86).
3. In this way.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). • Step the right foot forward. • All movements are guided by the rotation of the waist and spine. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. As one of the Eight Forces.88 94 . the legs should be parallel to each other.6. palm up. Make sure both hands move and arrive at their destinations simultaneously. • Extend the right hand outward. moving it beside the left ribs. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). strike forward explosively with the right forearm using a short-energy (Fig. • Shift your weight abruptly to the right and form a half fist with the left palm. • At the same time. 王 西 安 Fig.88). then lower it over the right knee. • After exerting Pie force. • Change your weight to the left. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. shifting your centre of gravity to the front. 3.陈 氏 太 极 拳 推 手 技 法 3.
11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. using downward Ni reeling. both internal and external movements are integrated with the movements of the body and limbs. 3. using guiding energy from the little finger. bending the elbow. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. ring and middle fingers. Form a hook (Diao Shou) with the right hand with the little. Shift your weight more to the left as you do this (Fig. • Keep the left hand open so the thumb is separated from the fingers. • Then. closing it slightly. palm up. 3.89 95 . and extend the left hand forward to the right. • Raise the right hand from the right side. • Step backward with the left foot shifting your weight to the left.89). The thumb and index finger form the character Ba ‘八’. lower the left hand from the front of the chest to the left ribs.6. use Cai technique to strike out explosively with the outside of the right forearm and elbow.3. • While lowering the left hand. In this way.
you raise the right hand in Ni reeling to descend the elbow (Fig. 王 西 安 96 Fig.90). the right thumb guides energy flow. • • • • Bend the left knee. and extend the right leg backward. 3.91).6.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. make sure power is gathered properly through the whole body and that your timing is correct before you strike.陈 氏 太 极 拳 推 手 技 法 3.91 . especially useful as a defensive move when being attacked while in a passive situation. and then. While transferring weight. moving your weight to the right (Fig. strike the right elbow backward at an upward angle (Shang Chuan Zhou). 3. toes grasping the ground. Note: For maximum effectiveness. 3. 3.90 Fig. At the same time.
The right foot and right arm should reach their positions at the same time (Fig. Xiong Kao.3.93 97 .92). Ce Jian Kao.92 Fig.7. 3. Ying Men Kao.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. As you shift your weight to the right. 3. Shuang Bei Kao and Qi Cun Kao. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. 3.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.
7. On completion of the shoulder push. As the body inclines forward significantly during this move.陈 氏 太 极 拳 推 手 技 法 • • • Then. take care to maintain your centre of gravity by not stretching too far forward (Fig. 3. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu).93). quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. step forward with the left foot and place it next to the right foot. 3. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. if you find you get into an appropriate space for attacking. As the heel touches the ground. pushing it forward and down. 3. use the outside of the right shoulder to execute Qian Zai Kao. Then take another big step forward with the right foot. After executing the above.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. Then step the right foot forward again to execute Zai Kao for a second time. Note: Only push when you are in the correct position. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. Repeat these steps for both sides. . The left hand follows the right hand in support and comes to a rest in front of the right shoulder.94). Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory.
lowering down but not stiff. 3.3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors. This only comes with closely combining the Yin (guide). conversely if one is able to ‘open’ the doors of the opponent. When firmly closed. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose.7.Fig.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. then techniques such as Ying Men Kao can be used to penetrate defences and attack. arms are a defense against attacks. 王 西 安 99 . 3. Dai (lead and pull) and Ji (attack) energies together. light but not floating” .
fingers pointing up and palms facing the sides of the body. At the same time. 3. the right hand above the left. 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. cross the hands in front of the chest.陈 氏 太 极 拳 推 手 技 法 Fig. • You can use more of the shoulder surface in the attack. 3.95 Fig. Once the attack is completed. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. move the left foot forward parallel to the right foot and repeat the sequence for another attack. Separate the hands of the opponent to expose his chest (Fig. It is easier to hurt the partner using a narrower attacking surface. Next.95). 3.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. . move both arms to each side of the body and push the right shoulder forward in attack (Fig.96).
• Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. • Then roll the chest inward and shift your weight quickly from left to right.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. Note: Focus on sharpening your sense of timing during practice. shifting your weight to the front.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • After this move is completed.97). the chest and waist are in a collapsed position. • To begin. 3. Only with a thorough mastery of this technique. • Extend both arms from the sides to the front in an embracing gesture. A good sense of timing is essential for defeating the opponent. using this shift to deliver a sudden push with the chest (Fig.98 101 . can you execute it in actual combat (because you may easily hurt yourself ). 3.97 Fig. move the left foot parallel to the right.98). 3. • Step the right foot forward. 3.7.
shoulders slightly concave and with power guided by the thumbs (Fig. • Gently rotate backwards with both palms facing backwards. take a sudden breath in and push the chest forward quickly. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. and the shoulders execute Bei Kao to the right .陈 氏 太 极 拳 推 手 技 法 3. You may lead with either leg.100).100 102 .5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. 王 西 安 Fig.99). 3. remember to gather and withhold energy before delivering the strike. a capability that comes only with extended Quan practice. • When the whole body holds and collects to a moderate extent. 3. • When the weight moves forward the chest rolls inwards.7. This technique also uses Duan Jing (short power). 3. as the shoulders deliver Bei Kao backwards (Fig. • Stand with feet parallel. 3. rebounding and shaking power). Note: As mentioned in previous techniques.99 Fig.
Note: If the opponent is at close-range. • Practice pushing from both the right and left sides. continue to transfer your weight to the right. • Start doing Shun reeling with your right hand as you move your weight slightly to the front.3. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. • Gradually move the right arm downward toward to the inside of the right leg. fingers pointing down. use short power in your push. • Once your root is stabilized. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. 3. • Turn the body slightly to the left as the right hand rises. if further away. 3.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. extend the distance of your Kao slightly. • Extend the right foot and arm forward.101).7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.101 103 . Find a stable centre of gravity with the body and gather your body in this position.
Note: Power applied in the initial stages should be slow rather than quick. 3. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing).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.7. • • • • Take a large step diagonally forward with the left or right leg. 3.102).102 104 . This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice. Place the elbow below the knee (Fig. Practice this sequence in rounds from left to right. Incline the body forward in the same direction.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Relax the left side of the crotch and shift your weight forward to the left. Shuang He Fu Cai Na. Diao gai Na.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. palm up (Fig.103). • At same time.104 105 .8.3. Tui Na.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. Fu Na. 3. 3. Xiong Na. 3. Chan Rao Na.104). 3.103 Fig. • Extend the left foot and left hand forward. 3. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. and Shuang He Na. palm facing in. • Rest the right hand near the right ribs.
move the weight slightly backward then move forward again. but she evades your attack by ducking down. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. i.e. then you must respond promptly by swapping the reelings to the opposite hands. in order to block the opponent’s energy path. and lower your waist and Qi. roll the chest in. Shun reel with the right hand and Ni reel with the left. tighten the ribs. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. changing the weight from left to right. Note: Shun and Ni reeling are interdependent and cannot be separated. . After seizing. if you practice each side diligently. Your moves will become more effective as your internal Qi integrates more closely with the external movements. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. drop the elbow. With practice. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. you will be able to execute these changes quickly and smoothly. 王 西 安 106 Closing with the left while seizing with the right and vice versa. Repeat the above sequence. lower the shoulders. When seizing. this time reeling in Shun direction with the left hand and Ni direction with the right. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. Seizing techniques are quite difficult to practice. Try to relax at every step while applying the seizing action firmly. even though you deliver the power later than the partner.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands.
3. and clench the right hand into a fist. 3. At the same time. extend the left hand forward to rest in front of the body (Fig. Then rotate the right hand and body to the right.107 王 西 安 107 .2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. placing it in front of the chest. 陈 氏 太 极 拳 推 手 技 法 Fig. and shift your weight to the right side.3. Then lower the right hand to the right ribs.8. Again. tighten the ribs. 3. 3.106). • • • • • 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.105). As you do this.105 Fig.106 Fig. relax the left side of the crotch and shift your weight to the left. 3.107). 3. The shift to the left enables you to hit the target clearly (Fig. roll the chest in. Relax the left side of the crotch. lower the Qi. palm out.
palm facing right (Fig. 3. The strike is actually applied by the left side of the chest. lower Qi to the abdomen in preparation for the inward roll and seizing.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. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. The left hand leads by closing the power causing the right hand to follow. while the two hands serve as supports. • Step the right foot forward and pass the right hand across the left side of the body.8. the force of upward suspension maintains the axis. • Close the crotch. Make sure to keep your own axis when seizing the opponent. Move quickly and follow your partner but do not lose power. • As the weight shifts to the left. Move the whole body in a natural and relaxed state.108). Relax the crotch. • At the same time. 王 西 安 108 . roll the chest slightly inward and gather the ribs. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen.” 3. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle.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. palm facing left (Fig. Draw the arc with the intention of meeting the opponent’s hand.109). 3. reel with both hands in a Shun direction. rotate the body. the palm forming a “八” (Ba) shape. Shift your weight forward and accumulate power well. • Step the left foot forward and extend the left hand to the front. and gather energy in the ribs. Match the speed of your movements to that of your partner.
3.108 • • As the Qi descends.109 Fig. The abdomen provides the main supporting element.110 109 . 3. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.110). whose movement is heavier (Fig. the left hand moves lightly and assists the right. The eyes look forward and to the left. seize with the right and roll the abdomen – these three actions combine to become one power. clench the left hand.Fig.
capture and immobilize the opponent. As you seize. extend both arms to the front. roll the chest slightly inward. 3. while the hands use Na (seizing) power to collect inward. the right foot steps forward. .4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. and gather them towards you (Fig. push the abdomen out suddenly (Fig. palms about 10 cm from the lower abdomen.111). keep your intention firm for victory or failure will be decided in a second. As your weight shifts. facing in so that the fingers are directed towards each other. followed by the left. Concentrate your energies then pounce on your opponent like an agile cat. and commence shifting your weight forward. 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. At the same time.8. 3. 3.112). do not be kind to the foe for the opportunity to attack comes just once. the right hand moving down while the left moves up. immobilizes their wrists by bending them outwards. Continue to shift your weight forward. Both hands extend forward in sequence. move the palms up to chest level and seize the opponent’s elbows using Na power. bending them at the elbows. Direct the eyes to the front. and both feet standing steadily as the hands move. • • • • 王 西 安 110 • • Take a half step forward with the right foot.陈 氏 太 极 拳 推 手 技 法 In summary. whereby the abdomen gathers power to support the hands. Move swiftly without hesitation.
3. fending the opponent off upward to the right (Fig. • • • • Step the right foot forward and pass the right hand across the chest.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. so that you respond by moving your weight forward. Reel the left hand forward. Lower the right hand then cover it with the left.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. 3. and lower Qi in your abdomen before protruding it forward.113). 3.8. 陈 氏 太 极 拳 推 手 技 法 3.111 Fig.Fig. supported by the warding right hand. Step the left foot forward and shift your weight to the left. 王 西 安 111 .
Alternate practice on both right and left sides. this technique can be used effectively to break wrists.114 • • • • Put your body in a squatting position by bending the knees slightly.114). But remember: practice like an adept. 3. Collect the hands inward to about 15 cm in front of the chest.113 Fig. bones. . by taking a step forward (Shang Bu) each time. Collect the body by rolling the chest slightly inward.陈 氏 太 极 拳 推 手 技 法 Fig. tendons and veins. 王 西 安 112 Note: If Qi descends smoothly. Step the right foot forward again and repeat the above steps. Combine them with the power of chest to become one power (Fig. not like a thug. gathering the ribs and lowering the waist and Qi. 3. 3.
115). shift your weight forward and bend the knees slightly so that the body squats like a bent bow. the Three Powers (Jing Qi Shen) combine to seize the opponent. 3.8. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. • As soon as the right hand reaches the level of the left leg.116 113 . In this way. • As the weight moves forward. fingers pointing forward. and move both hands to assist the left leg. • Step forward with the left foot and extend the left arm to the front. 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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. 3. • Bend the left arm inward to gather both palms. Lower your Qi. The powers of the left arm and right hand unify as one.3. relax the crotch.115 Fig. roll the chest in and gather the ribs (Fig. 3. • As the knee swings inward. • As you step.
guiding it to the right ribs for support (Fig. • Step forward with the right foot. • Then lower the right arm by executing Lü downward in Ni reeling. 3. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig. As you step forward. Then step forward with the left foot.8. spiral the right hand up from the right side into an arc. 3. shift your weight to the front and extend the left arm again to repeat the steps and seize once more.117 Fig. 3.116).117).7 Diao Gai Na … Seizing with Both Hands This technique uses both hands to seize: the right hand moves up from the right to grasp the opponent’s arm from the bottom while the left presses down from the top. 3.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. • At the same time. shift your weight quickly to the left and step forward with the right foot. The changing of the legs happens quickly.118 114 . 3. 王 西 安 Fig. gradually guiding it inward to rest in front of the right ribs.
Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. shift your weight to the right and step forward with the left foot. When the right hand moves up. roll the chest slightly inward and bend the knees slightly into a squatting position. 3. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. 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. As the hands move. shift your weight to the right and move the left foot and hand forward (Fig. Continue to move the right hand and foot forward. lower the shoulders. 3. 3. The intention is to have the whole body collecting and seizing together with the hands.119 • • • • • • As soon as the right foot touches on the ground. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 .118).Fig. As the right foot touches the ground.119).
121 116 . 王 西 安 Fig. 3. strengthed by whole body coordination. 3.121). 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. 3.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize. step forward with the left foot and shift your weight to the front. rolling the chest inward and tightening the ribs.120). This step marks the transformation of Peng (ward off ) to Na (seizing). Prepare for the seizing by lowering Qi to the Dantian. 3.8. 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.120 Fig. At the same time.陈 氏 太 极 拳 推 手 技 法 3.
Shan Jing Ce Jian Jie 7.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. Shan Jing Zhen Zhang Jie 8. This technique enables a practitioner to avoid capture or break a hold. ‘Wars Among Three Countries’ by Guan Yu.3. Shuang Wan Zhi Jie 4. Guan Gong Jie Dai 2. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. • Next. 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. 王 西 安 117 .122). then the ring finger. Fan Na Cu Bu Jie 9. such as a waist grasp from the rear to throw you down. Qu Wan Fan Na Jie 6. Diao Wan Qu Zhi Jie Tuo 3. Chuan Zhang Jie 5. • Inhale. • Stand with both feet in parallel. 3. the Guan Gong Jie Dai technique is said to be named after its creator. Guan Gong. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. shoulder-width apart. • Hang the hands naturally at the sides. middle finger. • Move Qi in from the outside and lower it to the Dantian. eyes looking forward. and finally the index finger.9.
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.陈 氏 太 极 拳 推 手 技 法 Fig.9. hook the wrist and bend the fingers to escape. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip).123). otherwise it is not easy to unfold (Fig. the squatting of the body. . This technique becomes effective only after extended practice. 3. In this way. 3. the gathering of the ribs and the hooking of fingers should combine to become one unit. 3. 王 西 安 118 3. and also with the speed of Qi descending.123 • Synchronise the speed of this movement with that of the body.122 Fig. If the fingers are being held.
3. so that Tuo (escaping) power can reach the fingers effectively. slowly bend the wrist and fingers. 王 西 安 119 .125 • • • • • If the fingers of one hand are seized by the opponent. 3. your conjoined fingertips and knuckles should be able to escape with ease (Fig. join the fingers of your hand together and point them diagonally upward to the right (Fig. 3. lowering the elbows. Move your body to transform the attacking power. unblocking the arm area being attacked.125). 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. Practice these steps with both hands in turn. relaxing the shoulders.124). By doing this.Fig. and lowering your Qi as you do so. 3. rolling the chest inward. By the end of your movement. As you move.124 Fig. you relax and elongate your encaptured arm.
tighten the ribs. • • • Step one foot forward and shift your weight to the other leg (Fig.9. then move your arms forward and upward as your weight shifts forward (Fig.127 120 . bend the arms. and lower the Qi so that power can flow smoothly to the inner side of the wrists.127). 3.126). It is not necessary to use large movements in this technique. clench both hands into fists. 3. roll the chest inward. 3.陈 氏 太 极 拳 推 手 技 法 3. At the same time. 3.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. While doing this. lower the shoulders and elbows. Just focus on relaxing and lower the Qi. 王 西 安 Fig. closing your hands while opening the opponent’s. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand.126 Fig.
tighten the ribs.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. and lower the shoulders. placing the right hand on the left (Fig.128 Fig.128). elbows. • Bend both arms 90o inward and cross them in front of the chest.3. 3. • Two feet stand flatly and the body stands straight. 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). • Bend the knees slightly to place the body in a squatting position.129 121 .9. two eyes look forward horizontally. and Qi. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. and roll the chest inward.
If you choose to turn to the right: rotate the body to the right then left.130 Fig. 3. then to follow your opponent by bending your wrist in Ni reeling while you rotate to the right position so as to extend the left hand and seize with the right.9. It requires you to twist the captured fingers outward in Shun reeling. swapping the Shun and Ni reeling to the opposite hands.129). 3. Then ward off (Peng) by pushing both palms outward. 王 西 安 Fig.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. Do not rush forward but defend you territory in straight postures (Fig. and move the right hand in Shun reeling while the left does Ni reeling.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. 3. and lock the palms of the opponent.131 122 . then rotate forward again. 3.
3. 王 西 安 123 . As the right toes touch the ground.131). 3. raise the elbows. step the right foot forward (Fig. Your movements should be relaxed and executed with power at all times. 3. palm facing left (Fig. wrist bent inward in readiness to seize and fend off danger (Fig. open the joints throughout the body and stretch the muscles so that power can flow through to the wrist and move to its end point more smoothly. 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.132 Fig.133).132). 3. Rotate the arm about 1800 outward in Ni reeling. then bend it about 450.Fig. relax the shoulders. 3. If you practice diligently. Apply the principle of constant change and flexibility in Taiji circles. 3. As you do this. it will be difficult for opponents to overcome your attacks.133 • • • • • Extend your right arm forward.130). While rotating the arm. extend the left hand forward to support the right hand as it seizes downward (Fig.
roll the chest inward. move the left hand rightward to the front of the chest. Next. 王 西 安 Fig.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. Together. 3. so that the power of the left hand combines with the right to become one. palm facing right. then move swiftly to the right to destabilize the opponent. • The right wrist bends inward with the arm to rotate the hand in Ni reeling.9.135 124 . • As the right palm reels outward.陈 氏 太 极 拳 推 手 技 法 3. you should rotate externally and upward in Ni reeling. • Extend the right arm horizontally and bend it 900 inward. In response. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push).134 Fig. this sequence of movements make up the Shan Jing Ce Shen Jie technique. • Simultaneously. 3. the palm gradually guided by Ni reeling to slant externally to the right. right fingertips initially pointing downward. coordinating it with the lifting of the back and the descending Qi.
So Shan and Jing serve as the pre-condition of escaping. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. make a big step forward with the right foot.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). shift your weight to the left . Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. giving him a sense of losing of Qi. and thus enabling one to evade capture. 王 西 安 125 .135). All the above movements of the hands. 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. 3. then quickly step the right foot forward (Shang Bu). you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. because with these. touching the ground with the toe tips (Fig. Almost at the same time. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. The above movements of both arms and the right foot should occur in one very smooth and swift motion. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. Note: Move in Ni reeling while the opponent moves in Shun reeling.134). 陈 氏 太 极 拳 推 手 技 法 3. 3.• • • As your left hand moves.9.
and the extending palm reaches the right position at the same time. palms facing up and eyes looking forward. 3. This power should be quick and strong. 3.137).138 126 .137 Fig. and both palms draw inward. At the same time.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time. 3. 3. the body squats. 3. then the whole body sends a Dou in a circle in Shun reeling (short power). Simultaneously.136). 王 西 安 Fig. As soon as you surprise and destabilize them with your moves. open both fists and shift them away from the sides of the body. step forward quickly and attack with the palm (Fig.136 Fig. 3. palms facing up and the two little fingers placed on the middle of each arm. When the body and two hands send the Dou power. then Shang Bu (take a step forward). slowly raise both hands and bend them inward about 1800. Next. 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.138). clench the hands into fists and place them at the sides of the body (Fig.
9. holding and collecting a quicker speed. As the right foot steps on the ground. It is not wise to grasp the opponent’s elbow with your fingers. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. 王 西 安 127 . extend the right hand diagonally forward to the side. the partner cannot reach you though his attacking power is strong. then shift your weight to the left and inclining the body to the right to hold and collect. because sometimes appropriate retreating gives one a closing power.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. Two elbows draw inward and hands move outwards. 3. you find escaping easy. At the same time. fingertips slanting up (Fig. which is against principle. Step diagonally right with the right foot. 3. 3. thumb separated from the fingers (Fig. palm facing out.140). since he or she can easily twist your fingers and get you caught’.139). Bend the knees slightly to place the body in a squatting position. first bending it inward then moving it outward to the right. With Shan and Jing. extend the left hand from left to right. Then push the left palm to the right. and attacking by the Cu Bu or Dun Bu technique (stomping).It is just like the poem reads: ‘It is not a failure if you retreat your pace.
陈 氏 太 极 拳 推 手 技 法 Fig. 3. During the practice. 3. Stand rooted like a big tree. side pushing with the left palm and exhaling at one time. only by this will you increase in strength. This power can only be gathered with greatly unified power. 王 西 安 128 . Even if you sense the opponent’s intention to move. from long power to short power. the body should move from high to low. from slow to quick. paying attention to the upper and lower body and your surroundings. Incline your body and explode the energy with great unity by stomping with the right foot. Then you will free yourself from capture. do not react or become anxious but remain confident in your prowess. Be patient and diligent with practice.139 Fig.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power.
palms facing in (Fig.3.142). separate the hands to the sides of the body. the hands wrest free of the opponent’s wrist grip. 3. • Extend both arms forward. 3. breathing in as you do this. lower the shoulders and elbows.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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. exhale. roll the chest in.9. palms facing each other. bending inward about 90o. • Step the right foot forward. 3. the left hand in Ni reeling and the right in Shun reeling. eyes looking forward (Fig.141 Fig. • Next.142 129 . As you do this.141). • Then bend both wrists inward. tighten the ribs and lower Qi to the Dantian. • In this way. 3.
If you cannot push the opponent’s hands away.143). keeping both arms tightly together like pincers.144).143 Fig.144 Notes The extent to which you separate your hands depends on the opponent’s grip. Palm Inserting Down) (Fig. then separate them to each side.陈 氏 太 极 拳 推 手 技 法 Fig. During practice. 3. If you still can’t free your wrists with this technique. 王 西 安 130 . 3. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. finally returning them to the front of the chest to repeat the cycle (Fig. insert both palms downward (Xia Cha Zhang. 3. then raise your hands. 3. then you transform and eliminate the seizing on your wrists. You can escape from seizing by one closing and one opening.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
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. As Qing Dynasty Taiji Master. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. Chen Xin. Ji and An. states: “If a tree has deep and strong roots.陈 氏 太 极 拳 推 手 技 法 4. 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). It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. San Ti Shi (Three Postures) 5. Taiji Yangsheng Zengqi Gong can be divided into six postures. rising and falling. 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. Lü. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. Kai He Zhuang (Opening and Closing Posture) 4. its leaves and branches must flourish. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. opening and closing. Chan Si Zhuang (Reeling Silk Posture) 6. Peng. Wu Ji Zhuang (Wu Ji Posture) 2.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). . These movements are applied throughout the whole system of Taiji and Tuishou practices. each of which can be practiced individually or in sequence: 1.
Open your eyes gradually. keeping your mind relaxed.1 Postures a) Posture 1 • • • • Stand upright. 4. breathing gently and slowly.2. Concentrate your intention (Yi) in the Dantian. Hang both arms at the side of the body and relax. eyes closed.2 wu ji zhuang (wu ji pOsTure) 4.1 133 .4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. feet parallel and shoulder width apart.
陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. Lower the hands onto the abdomen.3). Maintain the hands at shoulder height. 4. Try to expand your arms moderately. the right hand rotating in Shun reeling and the left in Ni reeling. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet.2). c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. do not do it so gently that Qi becomes too soft and weak to reach every part of the body.2 Fig. the reverse for females (Fig. palms facing downward and slanted diagonally (Fig.3 134 . Take care of these points and you will not lose power (Diu Jin) unnecessarily. 4. 4. On the other hand. 王 西 安 Fig. when it should actually be solid. the right over the left for male practitioners. 4.
until they reach the lower Dantian.2. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends.2. 2. Your shoulders should be loose and slightly lowered. inhale and then swallow saliva down into the stomach.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). guiding the Qi and saliva through to the middle Dantian. Your elbow joints should be lowered. Pay attention to the following points when practicing the Zhuang posture: 1. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. The whole body will be steady if you gather the internal organs consistently. The neck should be firm and straight.4. lower it when exhaling. so that the waist descends naturally.2 The requirements for every part of the body 1. Gather the chest and ribs inward. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. Lift the buttocks and anus up a little. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. 3. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. 4. the mind and facial muscles naturally relaxed. bend the knees slightly and grasp the ground gently with the toes. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 . 4.
and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). Note: Do not press the abdomen down too much as it will swell naturally as it lowers. Maintain your vertical axis. including the internal organs. skin and fine hairs opening as the Qi rises. until it reaches the Bai Hui point. keeping your body upright and lifting your back slightly. across the Yu Zhen point. you will enlarge your vital capacity and exercise the diaphragm muscles. While lowering the internal Qi. While exhaling Lower every part of the body. leading to Qi filling and blocking the chest. lower the waist and gather the Qi in the Dantian. so that they all have the same rhythm. through the Wei Lü Guan point. up along the spine. By practising the above key points. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. Feel the sensation of all the body joints. While inhaling Gather your chest and abdomen inward while breathing in Qi.陈 氏 太 极 拳 推 手 技 法 2. 3. roll the chest slightly inward. which will help with the distribution of Qi around the body. Raise your Yi (intention) from the Hui Yin point (perineum). 王 西 安 136 . Practice also enhances your ability to guide Qi with Yi (intention).
Qi cannot be separated from Yi (intention). Beginners generally find it difficult to remember the postures and key points. Practitioners should modify the scope of their practice according to their level and progress. However.4.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. Only through mastering your mental activities such as intention. thinking. consciousness. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . The key requirements for practice are relaxation. patients and the correct mastery of key points. During Wu Ji Zhuang. and achieve the smooth Zhoutian circulation and help with body combat. Qi follows Yi. quietude and concentration. external movements) follows Qi. just as Xing (posture. and emotions. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). can the mind obtain full rest and be adjusted so that every organ system may be well promoted.2. Only these can guarantee normal and healthy internal Qi circulation. these can be accomplished only by hard learning.
” Hence.1 Postures 王 西 安 Fig.3. is an important basic skill in Chinese Martial Arts.陈 氏 太 极 拳 推 手 技 法 4. 4. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation. 4.3 hunyuan zhuang (circle pOsTure) Zhuang skill. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.5 138 .4 Fig. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills. 4.
focus your attention on the Dantian (Fig.4). focus on a static object at the same level as your eyes. 4. Next. Stand with your feet parallel. 王 西 安 139 . waist and crotch. The old and weak may practice using a high body stance. then lower the waist (Fig. Leave your eyes naturally open or close them. Keep the fingers evenly open and slightly bent as if half grasping a sphere. 4.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high.5). mid-level and low. fingers pointing at their counterparts about 30 cm apart. Keep the head naturally erect. then move them back to the middle. The palms face each other. shift your weight to the right and lift the left foot and take half a step to the left. 陈 氏 太 极 拳 推 手 技 法 4. Execute the posture as if embracing a big tree. The upper body should be kept upright. Bend the knees so that the body is squatting a little. with practice duration increasing gradually from short to long. Lower the elbows and shoulders slightly. If your eyes are open. waist and back straight.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. the neck.3. Relax the shoulders. a little more than shoulder-width apart. b) Posture 2 • • • Separate the hands when the left foot reaches ground. if closed.
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. when doing Standing Zhuang at a high stance. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. up the spine. until it reaches the Baihui point. At the same time. although this may become more obvious with prolonged practicing at mid or low stances. the thigh muscles and even the whole body may tremble rhythmically. then bend the knees to lower the body until the buttocks are at the same level as the knees. swallowing your breath with saliva. Wei Lü Guan. For example. Practice duration can last just a few minutes in the initial stages. Now lower the tongue and inhale. and slight trembling may occur. Should this happen. In this case. through the Ren Mai. This relieves or may even stop the trembling for a period. Que Qiao. you should raise your stance slightly to rest. 王 西 安 140 . graduating to midlevel. then lower your body again. The trembling may only be detected by touch or by close observation of the leg muscles. Inhale again as the body rises. inhale slowly first. touch the palate with the tip of the tongue. then a low stance. becoming gradually longer. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). past the Yu Zhen point. increasing to thirty or forty minutes at later stages.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. and guide the saliva down to the middle and lower Dantian. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. At this point. raise Qi from the heels up the legs. Beginners will find that the thighs may ache after two weeks of practice. Du Mai.
As you exhale slowly. like a wild goose flies off and falls.3 Breathing Breathing is an important element of Zhuang skill. Zhuang skill is actually a practice using static strength and tension. Practice this process repeatedly. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . Standing on the ground steadily like a mountain. It rises and falls like a boat in the ocean. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. as it responds to the circulating blood. the body quivers in a relaxed and peaceful state of mind.3. 4. breathing motions and digesting processes. but the apparent non-activity is misleading. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. The body weight is always subtly moving in various directions.
as are the requirements and key points for the body parts.6 Fig.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. In the initial stages of practice. extend your breath slowly through the practice process.4.陈 氏 太 极 拳 推 手 技 法 4. the breath is usually short. the middle fingers connect.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. The only difference is that in this posture. The navel and Ming Men are in the same rhythm. 王 西 安 Fig. relax and open the internal organs. 4. The distance between both arms starts short then grows longer. 4. 4. the body rises slightly with the inhalation. Gather the chest and abdomen. At the same time. 4.8).7 142 . the palms face inward and the eyes are slightly closed (see Fig.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Drop the wrists and hold the palms facing inwards in a concave shape. Acting slowly.8 143 . crouch down and lower the elbows. using your intention (Yi).Note: when you inhale and open up. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. Relax the body. Do this practice slowly. All internal organs are filled with strength. the navel and the Ming Men Mai swell out. Qi appears between finger tips of both hands like a magnetic force. use your intention to guide the current outward. 4. At the same time. Focusing on your intention (Yi). Roll the chest slightly inward. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. b) Posture 2 • • • • • • Exhale and gather the organs. lower the waist and gather the rib muscles.
as well as the internal Qi moving in the body with the guidance of your intention. “the internal Qi moves inside”. and when Qi rises – the body and internal organs gather slightly. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. and also helps the practitioner build skills in relaxation and quietness. when extending the hands. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. Qi and strength. gentle and even. Qi here refers to the fresh air exchanged between the lungs and the outside. one’s thoughts need to implement intention consistently. the ebb and flow of Qi and strength (or power) are in synch with each other. it also helps increase internal strength and distributes Qi around the whole body. 4. . In this way. This practice also strengthens the practitioner’s ‘root’. if you require the breath to be slow. For example. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. then your strength must be soft. This is called. as well as breath control.4. intention and Qi. For thought (or attention) to combine with intention. Lastly.2 The relationship between Thought. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax.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. For example.
this movement becomes a conditioned reflex and helps move muscles which are normally static. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. and are one of the main requirements in Zhuang skill. With practice. the chest. In particular. abdomen and back. Its purpose is to stimulate the nerve system by muscle movement.The relaxing and gathering of the internal organs mentioned here refers to the activities of the internal organs and the muscles around the midriff area – under the ribs. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. Guided by intention.
raise both hands above the right leg. Swallow the fresh air inhaled. The length of inhalation should match the speed of the weight shift. . 4. then breathe it out slowly as you move forward (Fig. focusing your intention in the Dantian. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. This posture could also be called a sideways Bow Step (Fig. When inhaling.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward.10). Expand the crotch like a circle. Next. then open your eyes and look into the distance. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. Purify this saliva with your intention. make sure your eyes are drawn inward to looking internally.9). At the same time. When the weight shifts completely to the left leg. Gather the Lao Gong points of both hands inward. then shift your weight forward from the left foot to the right knee. Start the posture with your eyes closed. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. the right hand in front of the left. inhale and move your weight backward. 4.陈 氏 太 极 拳 推 手 技 法 4. The fingers are poised as if grasping the air.
10 Fig.11). close and fold your strength into your chest and waist. 4.11 147 . 4.Fig. Repeat this process alternating the left and right sides. 4. You need to have the feeling of closing before opening.9 b) Posture 2 • • As Qi is lowered into the Dantian. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then push both hands forward slowly (Fig. lower the waist. As you exhale and shift your weight forward. 4.
Indeed. with confidence and determination. practioners will make the expected progress. and persistence. practitioners are required to cultivate their Three Spirits when they begin practice. With confidence comes determination. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. and hold firm to these attributes throughout path of practice and study. If. Only after prolonged practice can confidence be nurtured. confidence is a critical prerequisite. on the contrary. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. Confidence in Zhuang skills grows with practice as difficulties are overcome. and great determination. determination. persistence may be engendered. your practice hesitant and inconsistent.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. So where does confidence come from? From practice. Through serious dedication. confident and diligent practice. In sum. You can persevere only if you firmly believe in the benefits of Zhuang skills. 王 西 安 148 . then your progress will be poor. your belief is half-hearted. leading to progress and experience of the benefits.
extend both hands forward with the right hand before the left. Peng force is maintained while the foundation of the body is reinforced as well. 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. In this way. As you step forward. 王 西 安 149 .1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). 4.6.12). • The fingers of the both hands point to each other.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. 4.4. • At the same time. inhaling all the while (Fig. both palms facing forward. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill.
4.13 Fig.14 .陈 氏 太 极 拳 推 手 技 法 Fig. 4. 4.12 王 西 安 150 Fig.
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. you will lose your weight and axis). As this happens. inhale and crouch the body slightly. 4. keeping the left hand inside and the right outside (Fig. lower the shoulders. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. When the left hand executes Lü (roll back) to the middle of the body. the right hand in front of the left.13). As the weight shifts.b) Posture 2 • • • • • • • Next. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. At the same time. Both hands make a half fist when reeling. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. When this happens. relax both arms. otherwize. turn the waist and twist the crotch. 王 西 安 151 . suffusing it with Qi before lowering it down to the middle and then lower Dantian. gather and close the whole body so it forms a posture prepared for opening activities. you start to repeat the sequence.14). withdraw the right hand so it intersects the left. relax the right crotch and shift your weight gradually to the right. drop the elbows. rotate the left hand in Shun reeling in front of the lowered abdomen. open both fists into palms facing inward. As you shift your weight. Inhale and swallow saliva. 4. step the right foot on the ground.
After mastering the key principle of natural breath. and comes only after accumulated practice. The normal breath frequency of adults is six to twenty times per minute. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. When you practise Zhuang skills to a certain level. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. and even to one or two times per minute. you should focus on increasing the duration and depth of your breath. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). Ren Mai starts 王 西 安 152 . This helps in the exchange of carbon dioxide and promotes metabolism in the body.陈 氏 太 极 拳 推 手 技 法 4. 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”). the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. After practicing Zhuang skills for a period. Only by this can you avoid errors and side effects. This is a primary sign of beneficial Zhuang practice.6. Dual practice with Yi (intention) and Qi connects the whole body. the breath can become slower and longer. inhalation/exhalation being one breath.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. then to five times per minute. decreasing to seven or ten breaths per minute. Therefore. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. This phenomena of “connected arteries. Inhalations and exhalations should be of proper length. your breath should be natural and of the proper duration so that it enhances body combat and health. you will feel your key joints and your arteries and veins become unblocked and re-connected.
even and quiet. For both. Du Mai starts at the perineum. reaches the Bai Hui point through Wei Lü Guan. then infusing Qi into the Dantian. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. and Yi and Qi should move in the required routes.from the tip of the tongue. all channels extended and unfolded. the five sense organs internally gathered. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . more gentle. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. The whole process of moving Qi through Ren Mai and Du Mai. The Qi of Da Zhou Tian originates from the Yong Quan point. and Yu Zhen Guan. the body should be relaxed. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. the difference being that Da Zhou Tian extends Qi to the lower limbs. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. except that the breathing in the former is longer. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. deeper. reaches the perineum through the Dantian and then connects to Du Mai. Jia Gu Guan. In Da Zhou Tian.
close your eyes and inhale.16 154 .7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. then infuse it into the lower Dantian. a) Posture 1 • • • Shift your weight gradually to the left leg. bring in the arms and place both palms in front of the abdomen (Fig. 王 西 安 Fig.15).15 Fig. then bring in the right foot so that both feet are a shoulder-width apart.陈 氏 太 极 拳 推 手 技 法 4. 4. 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. 4. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. Swallow Qi down with saliva and guide it down to the middle Dantian.
swallow Qi and saliva and infuse them into the lower Dantian (Fig.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 4.17). 4. palms facing each other. separate the arms to the sides. Then using the little fingers to guide the energy. fingertips pointing obliquely down. pointing the fingertips upward.16). lift both arms upright. 4. 4. palms facing in (Fig.18 155 . finally placing them in front of the shoulders. As the body lowers.17 Fig. 4. Clench both hands into fists and lower them to ear level as the body lowers.18).
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c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
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5.1 pracTice fOr The buTTOcks
The requirements for positioning the buttocks in Taijiquan practice are very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the end of spine) in an upright position when practicing, gathering and raising it naturally so that the buttocks do not protrude nor swing too much, otherwise the buttocks will be unable to rise and lower naturally. Taijiquan novices sometimes err on over-gathering or raising the buttocks, which can result in various negative effects. For example, if the buttocks are gathered too far forward, the posture will become unnaturally stiff and not follow the natural straight alignment of the body; in addition, this posture may also impede natural breathing as it blocks smooth circulation of Qi throughout the body and may even destabilize the firmness of the weight of the lower limbs. Gathering or raising buttocks in routine and Tuishou practice must be applied in accordance with each specific practice and not generalized. For example, while relaxing the the joints and muscles in the Lan Zha Yi posture (Lazily Tying One’s Coat), the buttocks should be raised slightly as the waist is lowered so that Qi can descend smoothly into the Dantian. If the buttocks are pushed too far forward, the lowering of the waist is impeded and consequently, Qi cannot cannot descend through the Dantian and separate into two streams to flow through the Yong Quan point through to the legs.
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5.1.2 Application to Sparring: Bei Kao
An example of applying this principle in Tuishou sparring is as follows: if the opponent executes Lü on you, you need to relax, lower your Qi and gather your buttocks before executing the Bei Kao move (Kao with the back). In this move, gathering the buttocks helps to concentrate power drawn from the heels and transported up the legs before it is unleashed at the target. In contrast, raising rather than gathering buttocks at this point will hinder full release of striking power and thwarts any attempt to transform the opponent’s energy. Bei Kao is an opening-closing move, consisting of lightening-quick power exertion and rebound, during which you need to guide Qi upward to explode energy. To do this, you need to roll the chest slightly inward and bend knees a little, then stamp on the ground to generate rebounding power and ascending Qi. The gathering of buttocks at this point is essential so that Qi can descend instantaneously after energy release. Protruding the buttocks will impede Qi flow downwards, resulting in Qi blockage at the chest which affects the stability of a practitioner’s stance and may even be harmful to health. These key points in the above example need to be practised and applied assiduously during routine and Tuishou practice.
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5.2 pracTices fOr The crOTch (dang)
Dang refers to the crotch area where the legs connect to the body. To open the Dang area, the thighs need to be stretched apart as much as possible so that the waist and crotch can rotate freely. Any obstruction of Dang movement will negatively affect routine and Tuishou practice. The opening-closing of Dang, that is, the transition between emptiness and solidity of the crotch area, has a direct impact on the flexibility of the practitioner’s body and his or her ability to change speed and weight. The shift between emptiness and solidity of the Dang area is used as a measure to monitor and adjust movement and speed of movement, and also serves as the key point to increase the power to be exploded. The firmness of Dang relates to their exertion of power and resistance. Mastery of Dang power and posture in routine and Tuishou practice helps increase flexibility, emptiness and stability of waist and legs, reinforces the foundation and enhances your practice. Adjustments to the waist and Dang are usually the first steps taken when you feel there is something not quite right with your movements routine or Tuishou practice. As Master Chen Xin said, “When you attain realization of Taiji, even a bird cannot fly out from under you during Taiji movement.” In other words, the openingclosing of Dang is key to increasing and exerting power. When Dang is closed, the whole body is directed toward closing (He); when Dang opens, the body opens. Hence, Dang is essential to Xu (gathering), He (closing), Yin (guiding), and Fang (releasing) in routine and Tuishou practice.
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The 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. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. For example. Ding Dang. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. womb and so on. Doing so over an extended period can have a positive effect in curing hemorrhoids. In ancient times. it was realized that the anus and perineum were two of the most vulnerable parts of the human body.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. are described below: 陈 氏 太 极 拳 推 手 技 法 5. After humans evolved to the upright posture and started to walk. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. Jian Dang and Tang Dang. This realization caused the ancients to suggest that “the ground door should be always closed”. A brief introduction is provided below. This requires the left leg to be solid with the lower leg standing upright. 王 西 安 161 . To help you master correct Dang postures in routine and Tuishou practice. a short introduction of key Dang movements. the weight distribution is 3:7. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. In Taiji practice. the positioning of the anus also needs careful attention. rectocele. and it became difficult for vena blood to flow to heart. anus contraction should only be slight and done in a natural way. Yuan Dang. 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.2. advocating contraction of the anus during physical exercise as a remedy. womb prolapse and so on.
This should be corrected at the earliest stages of learning. As for practitioners. “It is easy to teach but hard to change what is learnt. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. energy in the legs is strengthened and the body is well supported. when the right leg moves to the side. Some perform better than others due to learning abilities. If a practitioner is advised to relax.陈 氏 太 极 拳 推 手 技 法 In this way. 王 西 安 162 . at the end of the Dan Bian (Single Whip) posture. it is very difficult to correct bad practice habits solidified with prolonged practice.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. These traditional teaching methods should be changed as implied by the adage. That is. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. innate talents. the body crouches as the right knee moves outward. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. the right knee should incline outward.” Indeed. and at this moment Dang should open in a circle so that both legs can support all parts of the body. For example. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. “closing in opening” and that “Dang should open in a full circle”.2. the root of Dang should be relaxed. Hence. 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. In traditional teaching methods. which means there will not be opening-closing power if he or she crouches in the Horse Stance. there are many opportunities and responsibilities. 5.
and quality and length of practice, rather than due to a teacher’s attention. Some practitioners are happy to help the teacher out and teach others, their intention being to allow the teacher more rest. Students are also happy to learn from co-practitioners as this may help to accelerate learning.
5.2.4 Jian Dang … Sharp Crotch
In Jian Dang position, the Dang area is shaped like an inverted “A”, the bottom tip of the Dang area is tight and not relaxed. In this case, Dang cannot be lowered during routine and Tuishou practice, and Yuan Dang cannot be formed at all. Moreover, the Bow Step is hampered, one’s gait becomes unsteady, and the upper body becomes heavy while the lower body is unrooted, swaying to the right or left, while the feet are also unsteady. This mistake may be tolerated by the old and weak if their aim is just to improve health, but cannot be ignored by younger practitioners who want to improve combat skills. Because with Jian Dang, some get easily unrooted, some find they can’t get clear distribution of weight, some find it so hard to shift the weight because they put exceeded weight onto one leg. If the habit of Jian Dang is allowed to form over a period of time, practitioners will become used to it and feel comfortable in this incorrect stance, which should be avoided. On the contrary, one must learn to identify and cultivate the twin qualities of emptiness-solidity in the legs through the practice of Taiji routines. Novices practicing Dang will inevitably develop aching feet. This is no cause for worry, as these are normal physical indications of body development and they will disappear when you reach a certain level. For example, after a bout of Tuishou sparring, novice practitioners may feel a little ache in the arms and legs, and indeed, the whole body may ache after a little rest. This is because you are not used to the intense exercise and some capillary blood vessels may have been strained. This ache will lessen gradually after extended practise, as the body becomes stronger, blood circulation improves and lung capacity is increased. At this stage, any additional
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muscle ache resulting from further increase in practice will ease off more quickly. Hence, do not be deterred by any aches and apply Yuan Dang when practicing Taiji and Tuishou, so that Jian Dang may be prevented from developing. Without patience, Taiji skills cannot be improved.
5.2.5 Tang Dang
Tang Dang happens when the legs are spread too far apart, out of proportion to the weight distribution required on the legs and the lowered Dang. As a result, the movements of the legs are hampered as they are not able to move forward and back or turn to the sides with natural ease. This situation is also called Ta Dang, meaning collapsing Dang. The Taijiquan routine is a whole body practice, suitable for people of all ages, body constitutions and those engaged in mental and physical work. Typically, practice methods for Taijiquan routines start from large circle movements to smaller ones, then from smaller circles to no-circle movements. However, the opposite is true for Dang practice, which starts with smaller scale movements, growing to larger-scaled practice. This requires Dang to be positioned a little higher in the beginning before becoming lower and wider gradually. As with Ding Dang and Jian Dang, be careful not to form the habit of committing to Tuishou movements that bring a lot of pressure to the knee joints, as Tang Dang not only increases pressure, but may also cause harm. This results in chronically tight muscles which will eventually cause bad blood circulation in the legs. The Tang Dang posture has particular impact on the stimulation of the on the nerves in the knee joint, so hindering the supply and renewal of blood in the leg muscles. Prolonged Tang Dang positioning will result in aching knee joints and a very heavy feeling in the legs. In some large-scale movements, Tang Dang
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may actually be intentionally applied, such as in the Seven Cun Kao movement, that is Kao applied in the Xie Xing or oblique walk where the distance between the ground and shoulder is seven cun (about 23 cm). Yet even in this movement, heavy pressure on the legs last only an instant and the legs can recover quickly, so Tang Dang poses no real issues. However, large-scale movements cannot be applied to the whole practice; hence Tang Dang is considered harmful to health and body combat if applied for extended periods in routine and Tuishou practice. Generally speaking, Dang practice should begin modestly with a slight lowering of the body, gradually growing to bigger movements. Most importantly, it should match the physical conditions of the practitioner and the requirements of body combat so that the practitioner does not incur any injury.
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Chen sTyle Taiji Tuishou CaTegoRies
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王 西 安 168 . For example.1 Overview Within the Chen style Taiji routine. if you advance using Ying Men Kao (Kao diagonally to the front). Indeed. practitioners may master its secrets and principles with serious study. if the opponent attacks using Jian Kao (Kao with shoulder). Tuishou is commonly divided into eight categories. then strike back with Jian Kao. with attackers changing to defensive roles in an instant and back again without warning. For example. the attack-defense stances change dynamically. While the combinations of Tuishou moves are infinite. we will describe how to apply these eight Tuishou techniques in sparring practice. your opponent may respond defensively with Xiong Kao (Kao by chest). you can defend using An (pressing). In this chapter. since both the attacking and defensive movements are interrelated and cannot be separated.陈 氏 太 极 拳 推 手 技 法 6.
silk reeling in the shape of a flower) 2. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . Shun Bu Tuishou (Tuishou with movable footwork. i. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. normally a forward step then a backward step) 6.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Luan Cai Hua (Picking Flower. Da Lü (larger scale movements) 7. where the the practitioners are no longer oblidged to the sequences or fixed routines. which is regarded as the highest level of Tuishou. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. Jin San Tui San (both parities advance and then retreat for 3 steps. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. while Tuishou) 8. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4.e. Dan Wan Hua (Coiling Flower with Single Hand.6. and any movements can be exerted by intention.1. He Bu Tuishou with static footwork.
Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. Lü. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. Si Yu Shou hand techniques are always used. Zou. Xuan Wan (rotating wrists) 4. Ding Bu (static footwork) 2. Si Zheng Shou (Peng.1. Ji. or Kao hand techniques.陈 氏 太 极 拳 推 手 技 法 6. Dian Bu (stepping on toe-tips) . feet placed together ) 7. Bing Bu (step touch. including: 1. Huo Bu (moving footwork) 3. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. However. An) is usually applied. Qie Zhang (palm chop) In static footwork. i. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. There are many categories of footwork techniques. these consist of the Cai. Dan Tuishou (Tuishou with single hand) 2.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. Shuang Tuishou (Tuishou with double hands) 3. and not be limited to one or the other. novices should start by learning one set at a time. Bie. Duli Bu (standing on a single foot) 8.e. as follows: 1. During sparring. Cha Bu (inserting steps) 6.
2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. when both players retreat after being mutually warded off. you need to place the body in a crouching position. with the forearm bent toward the upper arm at an angle of 450. 6. 6.2). The elbow must be dropped.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout.1).2 171 . All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. 6. In single practice. 6. palm facing in. The roots of the fingers are relaxed.1 Fig. one arm is extended horizontally sideways.2. In this posture. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2 TuishOu handwOrk Techniques 6. 6. it is also applied to Gun (roll). Da (meet) and Sao (sweep) movements. When cutting downward. the four fingers extended and joined together to form a slightly concave palm (Fig. with the wrist lowered and fingers relaxed. roll the chest slightly inward and lower the waist and shoulders. Shuan (bind).2.6.
2.4 Xie Tuo Zhan In this technique. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). the little finger is used to guide energy and draw inward toward the thumb. 6. 王 西 安 Fig. the power lies in the root of the palm. As you rotate the hand downward or outward.4 172 . For example. 6. 6.3). The remaing three fingers turn slightly outward so that the palm becomes concave (Fig.2. if the opponent executes Lü on you.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. During sparring. Xie Tuo Zhang is also applied in the process of Big Lü.陈 氏 太 极 拳 推 手 技 法 6. The palm posture during this direction change is called Xie Tuo Zhang. 6. 6.3 Fig. In this instance. where the raised hand lies above the middle of the upper arm. one player may guide the other to reel first in the Shun direction. then reverse to the Ni direction when the hands arrive at his or her body. the hand is stretched upward to the sides (Fig. when hands are rotating horizontally in a circle.4).
• In Luan Cai Hua (palms reel in non-predictable angles. separate them and switch to Cha Zhang. Cha Zhang is widely used in Tuishou. see above). and gradually press your hands toward the opponent.2. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). as the hands insert downward. This technique is called Diagonally Upward Cha. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. 6.5 173 . for example: • When you rotate both hands in vertical circles. then lower your shoulders and drop the elbows. 6. see above). insert your hand downward and rotate it in the Shun direction. the hand is inserted upward or vertically/diagonally downward.5 Cha Zhang … Slanting Palm In this technique. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions.5). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.6. fingers slightly parted (Fig.
This way. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation. and your partner exerts An to your hand. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. When you guide your partner via Shun reeling to the front of your chest. you can rotate your arm with the middle finger.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape.6). the ring finger.2. 6. Fig.6 王 西 安 174 .陈 氏 太 极 拳 推 手 技 法 6. while the thumb and the index finger form a “ 八” shape. and the little finger bending inward. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. 6.
7 王 西 安 175 . the knee positioned approximately above the tip of the foot (Fig. 6. the thigh nearly parallel to the ground. toe tips bent slightly inward.3. The other leg bends with the intention to straighten. the Yong Quan point should be empty while the Dang is open with the intention to close. One knee is bent so that the body is in a half crouch.3 TuishOu fOOTwOrk Techniques 6. following the principle of ‘straightening in bending’. 6. This knee is turned slightly outward to provide a frame for all parts of the body.7).6. following the principle of ‘closing in opening’.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. In this posture. the sole fully touching the ground. The toe tips point slightly inward. 陈 氏 太 极 拳 推 手 技 法 Fig.
Fig.2 Hou Zuo Bu … Back Seat Step In this posture.陈 氏 太 极 拳 推 手 技 法 6. knee bent slightly over the toe tips. Position both feet fully on the ground. straighten the front leg so that the back leg becomes the Bow leg. 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. 6. 王 西 安 176 . toes grasping the ground. 6. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles).8 6.3 Qian Dian Bu … Forward Tipping Step In this 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. When the weight is completely transferred. It is applied widely in Tuishou. • This step is always used in Shun step.9).8). body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. big Lü and Luan Cai Hua. 6. the heel touches the ground with the toes pointing up at about 450 (Fig.3.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6. 6.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü. move your weight back and withdraw the front leg backward by stepping the toe tip back first.9 6. and Luan Cai Hua For example.Fig. 6.3.10).10 177 . if an opponent applies Lü on you. followed by the sole then heel (Fig.
11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. which now lies close to the ground. When the opponent applies Big Lü on you. and is widely used in forward or backward movements (Fig. Lü applied through large-scale movements) (Fig. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg. Hence the name ‘Falling Step’. Big Lü and Luan Cai Hua. 6. 12). c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. 6. in the ‘Dragon sweeps ground’ form.e. 6. 6.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 178 Fig.11). For example. This posture is applied to Shun step.12 .
exerting Ji and Na in confronting reelings). power rises from the heels up the legs. with the little finger guiding energy as it points to the thumb when it is drawn inward. you draw the opponent inward into your territory. with the other fingers slightly turned outward. enters the bone marrow through gaps in the scapula and travels down the arms. you can use Shun Chan to gather energy and edge into the opponent’s territory. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.e. This move is called Shun Ji Shun Fa (i.6. In addition. In Silk Reeling technique. Shun Chan means to spiral energy from the outside to the inside. the term ‘reeling’ means to spiral energy.13 179 . while simultaneously executing Kao on the opponent. For example. in Bei Zhe Kao (Lean with back). 6. when the opponent executes Lü on you. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. The principle of Shun Chan is that with the elbows guiding the hands. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. where it returns to its original position of circulation. spirals around the waist and shoulders.1 Shun Chan … Conforming reeling In Taijiquan. the shoulders guiding the elbows and the waist guiding the shoulders.4.4 hand Techniques in TuishOu reeling 6.
6.4.15). 6. In horizontal circle rotations with single hand. the thumb gathers inward and guides the little finger. 6. Zuo Wan (descending wrist) technique is adopted (Fig.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. roll your chest slightly inward and lower your waist. 6.14). Note: to apply this technique precisely.4. concentrate you energy in the wrist.15 180 . the shoulders to urge on the elbows and the elbows guiding the hands.陈 氏 太 极 拳 推 手 技 法 6. 6. In Ni Chan.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. Ni Chan is used to open outward. Here. by using the waist to urge the shoulder.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. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. 王 西 安 Fig. while the other fingers turn out slightly (Fig. shoulders and elbows.
16 181 . while trying to ‘listen’. Zhou. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. 6. and adhere to him or her. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. which is formed by pointing the little. to provide a closing and opposing force with the three fingers (Fig. in case of single hand rotation in the horizontal circle. Ji. Cai.6.16). Lü. Diao Wan is also widely applied in response to a Lü attack. Lie. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. At this point. 6.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. your right hand rotates at 90o towards the right side of body in Ni reeling. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). by holding on to the opponent by the hand. Kao).4. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). The wrist is drawn inward to form a Diao Wan (Hooked Wrist). the Shun hand changes to Diao Shou (Hooked Hand). • For example. 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
so as to avoid empty stepping (i. in preparation for the right leg step forward lightly. 7. As your weight shifts.1). 7.3). eyes looking forward (Fig. 王 西 安 187 . 7. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. then slowly roll down the rest of the foot to the ground. Your step should be light.7. palms lightly touching the sides of the legs. relax the crotch and lift the right knee. heel first with toes pointed up. the left toes grasping the ground. Maintain the vertical axis. Relax the arms and hang them at the sides.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape.e. 7. straightening the neck and lifting the top of the head.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. stepping without thought) (Fig.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly.2.2.2). Shift your weight slowly to the left leg. Continue relaxing the crotch.2. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. empty the Yong Quan point. precise and full of intention of listening.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. Step the right foot forward. 陈 氏 太 极 拳 推 手 技 法 7.
7. .陈 氏 太 极 拳 推 手 技 法 Fig.2. thumb behind the fingers (Fig.3 7. 7. relax the left arm so that the left hand hangs down. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. As the weight shifts.1 Fig. While the right arm moves. 王 西 安 188 Note: in later movements. the left elbow and the right hand should move coherently in collaboration with each other. Complete the movement by raising the right fingers to form the Li (erect) palm.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. right elbow and wrist. 7.4).2 Fig. 7.
5 7. As you reel.4 Fig.5 Part 5 • • 陈 氏 太 极 拳 推 手 技 法 • Focusing your right hand on the imaginary partner move it about 900 in Shun reeling to the left of the body. 7. 7.2. 王 西 安 189 . 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.Fig. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.5). 7.
At this point. 7. the elbow in a slightly warding off (Peng) position in coordination with the little finger. Step the right foot either flatly on the ground or with toe tips pointing up. .7). 7.6 Fig. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. When the right arm moves downward. The other fingers reel outwards in coordination with the elbow (Fig. The right forearm now moves transversely in front of the abdomen. right palm facing down and wrist bending 450 inward using the little finger as a guide. 7.2.6).陈 氏 太 极 拳 推 手 技 法 Fig. 7.7 7. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. the weight shifts completely to the left.
Rotate the waist to the right. extend the right hand slightly forward. shift your weight to the right.7 Part 7 • • • • Using the little finger to guide the energy. Shun.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. bend the knees slightly to place the body in a squatting position. 7. power is most concentrated and exerted on the external side of the thumb and index finger. three Shun reelings and two Ni reelings. that is. until it reaches the front of the right ribs.8). changing into Ni reeling.2. a 900 arc to the right side of body. followed by the hand.9 Part 9 • • Now using Ni reeling. While the right arm reels. draw the chest slightly inward and relax the right side of the crotch. Shun. 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.9). 7. The 3600 rotation of the arm follows this sequence of changes: Shun.7. 王 西 安 191 . At this point. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. Then place the palm downward (Fig. Ni. Ni. As the arm changes to Ni reeling. 7. Return the bent arm and the bow leg to their original positions (Fig. using it as a pivot to rotate the right shoulder rightward.2. 7. pointing the right knee slightly outward and moving it in a helix.2.
Practice alternating rotations with both arms so that there is a feeling of balance. The movement of every part of the body should be continuous and synchronised – when the upper body moves.8 Fig. three Ni reelings and two Shun reelings. when one body part moves then all other body part follow. and ensure your body weight moves back and forth in synch with the body movements. Relax the waist and shoulders. Notes In these horizontal-circle rotations. Ni. 王 西 安 192 .9 • The left arm rotates from the left. Ni. When you feel tired practicing on the right. Practice until you reach a level where when one body part keeps still then all other body parts keep still. rotate the wrist. the arms rotate with the waist and the axis while the hand guides the energy. The middle body moves in coordination with the upper and lower bodies. that is. that is. all parts moving together collectively. Shun. practice on the left by switching to the left leg and the left hand. Shun. the reeling sequence being Ni. 7. the lower body follows. the upper body guides the lower body’s movement. 7.陈 氏 太 极 拳 推 手 技 法 Fig.
Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. then turn the body to the left and raise the right hand in Shun reeling. The whole movement is mainly guided by the rotating waist and relaxed shoulders. • • • • • Keep your body weight on the left leg and step forward. drawing an arc of about 90o to the left. with the rest of the foot gradually fully touching the ground. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. Finally. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . 7. with eyes looking forward (Fig. palm slanting upward with intention to gently guide and draw in. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice.11). Bend the left leg so that you squat slightly. It only requires vertial hand revolution and very small shifts in weight.7. relax the left side of the crotch. Next. drawing an arc of about 180o which goes downward and then up to the right. lower your Qi.12). heel first with the right foot. 7. 7. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. Focus the eyes on the right palm (Fig. Next. then switching to 90o Shun reeling. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner.10). switch to Ni reeling.
reel in Ni to the right at 90o.10 Fig. 王 西 安 194 . 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. 7. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward. 7.12 • • When rotating in the opposite direction.11 Fig. 7. Practice rotating both arms in turn. then reel in Shun. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. Vertical arm rotation is guided by spiraling movements of the waist and back. Finally.陈 氏 太 极 拳 推 手 技 法 Fig.
15). otherwise the shape of the posture will be lost (Fig.7. Relax the left crotch and while focussing on the right crotch. toes relaxed and pointing downward (Fig. palms facing to each other. eyes facing the front (Fig. 7.13 Fig.13).16). Raise the forearms 90o upward. Also. 7. 7. Note: when applying Tui Palm. in preparation for action (Fig. 7. then raise the right foot.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. 7. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.15 195 . shift your the weight gradually forward. pushing both palms forward (Tui Palm) at the same time. 7.14). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. the palms should move forward at an inclined angle (see picture). Shift your weight gradually to the left leg. This body posture is now one of holding and collecting.14 Fig. the forward shift of the body should stop once the palms reach their natural end position. Bend the left knee to put the body in a crouching stance.
then lowering to the front of the abdomen. Repeat the Tui Palm movement again.17). Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. 7. then pushing both hands forward. this time relaxing the right crotch and focussing on the left crotch. Practice this cycle. 7. palms vertical. 王 西 安 196 . 7. 7. shift your weight backward and separate both hands to the sides of the body.17 • • • Next. imagining the hands seizing the opponent’s wrists by Diao (Fig.16 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.15) by drawing a circle by the sides of the body.
5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. toes relaxed and pointing downward (see Fig. draw the chest inward.14). While raising the hands. drop the elbows and sink the Qi downward.18). Raise the forearms 90o upward. in preparation for action (Fig. lower the waist and shoulders. Grasp the ground lightly with the toes and face the eyes forward (Fig. stated as follows: Stand at attention with the body upright and relaxed. This body posture is now one of holding and collecting. 7. Bend the left knee to put the body in a crouching stance.18 Fig. 7. Shift your weight gradually to the left leg. 7.19). • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. 7. 7. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. eyes facing the front. then raise the right foot. palms facing to each other.19 197 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.7.
21). with the intention of supporting something upward. step the left foot on the ground and shift your weight forward (Fig. Extend both hands forward in an ‘offering’ stance. Next. both palms facing inward. finish the weight shift to your right leg. continue to draw your chest inward. stopping at shoulder level (Fig. As both hands separate upwards. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands.陈 氏 太 极 拳 推 手 技 法 Fig. the palms descend to the sides. push the crossed palms over the head in Ni reeling. cross both hands slowly in Shun reeling.20 Fig. 7. At the same time. 7. 7. after another small Ni reeling upward. Then.20). palms facing forward. extending the hands forward so that the left hand crosses over the inner side of the right wrist. During this process. .21 • • • • 王 西 安 198 • Next. 7.
陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . strike out in succession to the sides so that the arms become a pulled bow. so as to start a new cycle. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. shoulders. forearm. that is. upper arm.Note: as both hands separate outward. then hands. Closing form: palms continue to Shun reel. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. palms facing each other. • • Now the left hand reels in Ni while the right hand reels in Shun. only that palms in the latter move horizontally. You will feel the power after long practice. the chest. finger-tips pointing down. while weight totally switches to the left. palms cross together. Both hands then draw a downward arc to fall to each side of the abdomen. With body gathering.
act as if sparring with a partner. eyes. Lü. Open every body part to make your rotations natural and flexible.23 200 . heel first. • Stand at attention. then bend it inward 45o. body and steps. 7. palm facing forward.22 Fig. • Shift your weight to the left leg and lift the right foot to step forward.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. 王 西 安 Fig. 7. extend the right hand diagonally forward to the right. Extend the left hand transversely and place it on the middle of the right upper arm. Coordinate the movements of your hands. Note that one should practice with intention rather than by force. and An. Ji. thumb pointing down and the little finger pointing upward.陈 氏 太 极 拳 推 手 技 法 7. palm facing in. with the foot gradually stepping fully on the ground. When practicing. The key points are the same as those of solo Tuishou. • As the weight shifts.
as the left hand moves inward in Ni reelings. and so continue to Peng upward before executing Lü.25 201 . 7. Shift your weight to the left slightly then to right. Meanwhile. As the left hand rises. 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 right crotch and turn the body to the right.• • • • • The left arm intends to Peng outward. Move the right hand in Shun reeling. raise both hands in Ni reeling.23). focus your intention on meeting and holding the opponent’s hand. relax the left crotch. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. 7.22). lower the right shoulder and drop the right elbow. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the arm opens like a circle. Next. and the eyes look forward to the right (Fig. the wrist bent slightly inward and palm facing inward.24). During this process. 7.24 Fig. 7. the left hand ahead of the right. At the same time. shift your weight left and focus your eyes on the front of the right hand (Fig.
7. If the left leg is in the front.25). and the left hand helps the right to execute Lü. You will also need to use your left shoulder to push and use the right hand to help press forward. eyes looking forward. shift your weight forward to the right leg. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig.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. visualize your left hand pressing down on the hand of the opponent. The right hand reels in Ni direction also with the intention to push outward (Fig. As this happens. alternating left and right sides.22). At this point. Peng and An are transitional actions executed in 王 西 安 202 . Note: In this movement. the right hand executes Peng. This is the same as the starting posture of Da Shou posture. Execute An forward with both hands the palms facing each other about 33 cm apart. an instant. Repeat the process. 7. pushing it outward. The edges of the hands become power-exerting points.
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. Lower the waist. draw the chest inward. These actions drive two the hands forward.7. outward. moving backward uses Peng and Lü hand movements. Step the left foot on the ground with the inner side of the foot touching the ground. Lü. • • • • Step forward with the right foot then shift your weight forward.27 203 . sink the shoulder downward and drop the elbows. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. raise both hands to attack by pushing them to the front right of the body. 7. In practice.26 Fig. moving forward is combined with Ji and An hand movements.26). Hand movements consist of four Zheng hands: Peng. 7. Face the outer hand edges. where the pushing power is exerted. Ji and An. Keep the eyes looking to the front right (Fig. 7. As the weight moves forward.
At the same time. and in preparation for moving. 7. Push the shoulder forward. . withdraw the left hand gradually and place it on the middle of the right upper arm. As the arm moves. toes pointing down (Fig. 7.29). 7. Bend the left leg to squat further and extend the right foot forward. 7. Relax the left crotch after pushing and shift the weight to the left. Eyes look to the front right (Fig. Raise the right hand in Shun reeling. rotate the right hand slightly downward in Ni reeling. thumb pointing down and palm facing down. with the intention to close before opening. At the same time. Note that Qi should not be allowed to float upward. The body moves forward following the shift in weight. followed by the arm and the hand (Fig.29 • • • • • 王 西 安 204 • • • After the pushing attack. shift your weight to the left and lift the right foot. tiptoe first.28). turning the right elbow out and upward.陈 氏 太 极 拳 推 手 技 法 Fig. As this happens. move the left hand downward then draw a forward arc to form a Lü posture with the right hand.28 Fig. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body.27). 7.
then in Shun direction downward to the left. Then the right hand switches to Lü.Fig. the upper and lower body form a balanced block of strength with the waist as the boundary. The front push of the right hand provides an instant defense. 7. Eyes look to the front left (Fig. 7.33).32).30). Both hands are about 33 cm apart (Fig. raise the right hand quickly to push forward together with the left hand toward the left side of the body. The outer edges of the hands are power-exerting points. Eyes look to the left (Fig. then shift your weight to the right. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm.31). Next. Raise the right foot and take a step backwards to the right. then draw a circle downward. Visualize sending the opponent’s right hand out to the left side of your body. Reel the left hand first in Ni direction. Next. 7. raise the left hand in a spiral to form a Lü movement with the right hand. As the weight shifts.which takes place in an instant. 7. While the right hand switches to Lü. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . 7.31 • • • • • • Relax the left crotch and shift your weight to the left. gradually squat the body. thumb pointing down and palm facing forward.30 Fig. Eyes look to the front left (Fig.
陈 氏 太 极 拳 推 手 技 法 Fig. Eyes look to the front left (Fig. Raise the body gradually and slowly shift your weight to the left leg. 7. 7. take a step forward with the right foot. 7.34). 王 西 安 Fig.32 Fig. until the left hand reaches the middle line of the body. As the weight shifts. At the same time. 7.33 • • • Both hands execute Lü from left to right following the body. extend the right hand to the right front of the body following the right foot.34 Fig. 7. the right arm then bends to 450 inward.35 206 .
place the left hand on the right upper arm. 7. 7. 7. 7.36). 7.35).38 Fig.37 • • Simultaneously. Eyes look to the front right (Fig.39 207 . Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. Note that the waist power descends to the left first then the right. thumb pointing down. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.36 Fig. Eyes look to the front right (Fig.Fig. Then shift your weight slightly rightward. 7.
raise the right hand quickly and exert An forward with power. 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. Eyes look to the right (Fig. move the right hand in front of the left hand quickly.38). 7. 7. Start a new cycle (Fig. 王 西 安 208 . Relax the right crotch and shift your weight to the right. 7. Eyes look to the front right (Fig. As soon as both arms finish pressing forward. then move it out to the right. execute Lü downward with the left hand.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. Next.37). visualizing that you are pushing the opponent’s hand outward to the right. At the same time.39).
whereby Player B executes Lü on Player A. Furthermore. the only difference being that the extent of the steps in Da Lü is bigger. In this chapter. Bie Zou. we will only refer to two main Da Lü postures as shown in the pictures which follow. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. and Kao. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. The other movements are the same as the movements in Shun Step (forward or backward step).7. 7. Zhou. 7. Bie. literally meaning “big falling step”.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. The circulating of steps in Da Lü when practicing Peng. Lü Ji and An. Kao with large-scaled body movements. Ji and An is the same to those in Shun Step (forward or backwards Step). It uses the combat techniques of the four hand techniques in corner directions – Cai. One is Da Pu Bu. Lü. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai.40 Fig. a major weakness with which you cannot even hope to attack the opponent. the whole body will become stiff when you try to squat down in the big body movements. If not. It is not easy to practice Cai. As such. and Kao. Zou. The other picture demonstrates the big Frontward Bow Step.41 209 . Lie. then the fives methods of solo Tuishou practice. beginners should first practise the routines.
you should pay attention to the following points. precise rotation. Lü. You should adjust your direction and position by applying small Gen steps so that you can stick to the partner tightly and prevent their escape. Ji. The body movement and gait should be neat and swift. This way you will not lose energy unnecessarily nor become stiff. and also uses the Si Zheng Shou.陈 氏 太 极 拳 推 手 技 法 7.42. 7. It’s features include free movement with no fixed direction. and An. Luan Cai Hua is also built on the foundation of Peng. In the Luan Cai Hua Tuishou practice. 王 西 安 Fig.42 210 . See how to execute Dian step in Figure 7. You need to rotate neatly when executing a step forward as the partner changes his or her direction. and flexible.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).
Ji. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. and thus impede any progress in Tuishou. An). the steps are small but the speed is fast. When you apply Luan Cai Hua in Tuishou sparring. looking for the attacking opportunity. Do not just practice at fast speeds or you will lose your energy or get stiff. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . heavy but not stiff. the only difference being in the stances of the body. You should practice listening repeatedly. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. Lü. getting close to their upper body while causing them to raise their lower body or slant it. you feel the partner’s energy as you rotate. and entice the partner to advance and show his or her weak points. Your movements should be quick but not chaotic. When circulating the four Zheng hand techniques (Peng. It is not easy to apply Die Fa.In this technique. light but not empty and floating.
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 .
moving as the partner moves. In addition. so you must strive to concentrate. Lian (connecting) and finally Sui (following). Pair Tuishou embodies the essence of Taiji Tuishou. If both partners have Taiji proficiency. agile. whereby your actions should be precise. Faster progress may be made if your partner is proficient in Taiji. flexible and without weaknesses. flexible and rapid. development should follow the stages of San Shou to Zhan (coherence). Pair practice Tuishou improves combat skills. Like solo practice. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. Nian (sticking). similarly.陈 氏 太 极 拳 推 手 技 法 8. like a flowing river: smooth. pair practice should start slowly. the practice stance should start high.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. If possible. pair practice becomes beautiful to watch. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. movements in pair practice should start simply before gaining in complexity. I hope that the reader will use this to practice diligently and master the key points. 王 西 安 214 . An introduction to Tuishou pair practices has been provided in the following pages. Lastly. then pair Tuishou may be described as “acting as if there is no partner although you have one”. try to choose a partner of similar level for pair practice. gathering speed in the later stages. lowering to mid-height then low stance.
1 Posture 1 Both players stand at attention facing each other. an arms length from each other so that their fists touch when arms are outstretched.2. 8. toes pointing slightly outward to form a 八 shape. Their bodies are upright. Player B refers to the female practitioner dressed in red.8. 王 西 安 215 . 陈 氏 太 极 拳 推 手 技 法 Fig. 8.1 Both players take a step forward with their right feet. gradually forming a front Bow Step. The distance between both right feet should be about 10 cm.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. These may be shortened to ‘A’ and ‘B’. arms hanging relaxed by the sides.
the left hand can also be placed naturally along side the body. The back of the palms touch each other.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. 8. using the middle line of the nose as the boundary. both players raise their right palm and extend it forward. B’s weight continues to move forward to form a single-hand An (pushing) power. As both players draw this arc. Both players watch their hands throughout this step. . and his body crouches slightly to form a closing power. The right hand extends forward with the left hand akimbo.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left.2. A’s weight shifts backward. Fig. Alternatively. corresponding with the rotation of the waist. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen.2 8. with the middle fingers at nose level. eyes focussed on the right hands.
Fig.4 217 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. then she guides A’s hand to the front of his abdomen. 8. 8.2. Repeat this cycle.3 8. then Ni reels 90o to the front of Player B’s abdomen. B shifts her weight gradually backward while her hand draws an arc following Player A. At the same time.
Player A guides Player B to move first in Shun reeling.陈 氏 太 极 拳 推 手 技 法 8. the only difference being that here the Da Shou (meet partner with hand) position is higher. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. 8. . Both players then rise. then then draws a 90o arc to the left.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation.3 single-hand verTical circle wan hua in pair pracTice 8.5 8.3.3. both hands perpendicular to each other and eyes looking forward. Fig.
A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. turning to the right (B’s left side). guiding Player B to Ni reel 900 to his right side.6 8. Partner B relaxes the left crotch.3. 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. 8.Fig. For example. 8. when A draws an arc to the right side. During the above process.7 219 . B always adheres to A. with eyes looking at the same direction.
placing them outside A’s hands. lower the shoulders and drop the elbows.陈 氏 太 极 拳 推 手 技 法 8. 8.8 220 . they lower their waists. Then Player B extends her hands forward. with aim to form a front Bow Step.1 Posture 1 Both players stand at attention facing each other.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. 王 西 安 Fig. toes turned up (optional). ready to move and attack if hands touch. Both right feet start to uncurl to the ground. Both players step forward simultaneously with their right foot. Now both players wait in a defensive mode. While waiting. eyes looking forward. draw their chests inward and gather their ribs. Player A raises two hands in front of his chest. having first shifted their weight onto the left leg. heel first.4.
her hands reel in Shun.9 王 西 安 221 .2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. As Player A pushes his hands forward. As B’s weight moves backward.4. He stops pushing when his hands are 20 cm away from Player B’s chest. 陈 氏 太 极 拳 推 手 技 法 Fig. 8. A’s weight shift to the right foot has been fully completed. B’s little fingers “stick” to A throughout the process. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks.8. Here. In other words.
She relaxes her chest as her hands separate. B moves her weight forward to form a Bow Step. Fig. using the outer edges of his palms. He shifts his weight backward. 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. 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. Then both players return to the original position.4.4.10 8. 王 西 安 222 .4 Posture 4 Player A switches to Shun reeling and draws an arc inward. 8. While A draws arcs.陈 氏 太 极 拳 推 手 技 法 8.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction.
Fig.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 . 8.
the weight for both parties starts to shift to the right.陈 氏 太 极 拳 推 手 技 法 8.5. guiding Partner B to raise her hands. A’s weight is all at the right foot. with the inner sides of both feet facing each other and 10 cm apart. Fig. 8.1 Posture 1 Player A and B stand facing each other. then step their right feet forward simultaneously. Now.12 王 西 安 224 8. draw a vertical circle outward.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. The positions of all hands are higher than the eyes.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward. Both players extend and raise their hands in front of their bodies with Player B’s hands placed on the outer edges of Partner A’s hands. and separate hands to the sides of the body at shoulder level.5. . all eyes look forward. The two parties’ eyes always follow their movements. B has been shifting her weight to the left. Now.
3 Posture 3 Player A switches to Shun reeling. while he shifts his weight backward. she shifts her weight forward to form a front Bow Step. and draw arcs to the lower abdomen. 8.13 8.Fig. Both players’ eyes face forward. 8.5. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. his little fingers slightly catching Player B’s wrists.14 225 . While Player B rotates her arms downward following Player A. Player A draws outwards while Partner B draws inwards.
Both players face forward. Repeat this cycle. Then Player A returns to the original position by Ni reeling and separating his arms outward.4 Posture 4 Player A continues Shun reeling. 王 西 安 226 . Player B follows Player A closely and feels his change. Both players can practice this in turn. Note: The steps are the same.陈 氏 太 极 拳 推 手 技 法 8.5. and continues to move her weight forward. the body squats to prepare for openning. whether Player A separates B or vice versa. his hands crossing before the chest with both palms facing in.
1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. 陈 氏 太 极 拳 推 手 技 法 Fig. and then extend their right hands forward so they cross each other. backs of the hands touching.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. with the inner sides of both feet facing each other and 10 cm apart.8. Both players then shift a little more weight to the right. Player A and B stand facing each other.15 王 西 安 227 . 8.6. then step their right feet forward simultaneously. the weight for both parties are both in the left. yet start to shift to the right. eyes looking forward. Now.
8. then extends forward to press against A’s left forearm. During this process. he places his right hand on the middle of B’s left upper arm. Fig. At the same time. Her right hand presses Player A’s right hand slightly downward.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture.陈 氏 太 极 拳 推 手 技 法 8. While the right arm turns. Player A relaxes his left crotch and moves his weight slightly leftward.2 Posture 2 Player A shifts his weight forward.6.16 8. Player B places her left hand on the right upper arm of Player A as he moves. he places his left hand on the middle of the right upper arm. then turns his right hand left in Shun reeling following the turn of his body. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm.6. . In this way. both of B’s arms form an An (Pushing) power. gradually switching from Peng (ward off ) to Lü leftward.
6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8. Repeat this cycle. and executes Lü (roll back) again.18 229 . Partner A withdraws his pressing hand and places it on his own right upper arm. In response. thus returning to the original position. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. Player B switches from An (push) to Peng (ward off ). Player A executes Lü on B’s hand and presses it downward. 8.4 Posture 4 Player B executes Ji (press) on Player A.Fig. In response.17 8. shifting his weight forward to add more pressure. Then Player B wards off Player A’s left hand upward.
so that both knees touch (A’s inner knee and B’s outer knee).7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. Player B’s right hand crosses the outside of A’s right hand. bending it 450 inward. 8. palm facing outward. A’s left hand then crosses with B’s left hand. Player B steps her right foot forward at the same time.7. Both players look at each other from the side.1 Posture 1 Both players stand at attention. 王 西 安 Fig. Player A steps his right foot forward to form a front Bow Step.19 230 .陈 氏 太 极 拳 推 手 技 法 8. placing it on the outside of A’s right leg. and places her left hand on the middle of A’s right upper arm. Player A raises his right arm as his right leg moves. then places his left hand on the middle of his right upper arm.
Player B continues to move her weight forward when Player A applies Lü. he lowers his left shoulder and left elbow. raises his left hand.2 Posture 2 Player A then relaxes his right crotch. This switch from Peng to Lü happens in an instant. 8. 陈 氏 太 极 拳 推 手 技 法 Fig. he places his right hand on the middle of B’s left upper arm.8.20 8. turns his body to the right. and then wards off Player B’s left hand upwards.3 Posture 3 Player A relaxes his left crotch first. shifts his weight slightly to the right. 王 西 安 231 .7. Both players look to the front. 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. executing Lü (roll back) with his right hand. and moves his weight leftward. Player B shifts her weight forward to double her pressing power.7. Both players look to the front and gather themselves to prepare for futher movements. As Player A’s body turns right. Simultaneously. At the same time. and switches both hands to double-hand Shun reeling to ward off outward gradually.
22 232 .陈 氏 太 极 拳 推 手 技 法 Fig. he presses Player B’s left hand downward to the front of her lower abdomen. with the coordination of his right hand. forming an An force.21 8.7. with the aim of getting her to fall to his right side. When Player A presses downward. At the same time.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. then pushes her left hand rightward. 王 西 安 Fig. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. 8. 8.
7.7. 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. 8. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. Player A moves his weight first to the left and lifts his right foot quickly to step forward. A’s upper and lower body move as one.8. then her foot gradually steps on the ground fully. her right crotch relaxes and she shifts her weight to the right. 陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 233 .23 8. his right hand switches to Ni reeling to force Player B to step backward. tiptoe first. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. At the same time. In this move.6 Posture 6 Player A shifts his weight back to the left leg after pushing. At the same time.5 Posture 5 Player B’s left foot steps on the ground. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. As Player B executes Lü.
Player B relaxes her left crotch. Both players look to the side at each other. so as to form Peng and Lü with both of his hands. turns his body slightly left and shifts his weight slightly leftward. B also places her left hand on the middle of her right upper arm. Player A places his left hand on B’s right upper arm. B steps forward in synch with A’s guiding hand. In response. Both players look diagonally to the front. shifting her weight gradually rightward.陈 氏 太 极 拳 推 手 技 法 At the same time. . Simultaneously. then pushes Player B’s right hand first down then left using the pressing power of his left hand. to form Ji (press) power with her right arm. Player B wards off slowly outwards with both hands in Shun reeling. shifts her weight leftward.24 8.7 Posture 7 王 西 安 234 Player A relaxes his left crotch.7. Fig. While this happens. palm out. then takes a step forward with her right foot. and steps within A’s left leg so that their two knees connect. 8.
Fig. 8.25 8. B also places her right hand on the middle of A’s right upper arm. At the same time. then raises her left hand in an upward Peng on A’s left hand.26 235 .7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. then switches her left hand instantly from Peng to Lü. Player B lowers her left shoulder and left elbow. Simultaneously.
27 236 . she presses forward on the middle of A’s right lower arm. In this instance. she presses Player A’s left hand first down to the front of his lower abdomen. 8. then withdraws his right hand to place it on the middle of his left upper arm.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. At the same time. Both players look to the sides.陈 氏 太 极 拳 推 手 技 法 As this happens. 8.7. Player A continues to shift his weight forward. then to her left. then quickly forms a pushing power towards B. then raising his left hand upward onto B’s right upper arm to warding off (Peng). A responds first by flowing downward. His right hand then comes into contact with B’s right hand. As Player B pushes A’s left hand downward. 王 西 安 Fig. Both B’s hands work together to form an upward pressure pose. Then with her left hand. Both players look diagonally to the front. both A’s arms form an outward Peng power.
王 西 安 237 . following A’s Lü power.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. Both players should defend and stick to defend their own territory.10 Posture 10 Both players keep moving and rotating. 8. relaxes his left crotch. 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. Player B shifts her weight first to the left. 陈 氏 太 极 拳 推 手 技 法 Fig. 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. leading to increased exposure to attacks. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. He moves in Lü until his left hand reaches the mid-line of his body. Player A steps his left foot on the ground.7. In response to A’s Lü. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü.8.
one full cycle consists of one step forward and one step backward.27. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. Both playesr look diagonally to the front. her two hands forming a Lü posture. her right hand changes to Ni reeling to force Player A to step back. At the same time. A relaxes his left crotch. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg.陈 氏 太 极 拳 推 手 技 法 8. 王 西 安 238 . foot gradually steps fully on the ground. Lü. 8. to form a Ji power with his right arm. tiptoe first. At the same time. Player B shifts her weight backward to her left leg. palm out. for both of the two players. Both their knees connect. As B shifts her weight backward. B places her left hand on the middle of A’s right upper arm. The rotating methods are the same as those on Figures 8. You may have found that. as well as an accomplishment of one cycle of Peng.26. and 8. Simultaneously. Ji and An.28. both players return to their original positions. Player A places his left hand on the middle of his right upper arm.11 Posture 11 After pushing forward. shifts his weight leftward. Finally. and are ready to start a new cycle.25.7. 8.
which is aimed at reinforcing your lower body stance and leg power in this technique. Zhou and Kao. and is based on Shun Bu Tuishou. This technique consists of larger scale body movement. 8.8. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. you should combine Si Zheng Shou practice with Si Yu Shou. which is Cai.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. 陈 氏 太 极 拳 推 手 技 法 Fig. 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. In this low body movement. Bie.29 王 西 安 239 .
Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. 王 西 安 240 . This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. can you win consistently. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). Sao means to sweep or clear away. Bi Ya (push and press) and so on. or power direction. try to feel the Gongfu level gap between you and your opponent by listening. push and press against the opponent to force them into a defensive mode.陈 氏 太 极 拳 推 手 技 法 8. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). During combat. nor the location of your body weight. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. Gun Shuan (roll and seize). From this position. so as to transform the opponent’s power. If you choose not to attack under some circumstances. Only this way. up and down.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. use your elbow or Kao (shoulder strike) to attack when you find a weak point. the opponent cannot discern your target. reel them in Shun and Ni directions. left and right. Gun Shuan is an extension of Da Sao. With this method. In Da Sao. depending on the circumstances. Instead of sweeping the arms horizontally.
you can advance two or three steps to gain a territorial advantage. Apply Ti (lift) and Long (holding close) unpredictably and precisely.31 王 西 安 241 . direction and angle of changes. 8. 8. agile and swift. Your Dian Bu should be light. if the opponent retreats one step.32 Fig. 8. This is an example of the Die Fa. there are no restrictions in the application during practical body combat. Fig. Combine the power of both your hands so that they become one indivisible power. flexible. which you think harmful to your opponent. For example. Actually.Your footwork should be coordinated with your handwork. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. coordinated with Shang Long Xia Ti. These are the main methods and purpose of Luan Cai Hua pair practice.30 陈 氏 太 极 拳 推 手 技 法 Fig. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). Your footwork should be based on the speed.
opposing and complementary. 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. At its foundation. For this reason. Taiji Philosophy is most easily expressed and understood through the use of body language. our world and the human body through the interactions. much of the theory in this book is based on the guidelines written by Yang Chengfu. Earth or Human realms. that is. and offered new ways of understanding humans as a microcosmic blueprint 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. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. of two fundamental forces: Yin and Yang. one of the pre-eminent representatives of Yang Taiji family. through Taiji forms and postures. While the Taiji form has undergone many changes through the ages. According to this philosophy. Sun and Wu Styles. . culminating in the modern-day Chen. the philosophy of Taiji attempts to explain the workings of the universe. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. Yang.
inbiworld. including his meticulous inscriptions for over 400 illustrations. and a referential resource for Taiji instructors and practitioners for generations to follow. www. 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. this tome was intended by its author to be both the first ever written repository of Taiji lore. A work of intense scholarship which took over fourteen years to complete.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.com .
By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. 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. Who was Chen Changxing? A. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. founder of the Yang style. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. How do I purchase calligraphy or make a contribution A. Q. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan.Chen Village Restoration Project • Q.chenxiaowang. What is the Chen Changxing - Chen Village Restoration Project? A. Q. www. China. Q. Henan Province. Wenxian.com . How is the project being funded? A.
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