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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 .
I look forward to Master Wang’s future works with great enthusiasm. Tokyo. we believe that Taiji. ‘to exist everywhere. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . In the spirit of Taiji’s original meaning. is to be published. newly written by Master Wang Xian. as an expression of the profound spirit inherent in all human beings. to consist of everything’.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. Indeed. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. One of the finished manuscripts resulted in this book. an impressive feat of concentration and energy considering Master Wang’s teaching workload. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. indubitably a result of the efforts of Taiji followers in both countries. 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. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. Atsuko Noguchi January 1998. belongs not only to China but to the rest of the world. More than ever.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
... Palm Practice ....................................................................................................................................................................... Fist Practice ........................26 7............................ 2...............................3 Tuishou Practice – Going Inward...............................................................97 8.............................................. Jietuo (Escape) Practices..................................................... 3........................................................................................31 9.........................................................................................................................25 6........................................................................ Zhan Nian Techniques...16 2................................................13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1.....................................Table of Contents Chapter One: Introduction 1..................................34 10............................40 3.................................................10 5...18 3.............................................................21 4........... Leg Practice ..................... The Origin of Taijiquan Tuishou .... Misleading and Transforming Techniques .............. Na (Seizing) Techniques ........................ Ti (Raising) Energy ....................................................................................................... Tuishou: the Only Criterion to Judge the Gongfu of Taiji.............. Na (Seizing) Practices ..................................................................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix ........................... Energy Explosion ............................................105 9. 4....35 Chapter Three: Single Form Practice 1..55 4............ Opening and Closing ................................................... The Relationship Between Three Stages of Taijiquan Practice and Tuishou .....................................................................63 5.............. Lian Sui Energies ............................................................................................... Listening to Energy ....................................................38 2..72 6. Feet Practice ....................................... Reeling Silk .............................................................................. Step by Step .................... Dongjin – Realization of Energy ............4 The Core of Tuishou ........................................ Introduction ....................................... Elbow Practice ..... Kao (Push) Practices............................23 5........29 8...........................................................................84 7....
.....................................230 8............ Wu Ji Zhuang (Wu Ji Posture).............................. Tuishou Footwork Techniques.195 5........................... 183 Chapter Seven: Solo Practice in Tuishou 1.........175 4.......................................... Introduction ................. Shuang Shou Ping Yuanwan Hua ...................................................................................200 7......179 5........ Chan Si Zhuang (Reeling Silk Posture) ............................. Solo Wan Hua ...........224 6............................................................218 4.................. 157 Chapter Six: Chen Style Taiji Tuishou Categories 1....................................................197 6..... Solo Ping Yuanwan Hua ........ Kai He Zhuang (Opening and Closing Zhuang) .........................................149 7..............陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1..............214 2................ Single-hand Vertical Circle Wan Hua in Pair Practice ............. Solo Tuishou With Static Footwork ....... Solo Double-hand Flat Circle Wan Hua ....... 133 3.. Hunyuan Zhuang (Circle Posture) ....186 2..227 7...........146 6......................................................... He Bu-Tuishou ..........220 5.... 215 3..................................................................... Tuishou Steps ......................................................................................................................... Classifications of Tuishou ................................................................................209 9......................... Shun Bu Tuishou ........ Solo Danren Da Lü Tuishou ....203 8... 138 4................................................... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ........................................................................................187 3................................................. Solo Double-hand Wan Hua in a Vertical Circle ....................................................................................................240 王 西 安 x .................................................... Pair Practice in Luan Cai Hua Tuishou.............................. Pair Practice in Da Lü Tuishou ..................132 2..............................................................................................................210 Chapter Eight: Pair Practice in Tuisho 1...........................................193 4..... Introduction .............................................................. Tuishou Handwork Techniques ...... Introduction ..............................171 3...........................154 Chapter Five: Practice for the Buttocks and Crotch ......................... Shuang Shou Li Yuan Wan Hua.....................................239 9....168 2............. Hand Techniques in Tuishou Reeling... Solo Luan Cai Hua Tuishou ................................. Single-hand Horizontal Wan Hua in Pair Practice ....................... Pair Practice in Shun Bu Tuishou..................................................................................... San Ti Shi (Three Postures)......................142 5...........................................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
the ‘Book of Changes’). he drew on the theories of the Yijing (I Ching. as well as the principles of Yin and Yang. catching. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. Tuishou. agility and flexibility. With the accelerated pace of modern life. According to the book. Its creator. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . was the creator of Taijiquan and 9th generation head of the Chen Family. originally known as Jieshou or Dashou. Chen Wangting. is a practical combat technique based on grabbing. Henan Province. reducing illness and prolonging a healthy life. throwing and striking. it helps build health and defence as well as to develop a sensitivity to movement. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. it helps maintain fitness. In doing so.1. sword and stick routines. Wenxian County. China.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. As a combat techniqiue. gender. (also known as Zouting) was a famous martial arts master. and will continue to do so in years to come. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. ‘The Family Tree of Chen’. in the period between the Ming and Qing Dynasty. Taiji Tuishou practice is not restricted by a practitioner’s age. and he was recognized as the creator of Chen Family boxing. As it is not stressful to the body. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. location or access to equipment. Chen Wangting. transforming.
Follow the circling movements with the whole body. intuitive and subconscious. and striking. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. As you reach the level of adept. so much that you will be able to apply combat techniques. sTep-by-sTep To practice Tuishou. that is. Relaxation is fundamental. to the Deity’. and do not disconnect or oppose your partner’s energy. you must know its significance. followed by the double hand horizontal and vertical practice. listen to each other’s energy flow. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. an athletic activity based on mutual pushing. or appreciate the interplay of the slow/quick. such as grasping. from the realization of Jin. Initially.2 TuishOu pracTice – gOing inward. ‘From the familiarity of forms. throwing. pacing your learning step-bystep. With sustained practice over a period of time.陈 氏 太 极 拳 推 手 技 法 1. Less well known is Tuishou’s other application as a technique for internal transformation. and what it consists of. Literally. hard/ soft. catching. You will not realize inner transformation. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. enabling you to throw opponents meters away without hurting them. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. Tuishou practice should be soft and modest. with greater efficacy and subtlety. 王 西 安 4 . principles. Become familiar with the single hand horizontal and vertical practice. to the realization of Jin. nor will you be able to intuit your opponent’s energetic intention. A Taijiquan proverb pertains also to Tuishou. be relaxed. you will be able to release explosive energy to both small and large targets. transformation is the basis. Tuishou translates as ‘push hands’.
Skill arises from consistent and accumulated practice. be calm and concentrated in your demeanour. To cultivate ‘inner listening’. In solo practice. As long as you practice persistently and make progress. you will ultimately enhance your health and combat techniques. combining your heart. but never practice just in order to practice. force and speed in your actions. your intention and commitment must be deeply held. imagine a partner practicing or competing with you.Remember that ‘inner listening’ is the one essential skill required to improve your technique. Practice makes perfect. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . mind and spirit with determination.
actions to the left or right. with the lightest of touches. Lian. At a more advanced stage. follow) and Chansi Jin (Reeling Silk). The thirteen forms are: • Ward off • Roll back • Press • Push • Pull down • Split • Elbow strike • Shoulder strike • Advance forward • Retreate back • Look backward • Gaze forward • Central equilibrium Peng Lü Ji An Cai Lie Zhou Kao Jin Tui Gu Pan Ding 王 西 安 6 Tuishou flows seamlessly between the application and combination of opposites. Kuai (quick) and Man (slow). and so on. adhere. Tuishou practice is based on thirteen ‘forms’ or energies. opening or closing. you will develop the capacity to subconsciously anticipate quick or slow changes. Nian. Qing (light) and Zhong (heavy). Movements alternate freely between Gang (hard) and Rou (soft). upward or downward movements. it will enable you to feel.陈 氏 太 极 拳 推 手 技 法 1. while its theoretical basis builds on the philosophies of Yin and Yang.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. gathering or exploding. Sui (stick. your partner’s weight. When you can control these energies within yourself. distance and direction of energy. speed. You will learn to follow your partner’s intention and forget your own. attacks or retreats. which are also the essential elements of Taiji. . continue.
When releasing explosive energy. or other deformation. be calm and relaxed To release bursts of energy effectively.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). don’t move’. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. this energy refills automatically to its original ‘full’ state. ‘follow slow attacks unhurriedly’. it is the force of friction that enables you to hold and seize their arms etc. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. 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’. 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’. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. expansion. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. stretching. concentrate on one direction at a time. Like a balloon whose air has been exhausted. move before they do’ etc. ‘if the opponent moves slightly. ‘if the opponent does not move. 王 西 安 7 . Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically.
The canon of Taiji teachings is rich with such sayings. Similarly.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. Even if attacked by a monster. when you move forward in your turn to press. I always follow their intention. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. push or strike. Using this. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. no matter how hard they press. 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). also states: “No one knows when I gather or stretch. results in the shaking off of the opponent’s upper body and lifting of their lower body.” This technique. none of your opponents can defeat you. the 14th generation master. utilizing the techniques of Kao. I can conquer a force of a thousand jin with a tiny force of four Liang.” Chen Changxing. I follow my partner. whether they strike or twist. push or strike your opponent you do so without alerting them in order to capture their energy. whether ascending or descending. I perform strictly to the principles so as to make me unassailable. 王 西 安 8 . and is worth remembering. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages.
陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . As a science. I sincerely hope Taijiquan followers will embark on a serious study of this art and strive toward the as yet unbounded acme of this science.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. In order to inherit and develop this Chinese cultural heritage. Here. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. One with four Yin and six Yang is among the group of the adepts. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. Only one with five Yin and five Yang is called adept. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. requiring us to further our exploration and improve our practice of it.
. Zhong Quan (medium circle) At this stage.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. with fuller details available in Chapter Two of my book. 2. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. 2. as stiff as a stick’ evolves to ‘two-yin eight-yang. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. Correspondingly. still regarded hard’ turns into ‘fouryin six-yang. ‘Chen Style Taiji Laojia’ (Old Routine).陈 氏 太 极 拳 推 手 技 法 1. one comes into the group of the adepts’. is San Shou’. The three stages of Taijiquan are: 1. Zhao Shu (familiarity with the forms) Outer form drives Qi. 3. ‘three-yin seven-yang. Dong Jin (realizing the inner energy) Qi drives outer form.
We must pay attention to different methods during different stages of practice. and does not mean total stillness. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. medium and small circles. as well as the combination of the respective techniques applied in the big. enjoy a feeling of lightness. at the first stage. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). Note that ‘no circle’ denotes a state of subtlety and skilfulness. At the second stage of Dong Jin (realization of energy). along with the Tuishou practice of Zhong Quan (medium circle). one is regarded as a Deity’. the complete fusion of external form and internal spirit. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. and be able to achieve constant internal changes between Xu and Shi (void and solid). along with the Tuishou practice of Da Quan (big circle). possess abundant internal energy. in addition to a diligent assimilation of knowledge. that is. That is to say. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). random alternations between states of energy gathering and releasing within a relaxed and elastic body. By this stage. all parts of the body become as highly sensitized as finger tips so that when competing. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). At the third stage of Shenming (deity). Following a correct program of practice as outlined above. an adept may say.3. that is.
if you don’t make efforts to go forward. as our ancestors tell us. This is not unattainable. “Taiji practice is like rowing in the river. even though I don’t know how I do it’.” 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. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void).
This is called.e. While appearing deceptively easy. 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. ‘thousands of Jin’ (i. Remember too where your weight is placed to maintain control of your centre of gravity. ‘Weak side strikes strong side. It simply requires practitioners to have sufficient physical force for competition. These reflexes are faster than thought and only come with constant practice. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. hence it is essentially a competitive activity. the stronger force) also can defeat the weaker force. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. they are able to strike back instantly in response to an opponent’s movement using conditioned reflexes derived from highly sensitized skin alert to every minute stimulus. The Only criTeriOn TO judge The gOngfu Of Taiji Not only is Tuishou a reliable test of one’s level in any martial art form. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. four Liang defeats thousands of Jin’. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. It is this dynamic that we need to explore during practice. tough energy. nor is it just a matter of pitting one’s physical force against others. Hence. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. no techniques can be executed. Skilled practitioners rely on a highly developed sense of touch. Nevertheless.1. Ding meaning ‘stiff resistance’). Tuishou develops one’s sensitivity to others.5 TuishOu. However. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . softness can break through hard. When forces are equally matched during competition. Without the latter. In other words. meaning ‘loss of energy’.
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 .
Similarly. the act of ‘listening’ has profound resonances. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. ‘Without being known. Hence the saying. position and magnitude. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. With your skin. At this stage. her body light and flexible. I know others and sweep all enemies aside. follow) as fundamentals. What is listening with the skin? It means following the command of the heart and mind. her changes in rotation. and taking Zhan Nian Lian Sui (stick. One’s skin is the key weapon. During Tuishou sparring. the skin. Listening can be divided into three areas: listening with the bones. sensing through the skin enables reaction in any manner within the rules. a rise or fall in height or changes in weight. one’s force is injected into the marrow. adhere. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. On receiving these signals. The entire body surface of a high level practioner is highly sensitive. but also with the eyes. a practioner’s body can react instantly with great accuracy and flexibility. when an opponent touches one’s fine body hairs.陈 氏 太 极 拳 推 手 技 法 2. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). continue. with the skin and with the fine hairs on the body surface. filled with abundant internal Qi. and a highly-tuned awareness of sensations in the heart and nerves as well. allowing both body and mind to enter into the level of deity and transformation.’ 王 西 安 16 . alluding not only to listening with the ears. squeeze and press. feel your partner’s movements. What is listening with the bones? It is the ability to anticipate an attack by listening through the skin and responding swiftly to an opponent’s attempt to seize. no matter if the changes are in the opponent’s rotation.1 lisTening TO energy In the context of Taiji and Tuishou.
Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. you fight back. emptiness. ‘clear manifestation of emptiness and solidness’. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. making all one’s muscles stiff. very few achieve the ability to listen with the skin. As Sunzi Bingfa says. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. slow. calm. Failure to do so will cause one’s energy to remain stuck in the chest. descending. solidity. In all this. that is why it destroys the strongest of enemies”. defending and attacking blindly. which is essential for constant adjustments to frequently changing circumstances. special attention should be paid to ‘the intervals of fastness and slowness’. Just as a deaf person is unable to comprehend a conversation as he cannot hear. You will look without seeing. listening would be impossible. Without this preparation. let alone the attainment of energy for combat. ‘descending Qi and steady steps’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . How good it would be to attain this level. Nervously. Your reactions will become slow. so a practioner cannot generate energy for sparring if he or she is unable to listen. your judgement confused. leading only to failure. Listening is essential to Tuishou. where every knot of one’s body opens and stretches without crude force. While the majority of practitioners are able to listen with the bones. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. opening and closing (快、慢、沉、稳、虚、实、 开、合). your listening untrue. blood and breath. Only through accumulated practice can one’s sensations detect the smallest changes. until it is too late to repel danger. “The most super-human strategy is formless and soundless. listen without hearing. rising to the upper body.
Qin (intrude). Cuo (rub). Teng (jump). Duo (escape). you cannot realize it. 化hua – change. new challenges such as ‘being too fond of competing’. Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. Ji (hit). straightness and curvature. Peng. Meng (sudden). Failure to overcome these shortcomings would be to fail to realize energy. Ling (pressing). Dang (block off ). Ya (push down). You may find yourself being too stiff (Jiang). magnitude and hitting point. Realizing energy is based on listening. Fa (引yin – lead. Hun (mix up).2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Di (resist) and Gun (roll). Tui (push). vertical axis and flexibility. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. 发fa – explode) at the appropriate opportunity. speed. length. Jia (stiff ). Bo (move with hand). Without ‘hearing’ the energy of one’s partner. Ba (seize by force). Lou (hold). Shi (tight). Qi (insult). Na. Shan (dodge or flash). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Ke (knock). Even for those who achieve this skill. your posture too straight (Zhi). you cannot note any of the above changes in the oponent. Pai (squeeze out). An (press). your energy too resistant (Ding) or being lost unnecessarily (Diu). We call such shortcomings. the ability to circle and the principles of Zhan Nian Lian Sui. Zhe (hide). Hua. await them. While beginners may find this difficult to achieve. Li (leave). transform. this skill may eventually be attained with diligent practice and a good teacher. It is the ability to note present or potential changes in emptiness and solidity. Ba (pull out). 王 西 安 18 . Be warned that mistakes will occur on this learning path. Zhuan (cheat). that is. Zhi (straight). Gou (hook). Gua (hang on). Zhan (chop). direction. Ting (stick out).陈 氏 太 极 拳 推 手 技 法 2. Ying (stiff ). hardness and softness. 拿na – capture. “faulty palms” or “faulty body”.
these eight techniques form the method for Tuishou. dodging. 14th generation Taiji master from the Chen family. changing one’s centre of gravity and flexibility) in synchronous movements. and shares many common principles with Sanda (free sparring). Lü. utilizing the techniques of Kao in spiralling. form and quality of Tuishou. Whilst acknowledged as a combat technique in its own right. developed from further transformations of Tuishou routines. hence its continuing ties with Tuishou and. they share the common practice of ‘realizing energy’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . ‘The Taijiquan Formula’: No one knows when I gather or stretch. Sanda complies with basic Tuishou principles. As Chen Changxing. Ji. ultimately. jumping. striking. The quality of one’s form practice and Tuishou level speaks for itself – it is reflected in one’s ability to freely move forward or backward. Sanda can simply be taken as a higher evolution of Tuishou. no matter if they use the technique of Kao or twist. Lie. is misleading and does not take into account its fundamental role across the Chinese martial arts. Tuishou is the combat application of Zhan Nian Lian Sui. Concordant with the adage that ‘external forms are the method and the pathway’. angle. rather than use them as disparate forces to enhance one’s attacking prowess. When attacking. Cai. the poplular stereotype of Taijiquan as a non-combat. and also in one’s facilitiy with the eight energies or techniques (Peng. An. relaxation and health practice for the old and infirm. with Taijiquan. Ultimately. In effect. which is used not only in Tuishou. transforming. look around and maintain an upright axis during Tuishou practice. but also in the combat arts and and Sanda (free sparring). Zhou and Kao). grasping. I follow my partner. Hence. In fact. Whilst all Chinese martial arts possess unique characteristics. I always keep remembering to follow their intention. the Tuishou practitioner must aim to apply these techniques (seizing. twisting. falling.The practice for ‘realizing energy’ also tests one’s position. says in a verse from his book.
Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. With the development of modern weapons. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. The third. Again.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. Hence. As mentioned. to forget about one’s own intentions and follow the opponent’s. the Chinese martial arts have evolved into health and fitness promoting practices. step by step. Li. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. fourth and fifth sentences refer to the application of Taiji Sanshou. until I come to the level of Deity”. Everyone knows how to hook. ‘listening and realizing energy’. The second sentence of the verse means to follow the other partner’s intention while circling them. Indeed. ward off. this verse confirms Taijiquan as a profoundly practical Martial Art. to the realization of energy. press and hold back. 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. “From the familiarity of forms. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. The attacks from me by twisting. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. that is. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. and horizontal Cai are also irresistible. Chen Xin once said. we can clearly see that in all movements. leading to a wider understanding of the profound benefits and applications of Taijiquan. In addition to applying Master Chen Changxing’s advice. strike. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. The author stressed the importance of ‘follow’. adaptable to both Tuishou and Sanshou. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . to act naturally and follow one’s intention. that is.
direction and the position of a partner’s energy flow. to one’s opponent. on reaching the final stage of ‘deity’. 2. so that he finds it hard to escape. and come to realize the laws of movement and force. Conversely. Tuishou practice cultivates the capacity to know others.” Zhan literally means ‘stickiness’. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. extent. while Tuishou exposes the quality of Zhan Nian techniques. that is. It is commonly used in attacking strategies. magnitude. and its natural and intuitive use. with which one’s opponent will find difficult to escape. this results in a deeper and more precise understanding of energy. will be able to instantly sense the delicate changes in the movement. Zhan Nian techniques develop one’s capacity for high precision.effectively. like glue. At this point. the adhesive force that allows a practitioner to become strongly attached. Zhan Nian energies work as a pair. “Form practice is the essence of Zhan Nian training. Through reeling-silk practice. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. the first being ‘familiarity with form’ and the last being ‘realizing deity’. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. in this way maintaining the upper hand at all times. Whilst it is said that form practice cultivates a capacity to know oneself. capturing and transforming his energy and using it to attack at the first opportunity. Nian means to chase and follow one’s opponent. This is why it is said. This ability comes through great patients and a life-long perseverance of effort through the three stages. A practitioner.3 zhan nian Techniques Zhan & Nian are forces directed forward. Ultimately. Only with the awareness of both oneself and others can others be conquered.
During Tuishou. continuous and diligent practice.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). and then through the entire body. This is why it is said that at this relatively high level. When Zhan Nian techniques are applied. Not an easy task for ordinary practitioners. victory or defeat is decided in an instant. these techniques will lead the opponent into faulty moves. but even many long-term practitioners find total understanding or realization elusive. inflexible muscles and joints. but certainly achievable for diligent practitioners with good teachers. and forget my own’. 王 西 安 22 . slow reactions to slow attacks’. beginners find Zhan Nian energy difficult to comprehend let alone detect. and so on. ‘Fast reactions to fast attacks. ‘I don’t move if they don’t move’. flow up the arms to the shoulders and back. It is Zhan energy that envelops the body. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. the practitioner can exert Zhan Nian forces towards the opponent. Understandably. ‘I move before them on feeling their slightest motion’. have failed to attain high proficiency in the art. especially those who. yet arrives at the hitting point earlier than the opponent)’. one can never accomplish quality ‘chasing’ (Nian). 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. as reflected in their stiff bodies and tense. Ultimately. an internal energy manifesting externally. ‘I win by striking after the enemy has struck (My fist starts late. Simultaneously. Once the whole body is enveloped. as indicated by these teachings: ‘Follow my partner’s intention. 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. despite prolonged practice.
the opponent cannot escape because if one follows closely using Zhan Nian. including consistency. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. Unless one follow’s the opponent with Lian (co-relation). how can Sui be achieved? Sui technique means to react. slow reactions to slow attacks. follow and move in the same direction as one’s opponent. ‘to react while following’. no resistance). Lian has a rich amalgam of meanings. It can be summarized as ‘co-relating to the opponent’. emerges from the application of Lian. Sui. moving effortlessly between quick/slow and forward/ backward movements. and no chance to escape. ‘Bu Diu Bu Ding’ (no loss of energy. Without Zhan’s adhesive force over the partner preventing escape. continuity. so that ‘as one falls. that is. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. In so doing. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. another rises’. Once palms come in contact. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . fast reactions to fast attacks. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. Lian is dependent on one’s use of Zhan. and can only exist in the presence of the latter. one observes and reacts to the opponent’s Zhan Nian techniques. non-pressing.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. Lian Sui means to follow the partner constantly and closely thereby preventing their escape.2. adhesiveness. taking any opportunity to attack. Used in concert with Zhan Nian energies. there can be no Lian. non-forcing. can we execute Yin Jin Luo Kong efficiently.
therefore it is advisable to practice the combined application of both. upper and lower coordinate any motion in the middle. As the teaching says. Lian and Sui can never function without the other. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. It is vital that beginners are able to feel the movement of internal energy inside their bodies. applying Lian Sui provides a good opportunity to observe the partner’s weaknesses: “Lian and Sui are the means to mislead the opponent into our territory and to put them into a passive position. without any break in flexibility or continuity. the basic ability to follow the opponent’s movements. Beginners may attain the preliminary stage of Lian Sui. Adepts. whether through form practice or Tuishou”. 王 西 安 24 . Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. on the other hand. so that they can ascertain if their energy levels match the purpose and intention of their actions. successfully use Lian and Sui to attack and prevent escape.陈 氏 太 极 拳 推 手 技 法 As a teaching goes.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. following their energy flow without interruption. “The lower body automatically follows any motions of the upper body.
so as to mislead my partner’s energy and upset their centre of gravity. the adept draws the opponent into his or her domain. I lower my body then stretch my right foot toward his or her crotch. For instance. or feet to upset their centre of gravity. When we feel the changes in our opponent’s energy flow. While moving. using our arms. As Chen Xin explains. knees. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . we should apply She Ji Cong Ren without being detected. Yin is the ability to draw the opponent’s energy into one’s control. turning left or right. hands. 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. reeling my back inward before suddenly striking outward.2. I apply Shun reeling downwards. Literally meaning ‘to draw’ or ‘to lead’. we then use our shoulders. palms. elbows. and cannot exist without Yin first being applied. Once neutralized. going up or down. When applying Yin. Use these principles whether you are going backward or forward. neutralizing any opportunity for attack. then gradually upwards. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). hips. and in this way mislead and neutralize your opponent’s energy. Hua is the transformative force. Using these complementary techniques.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. one should avoid Diu and Ding (losing energy and resistance). A particularly effective combination is Luo Kong. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). legs and so on”. if my partner presses my right arm with their palms. Note that while applying Yin and Hua forces. hence ‘misleading’ and transforming the opponent’s energy. using Lian Sui to follow their energy flow.
In Tuishou and San Shou. using all these techniques to mislead my opponent. explode energy as if releasing the arrow”.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. Opponents will feel as if their tendons and bones are about to break. When I attack. destabilizing their centre of gravity and transforming their energy in order to conquer them. i. I know my partner without being known. and hence the harder the opponent falls.e. 2. the further one’s arrow flies. depending on circumstances. look one way and go another”. they are conquered. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. rotate an opponent’s joint towards its unnatural direction. shock. my Taiji harmony within emerges so that even ghosts fail to predict my next move. just as one should attack forcefully without hesitation. so as to accumulate and release energy effectively. Any hard fan guanjie (joint twisting. sweep. and their pain penetrates right to the marrow. As Chen Changxing advises. the more one stretches the bow. In this way. tie up. I “roll over. It is important to remember that one must gather energy well before misleading one’s opponent. wrists or hands to inhibit their rotation or movement. dodge. However. he or she can easily capture his opponent through the combined use of all . Hua and Xu (gathering). elbows. Instead. touch. one must cultivate the forces of Yin. hence rendering them helpless. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. As Chen Xin suggests. That is to say. meaning the direction which hurts the natural structure of joint. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. that of Taijiquan is accepted as the most refined. “gather energy as if pulling on the bow.
I utilize Na to prevent my partner from escaping or from transforming their energy. To apply Na effectively. agile. This is called ‘dual-utilization of seizing and gathering’. If you fail to attack lightly and skilfully and your intentions are detected. transforming and striking. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. This is why it is said that Na is the pre-condition of Da. you must react quickly and flexibly to any changes in your opponent. The seizing technique in Tuishou is very important. applying the energy smoothly and judiciously without over-exertion. These recovery measures also depend on a light. a Tuishou practitioner can exert the invincible might of Taiji. in order to strike well. so that I can strike them cleanly and successfully. Shuai (throw). Hua (transforming) are all preconditions for striking (Da). ‘Only this. If he or she succeeds in escaping. you still have the opportunity to move in quickly and seize them by their palms before they move away. ‘Na (seize) always goes with Da (strike). you need to seize first’. Indeed. thus reaching their goal. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. In Tuishou. Zhua (grabbing). 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . techniques such as Zhan Nian Lian Sui. Na (seizing). I move using the principles of Qing Ling Huo Qiao (lightness. so that I may capture my opponent without hesitation or detection. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. With the combined application of seizing. There is a saying. When utilizing Na. flexibility and skilfulness). strengthen your force so that your opponent finds it too difficult to escape or transform their energy. throwing.’ as Sun Zi Bing Fa says. ‘is called the “best of the best”’. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. agility. Tuishou accentuates Taijiquan’s martial power.their gathered forces.
just as it is stated. Miscalculations often result in injuries. If you fail to Peng (ward off ) your opponent adequately. When relaxed. In peace every part of my body moves at the time of movement’. your centre of gravity destabilized and you will find it difficult to protect yourself. include controlling one’s speed and magnitude of attack. stomach and the protruding and concaved parts of the shoulders. Na technique works together with Cai technique. Na is the synchronous manifestation of the internal and external. use the Na technique carefully to avoid hurting your sparring partner. twist his right arm inward with your left hand. in which case. stomach and legs. By relaxing. making sure your hitting points are clearly defined. whether you exert Na by the co-ordination of your hand and chest or with your ribs. Then strike directly forward in a spiral and hit your target accurately.’ 王 西 安 28 . and all parts in a gathering motion. he will be able to press forward. Exert your energy first lightly then with force. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. seize him then guide his pressing force into your territory using Lü energy. remember to maintain a relaxed state by lowering your whole body. application of appropriate angles and techniques. ‘No part of my body is not peaceful. ‘Never be rude and rash when you begin to practice Na. If Qi ascends. you have no option but to relax your joints. especially amongst beginners. How then can you hope to seize another? Indeed. Common problems.陈 氏 太 极 拳 推 手 技 法 When applying Na. Next. if you want to seize your opponent. your chest rolls inward naturally. and your ribs. every part of your body works in harmonious cooperation. Using this will overcome the opponent without fail. the targets for both being the arms. hence it is advisable to heed the teaching. shoulders and crotch all gather downward in concert. your root will become unsteady. chest. releasing your force like bullets rushing out of a gun. and sensing the amount of force the partner’s joints can withstand. with no part tense. Never let Qi float upward and never let your feet lose their roots. both palms covering his right wrist. During practice.
opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. Indeed.Work on your technique step-by-step: develop a closed crotch. As Chen Xin says. preserve. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. Gather the ribs. one cannot ‘open’ without first being ‘closed’ and vice-versa. In all Tuishou and Taiji movements. Inhale from the stomach so that it remains solid.7 Opening and clOsing In the martial arts. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. Remember – to attack your target with agility and flexibility requires long accumulated practice. Even masters of Chinese philosophy – Kungfuzi. 2. bend and gather. As complementary opposites. Keep every joint relaxed before you exert Na. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. opening and closing illustrate the subtlety of Taijiquan. This is an important concept which bears deeper contemplation. Sanda and form practice. OpeningClosing techniques. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). transform. Opening (Kai) means to stretch and reach. Closing (He) means to draw in. making sure all movements are steered by the waist. Mengzi. solid stomach and slightly concave chest. relax the shoulders. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . gathering versus exploding. just as Chen Xin mentioned in his works. are widely used in Tuishou. often meaning to ‘guide and attack’ in the martial arts. every part of the body is engaged in the action of opening and closing.
if your energy is gathered and conserved well. sometimes appear before our eyes. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. pressing the ground with your heels to empty the Yong Quan points. your intention (Yi). In practice. muscle energy (Qi). and sometimes they disappear. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. forceful. you will find your opening powerless. that is. external shape (Xing) and spirit (Shen). filling you with great vigor. Thus positioned. so that your targets become accurately defined and attacks successful. Yi moulds changes in external shape while Jin (force) rises with Qi. grasp the floor with the toes and soles. swift and powerful. the rebounding force exerted by the ground can be used to energise any upward movement. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. so that all parts of the body work together. Likewise. Without closing well. this means that one needs to be closed first before one can open.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan.’ Only diligent practitioners have the opportunity to experience this phenomenon. The quality of the effort you put in to closing determines your ability to open with power and effect. Kai (opening) energy originates in the root of your body. While standing. but also to coordinate the heart (Xin). crude and slow. As the saying attests. ‘Opening-Closing. you will find that Qi penetrates your whole body more smoothly and powerfully. The Opening-Closing technique starts from the closed state. 王 西 安 30 . since Yi (intention) follows wherever Xin (heart) goes. the louder the explosion. Closing not only means to bend and withdraw your upper body. these changing motions. every part of your body follows suit. with the qualities of both solidity and emptiness. Your heart acts as the guide and leader during energy explosion – when your heart opens. from the soles of the feet. your ‘opening’ explosion will be natural.
Exploding energy at close-range is best as Kai energy. is limited by its short duration and small coverage which extends only as far as your body. The explosion should be short. After exploding energy.33 cm. while being mindful of the adage. you will need to drop and relax the shoulders. strikes may not find their mark. you need to train your muscles in relaxation and gathering. presenting your partner with opportunities to attack. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . roll your chest slightly inward. or you may find your Kai technique lacking in power and precision. the energy released unhindered. To master this elastic force.As you explode energy. This energy originates from the soles of the feet. which then distributes it to the other extremities. flexible and compact enough to mislead and upset your opponent’s centre of gravity. then spiral your internal energy up the legs to the waist. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. Practitioners also need to build-up a reasonable level of muscular strength. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. or worse still. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. The solution is to make your energy round. albeit swift and powerful. keep your elbows down. Beyond this range. then to every corner of the body.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). spirals up the legs to the waist control-center. lower your waist and let Qi flow along the spine. and to develop high sensitivity and rapid responses to external stimuli. 2. the whole body returns to a state of softness and relaxation. your centre of gravity may be lost. land on the ground on your in-steps. To gather energy of this quality.
Your performance in competition depends not only on the quality of your sensitivity. straight forces. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. frictional forces. one must explode energy smoothly. dissipate or absorb her external force. but also that of your internal energy and combat strategy. horizontal forces and so on. Constant diligence. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. internal forces. it is necessary to distinguish clearly the respective functions of internal force and external force. flexibly and harmoniously. which manifests as our weight. 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. your opponent is vanquished. and with that outburst. However. The main external force that we humans experience is gravitational force from the earth.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. abundant internal energy and intense physical and energetic concentration. To do this. spiral forces. utilize. there are also a myriad of other forces which influence our bodies – supporting forces. all these are prerequisites to “destroy something already in a state of ruin”. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. The force that you and your partner exert on each other in Tuishou is external force. and to explore the interactive relationship between them. consistent good performances will not be achievable. transforming and attacking are closely related. Without these. Failure to counter your partner’s force means. The external force of both parties affects each’s internal energy flow. you must practice Changjin 王 西 安 32 . Transforming and gathering are complementary and cannot function without each other. in effect. that you are unable to neutralize. not relying on rigid or crude force. counter forces. and exploding energy with elastic vibrations. Gathering. though random wins may happen. To combine the power of the three. skilfully. not strength”. When doing Tuishou exercises.
This means that if one finds it difficult to attack from a distance. during Tiaozhou practice (upward strike with elbow). Only very high-level practitioners may achieve this. At the transitional stage between ‘Three-Yin Seven-Yang. leading to very smooth and swift responses. Continue developing these techniques step-by-step until the level of deity is reached. will find the opponent flung far and wide. one should not attack at close target. despite its ferocity. easy conquest of the opponent does not necessarily follow. Alternate between these three with slow. imagine a line between the navel and Mingmen. even with the slightest touch. instantaneous. Still Tough’ and ‘Four-Yin Six-Yang. below which energy flows downward and above which energy flows upward. while downward flowing energy helps maintain a firm and stable root. elastic or vibrating variations. Good Hands’. there would be no striking the partner from one inch”. An attack. and even when elastic cunjin (hitting a target at very close range) is executed. At this level of Gongfu. it is not advisable to exert Changjin (long energy). you will find it easier to hit targets more accurately and swiftly. To reach this level. quick. as their attacks flow naturally from their heart and intention. Close-range attacks require a high-level of competence. Upward energy and downward energy exist in opposition to each other. beginners need to do the following: do the big circle practice. the medium circle practice.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. “Without striking the partner from a distance of three metres. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . As it is said. For example. the whole body moves as a synchronized force to follow the slightest movement of intention. By mastering the key points of energy explosion. especially exhaling-inhaling and opening-closing motions. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. and the small or no circle practice.
and intention into one entity. First. powered by upward spiralling energy. while you keep your intentions and energy flow undetected. shadow your opponent with agile steps. Even if not thrown completely off balance. and may lead to loss of control. combine your rising force with your elastic force. keeping your axis upright and combine your eyes. The rising force is difficult to use if forced. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. then your instant and precise attack can never fail”. To conquer your opponent.9 Ti (raising) fOrce Ti means to ‘rise spirally’. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. Using Zhan Nian Lian Sui. As Qi flows up the spine. while you maintain a state of relaxation.陈 氏 太 极 拳 推 手 技 法 2. heart. The arms and legs work together. your opponent’s upper body will shift out of their control. skilfully changing your tack to distract them from your true intentions until you have destabilized their centre of gravity and they are caught off-balance. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. When applying Ti. waist and arms. This means that no matter what Tuishou techniques you use. Instead. At the same time. never let your partner know your intention before you act. rotate your Dantian so that your body lifts with greater speed and accuracy. To lift your opponent up with Ti requires the combined effort of legs. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. To apply Ti successfully requires the whole body to work in coordination. Remember to maintain full concentration. 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. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 .
you will lose awareness of your physical body and location. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . The Reeling Silk consists of great varieties: reeling inward. and not even know from whence your power emanates. For beginners. reeling to the left or reeling to the right. You will attack like a flying dragon. you will be able to transform energy while striking. until it reaches the fine hairs of the skin. their root and they will certainly fall. your force will reach its target just with intention. 2. Mastering this energy requires much effort and practice. You roll. you will find it easier to follow. follow the primary principles and develop your skills stepby-step. walk with such assurance as to shock evil spirits. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. tie. When this happens. mislead. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. reeling upward. go forward or backward. but once attained. so you feel able to “protect your descendents and kill the rebels”. Though undiscernible initially. Attaining high-level skills will make you braver. reeling outward. passes through the legs up the spine and arms. on the verge of losing their centre of gravity. your attacks will never fail. you will come to sense it with practice. as it emerges from the feet. Adequate practice will naturally lead to success. whether you rise or descend. transform and defeat your opponent’s attacking energy. revolving energy which originates internally in the body.10 reeling silk Reeling Silk is a spiralling.and power. Do not try to strike others before you have attained a reasonable level of competence. and manifests externally as it permeates through to the fine hairs on the skin. touch or sweep in response to the circumstances and you remain always observant and alert.
maintain the interplay between solidness and emptiness. Be humble and respectful during form practice. remember to keep your Zhongqi (energy to keep your axis upright). While reeling. remain balanced. misleading) always comes with Jin (approaching forward or attacking) and vice versa. all these reeling movements are always comprehensively combined together and closely connected. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. quiet and calm. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. reeling forward and backward. The solution lies in the middle path: keep a balance between softness and toughness. and thus renders you unable to react properly and to be easily manipulated by the opponent. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. When being utlilized. reeling to the front or reeling aside. reeling horizontally or reeling vertically. and so on.陈 氏 太 极 拳 推 手 技 法 small circles. 王 西 安 36 . Yin (guiding. When using Reeling Silk energy. one must avoid being too soft or too tough. focusing your energy internally and guiding the flow of your responses from Yin to Yang. Shun reeling (conforming) and Ni reeling (contrary). and apply opening and closing techniques. As for posture. excessive toughness makes you get too rigid. collapse the waist and establish a stable centre of gravity in the legs. Keep a firm root.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
goes through the Sanguan (Three Gates). This practice requires a solid foundation in preparatory exercises. Lü. 王 西 安 38 . Because Yilu lacks speed and Gang (tough) energy. you need to execute Jin (go forward).1 Yilu cultivates Qi. Faji (attack) effectively under any conditions. Ti. if practice is diligent. 3. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. To win. as well as techniques focussing on various target areas of the body. Tui (go backward). Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng.’ In this way.1 inTrOducTiOn This is a practical lesson in combat practice. where ‘Qi spreads to the whole body. Single Form practice is vital for hand-to-hand Gongfu combat. Qi will flow around the body to the extremities and skin. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Shan (dodge). Hua (transform) and Na. An. Cai. full relaxation of the joints. keeping your energy tracks undetected by the opponent. This means that Yilu fosters Zhongqi so that. Ji. movements gradually become agile and flexible. Shuai (fall). Zhou. for example. It also demands a period of diligent practice to ascend gradually through the primary. so the Single Form Practice and Erlu help to compensate for this disadvantage. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. As we know.陈 氏 太 极 拳 推 手 技 法 3. and exerting energy too forcefully (Ding) while exploding energy. A wide variety of single movements must be practiced repeatedly.1. Erlu explodes In this technique. who is then inevitably conquered. Kao. Lie. relaxed and soft. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Da. medium and high-level stages. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. Erlu and Single Form practice help to accumulate and strengthen Gang. Zhan (battle).
elbows. Significant gains may be attained by practicing the single forms step-by-step. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. inner meanings of the mysterious art rather than a competition. If prolonged. He was known to say that he found throwing partners too easy. they always got hit and thrown to the ground. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. Though widely differing in style. you harvest. Single Form practice is of vital importance. hands. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). after you practice the form ten thousand times’. To do otherwise would be to ‘attend to trifles and neglect the essentials’. Lastly. such as: ‘Profound principles emerge by themselves. 拴Shuan (tie). so that the path to deeper understanding and realization may be paved. we have Master Feng Zhiqiang who is venerated for his steady. ‘Skills come naturally when you are familiar with forms’. you fail’ and so on. 搭Da (touch) and 扫Sao (sweep). more like a relaxing stretch to enjoy the subtle. each have their own unique combat style drawn from continuous tempering in their practice. back. Chen Zhaopi was the undisputed master of 滚Gun (rolling). sober movements and his relaxed yet vigorous energy explosions. No matter how steady his partners stood in the beginning of a fight. legs and hips using relevant principles. the seizing techniques of Eagle Claw King. you don’t. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. These clearly advise diligent practice of the shoulders. resulting in loss of vigor and effectiveness. ‘You practice. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner.Gongfu masters. neglectful practice becomes increasingly difficult to rectify. Well known examples include the foot techniques of Li Bantian. be they exponents in internal Gongfu or external Gongfu. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . Hence.
With one hip relaxed and the opposite foot slightly touching the ground. pedalling forward. 3.2 feeT pracTice Feet practice includes the following movements.2. trampling. horizontally. 王 西 安 40 Fig. upwards and sideways.1 . 3. alternating between both legs: kicking forward.陈 氏 太 极 拳 推 手 技 法 3. chest rolled slightly inward. face to the front. swinging up and down and so on. stomach gathered and head suspended from above.1 Exercise One • • Squat slightly. bend and raise your knee slightly.
up and down.3. pedaling. • Relax the feet so energy can reach the toes where it is required. make sure your in-step is stretched moderately tightly. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2. feet hanging backward and so on. upward and downward swing. collecting the energy at the abdomen. bend the other leg with toes grasping the ground to maintain a firm centre of gravity. • Roll the chest inward and aggregate energy with the whole body. horizontal.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. stepping. sideways. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. • Kicking smoothly. 3. Descriptions of some of these exercises are provided below.2 41 .
3). for example. Beginners should practice slowly. they will be able to direct energy explosions to targets with precision and ferocity. At this point. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. . 3.5).3 • This technique is applicable to the toes. It should be practiced with both feet so that.陈 氏 太 极 拳 推 手 技 法 Fig. use the rebounding force of the earth to bounce up and propel your kick (Fig. 3. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. edges of the foot plate and the sole (Fig. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form).4. 3. On landing with either foot. 3. if you kick with the right leg. your left foot prepares to kick with the toes or instep as the right foot lands.
3.6 43 .5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4 Fig. 3. 3.Fig.
usually the opponent’s chin. instead. The kick should be light. 3. The whole body must be kept balanced and straight when kicking upwards. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. . practice kicking with each foot sequentially. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. • Switch your centre of gravity to the left foot. a principle also applicable to the Double Kick (Er Qi Jiao). The Upward Kick should match the rhythm of the hands’ movements.陈 氏 太 极 拳 推 手 技 法 Fig. flexible and quick. There is no jumping in the Upward Kick.7 The Upward Kick is used for high targets.
3. 3. cup your right fist and left wrist together in front of the chest. feet firmly grasping the ground. raise the right knee gradually (Fig. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. all the while rolling the chest slightly inward. exploding energy as quickly and fiercely as you can. 陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 45 .8). Then empty the Yong Quan point. standing with left leg. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. but try to keep some weight in the un-weighted side as well. keeping the right foot at the same distance from the left foot as before.• Bend the left knee. grasp the ground with the left toes and. As your right foot explodes energy stamping downward.8 • • • Then stamp your right foot on the ground.
王 西 安 46 .9). and then withdraws elastically like a rubber band springing back into shape.10). The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. 3. 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. In Single Form exercise. The key points here are the same as those for the previous segments. Kick as high as your opponent’s stomach and chest.陈 氏 太 极 拳 推 手 技 法 Fig. 3.9 Regardless of which leg steps forward first. 3. practice with the left leg) (Fig. remember to follow instantly and quickly with the other leg. e) Forward Kick This consists of a straight kick forward with the sole of the foot.
11). 3. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. prepare well by relaxing the chest and stomach to ensure your kick is fast. 3. Before kicking.Fig.10 Fig. with hitting points mainly on the inside of the foot (with the occasional use of the outside). • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front. fierce and perfectly targeted. As you reach a higher level of skill.13). 王 西 安 47 . Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity. sometimes with the soles. 3. 3.11 Kick mainly with the heels. 3.12) and the Outward Kick (Fig. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig.
Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. explode energy like releasing the arrow”.12 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). 3. this reflects the relationship between Yin and Yang’. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. the whole body gathers together then opens up with an explosion of energy. In the Sideways Kick. 王 西 安 48 • . 3. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. while the body becomes straightened when kick is streched). with the hitting points mainly on the outside of the foot (occasionally inside).13 • The Outward Kick is executed outward and upwardly.
Eye your target and prepare for the kick by gathering your internal energy and lowering it.14 49 . Before kicking. 3.15). Squat slightly. then bring it backward (Fig. which allows you to use quick and continous forward steps. Your swinging foot is targeted at the back of the opponent’s head. While swinging outward to the level of the shoulder. toes grasping the ground and all muscles of the body relaxed. smack the foot with your hand to ensure the integrity of the energy.14).g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. 3. turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. 3. If kicking with the right foot. then swing it outward in a natural arc. Kick upward with the back foot. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. be it with the right or left foot. Always coordinate the kick with your hands. while your hands are targeted at the face. use the Gen Bu (follow-on Steps).
3.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. I smack in the air by switching into the track of a swing arc. 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility.15 With openings and closings. I take the back of the opponent’s head as target. And smash enemies to pieces. And kick upward along with palms coordinated with Lü. .
otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. palms facing outward. depending on the distance between you. • Use both hands to execute Lü on one arm of opponent behind the body. • The foot hangs to the calf suddenly to make the opponent lose his balance. • Pay attention to that you finish this action with the guiding of the waist and back. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . remember to balance upward Long (close) movements with downward Ti (raise). Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. • Hang one foot backward. coordinating both with Tou Bu (sneaking steps). Gua (hanging) and Gai (covering) in a second. • Swing both hands backward to the side of the back hanging Foot. You should finish Lü. • The action must be quick and powerful.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). The powers of hand and foot combine together. No matter which you use. During solo practice. • Hold the body in a squatting position for the next few movements. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. rotating it slightly so that it slants to one side. keep your footwork flexible and neat. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward.
Hold your position and collect yourself enough to kick upward then swing downward. Move forward with Tou Bu (Sneaking Steps). I explode my energy with the rotation of my waist. 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. Then lower your foot to the ground. twisting the waist and rotating the back to exert more power (Fig. . As a Tuishou poem states: With Yin and then Jin techniques. And enemies fall to the ground with face to the air.陈 氏 太 极 拳 推 手 技 法 Fig.16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. 3. I take the opponent’s upper body and chest as target.16). And kick upward along with palms smashing downward. your face looking upward. 3.
陈 氏 太 极 拳 推 手 技 法 王 西 安 53 . 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. Practice this transfer of weight by alternating the legs.g. 3.19). 3.Fig.18. mindful that while one is in the air. these may not provide an accurate picture of weight changes required in practice or combat.17). 3. Note that while weight distribution ratios may be used as a guide (e. 40:60.. 20:80). The attacking leg must be flexible enough to swing to the left or right. Use Front Bow Steps to practice this movement (Fig.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. since these are in a constant state of flux depending on the circumstances. 30:70.
3. 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’. so that the strikes are as rapid and powerful as possible. 3. shock their lower limbs and unbalance their upper body with my feet. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. .陈 氏 太 极 拳 推 手 技 法 Fig. waist and hands.19 Using Short Energy: Short energy should be used in both inward and outward kicks. I explode and shock the ghosts.18 Fig. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. making your intention easily anticipated. As one master said: 王 西 安 54 I move my centre of gravity.
Use intention (Yi) rather than physical force (Li). making sure your leg is no higher than 15 cm above the ground. step your right foot 40 cm forward to the right. 3. Lower the tip of the toes of your unweighted right foot to the ground. Keep your legs reeling from left to right. Nichan Tui (Legs Reeling in Ni Circles). 王 西 安 55 . Xiacai Tui (Downward Cai energy). Practice continuously alternating both legs. Begin with slow practice. just as in form practice. a shoulder width apart from the left foot. Lihe Tui (Inward Knee Strike). As the toes touch the ground. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. working up your speed in gradual stages.3. look in the direction of the moving leg. ‘Yong Yi Bu Yong Li’. repeating the movements while keeping reeling from the left to right. change the weight to the right and step out with the left foot. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). then squat and step out with your right foot. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). When the right foot lands fully on the ground.3.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. Move the left foot half a step to the left. that is. Waibai Tui (Legs Swinging Outward). Change your weight to the left. toward the target.
transferring all your weight to the right.20 56 . Practice these steps in continuous alternating cycles. Inner knowledge can only develop with concerted.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. remembering that the inner side of the heel is the striking point. transferring all your weight to the left.20). striking to both sides with each leg. step forward 40 cm with the right foot. You also need to practice Nichan and Shunchan with both legs.3. continuous practice. 3. and then rotate 360o left stepping on the toes (Fig. then step forward 40 cm to the left. Step the right foot forward. rotate to the left forward at an angle of 360o. Next. 3. Raise the left foot. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3.
3. 3. • While practicing. As such.21 Fig.22). 3. • Combine Lihe Tui with the rotation of the waist and spine. In Huobu Tuishou (Tuishou while walking). 3. attack with Lihe and then move 90% of your weight to the back leg (Fig. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg.21). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then transfer your weight to the left before moving the right foot forward (Fig. 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). we usually attack with Lihe Tui using the right leg.3. • Stand at attention.22 57 .3. practice with both legs and with change of directions.
and requires a sudden outward swing of the leg as weight is transferred. Waibai Tui is usually applied during Da Lü (Lü in large scale movement) and the best way is to seek out opportunities for attack is while moving. 3. Through diligent solo Tuishou practice. Being content with a superficial understanding is fruitless.3.24).24 58 . step forward with one leg and swing the other outward and then closing inward. 3. 3. 3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). regardless of whether you practice day and night (Fig. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig.23). 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. practitioners will come to realize the deep significance of their efforts. 王 西 安 Fig. During practicing Waibai Tui.陈 氏 太 极 拳 推 手 技 法 3.23 Fig.
• Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • To do Ni Cai: move the back leg forward.3. Xiacai Tui consists of Cai to the left. • Start with your centre of gravity at the back leg. The outer side can also be targeted once your ability improves. Cai to the right. Shun Cai and Ni Cai are based on Front Bow Steps.26 59 . Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). placing your toes slightly outward.5 Xiacai Tui … Downward Cai Energy Cai means to pull down. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles).25 Fig. placing your toes slightly inward. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out.3. 3. 3.
3. 3. 3. striking inward and striking outward. keep ankles relaxed and Qi descending (Fig.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down).25). 王 西 安 Fig. you can enter the opponent’s territory (Fig. Practice with alternating legs during Single Form practice. Train your body to understand the meaning of ‘stretching consists in bending. Bend your knees about 40o – more than this and you will lose your centre of gravity. Deepen your understanding of Jin Li (energy and force distribution). 3.28 60 . With a spiralling move forward. 3.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. striking to the front.27 Fig.26). bending consists of stretching’. 3.
• • •
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
• • • • • • Take a half step to the right with the right foot.37).4. Rotate the right toes slightly outward as the foot lands. 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. 3. Rotate the body to the right then strike downward with the back of the right fist. 3.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 66 Fig.4 Xia Za Quan … Fists Smashing Downward Fists Smashing Downward shares many common traits with Splitting Fists: both strike with the back of the fists and require practitioners to look to the side of the stepping foot. fist centre facing inward. Hold the right fist close to the left side of the chest. change your weight to the right leg and step your left foot forward. at the same time hooking the left fist upward. Next. However. Rest the left fist beside the left leg (Fig.37 .
For each step. Likewise.38 Fig. 3. After striking. step the left foot horizontally over the right one.39 • • • • • Again.Fig. alternating both sides continuously (Fig.38). Practice these steps. as the left foot steps forward (weight on the right). when the right foot steps forward (weight on the left). Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. (Fig. downwards on the right and upward on the left. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. the left fist rises above the right side of the chest and smashes down to the left.39) 王 西 安 67 . 3. For example. 3. 3. and lower the left fist from its upward strike position back to the left side of the body). stepping the right foot forward and exploding the fists before landing. the right fist is raised above the left side of the chest for more power and then smashes down to the right. 陈 氏 太 极 拳 推 手 技 法 In summary. both left and right fists rise and descend at the same time. Then repeat with the other foot. involve your whole body in the attack.
陈 氏 太 极 拳 推 手 技 法 3. 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. stretching the left hand upward.41 68 . 3. fingers vertical. • Step the left foot forward. • Sink your weight into the right foot and rotate the waist to the right to gather energy. • Then fling the right fist forward in Ni reeling. 3. Practice this technique on both sides. the left arm gathers inward and strikes backward to the left with the elbow. • Sychronise both arms so that while the right fist flings forward.40).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.41). 3.40 Fig. 王 西 安 Fig. concentrating your power in the Quanding (the front of the fist). Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power.4. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. 3. • Gather the right fist under the right rib (Fig. This counter-balancing movement helps to accelerate the punch of the right fist.
42). simultaneously gathering the right fist beside the right ribs. 3.43 69 . • • • • Step the right foot forward.4. bringing the left palm to the front of the body (Fig.6 Baokong Quan … Half-Moon Fist Baokong refers to the half-moon shape that is formed by the arms as you strike the centre of one palm with the other fist. Instead. The power of this technique depends very much on the practitioner’s physical condition. Then step the left foot forward. only about 40% of the jin force generated is exerted as short rather than long energy. 3.43).3.42 Fig. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and practice alternating both sides. 3. 3. Repeat with the other side. the main difference being that in the former. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. energy does not manifest externally.
3. • Clench your fist so the middle joint of the middle finger protrudes. This makes the fist ‘peak’ stable and solid. using small agile steps (Fig.4. • Attack to the left or right. • Strike with force and ferocity with this fist using short energy. This forms the ‘peak’ of the fist.44 . like hammering a nail.陈 氏 太 极 拳 推 手 技 法 3. 3. • Brace the middle finger with the index and ring fingers. and press the tip of the thumb against the middle fingernail.44). up or down. 王 西 安 70 Fig.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force.
45 Fig. Place your weight on one leg. gather the ribs and lower your energy to the Dantian (Fig. Roll the chest and shoulders slightly inward. Guanyang means to hit the temples with two nails.3. Bring the fists together in the middle about 25 cm apart. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4. hence creating a dual attack with both fists and knee (Fig. Form two nail-shaped fists and strike from both sides using short energy. 3.46 71 . Method 1 • • Method 2 • • • Step forward with either leg. 3. 3. 3.46). Practice both methods using both legs.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’.45). Bend the other leg then strike both fists upward together.
fingers pointing up (Fig. 3.47). thrusting them forward with explosive force. palms facing forward.48 72 . though in the initial stages. • Prepare for the strike by ensuring your axis is upright. • Strike forward with both palms. • Step forward with either leg.5 palM pracTice 3. the ribs gathered. 3. 3.47 Fig.5. • Place your hands in front of the chest.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. while making sure the chest is relaxed.陈 氏 太 极 拳 推 手 技 法 3.48). and lower the energy to the abdomen (Fig. 3. • Step forward with the other leg. practice using long energy first. transferring your weight to the front. the chest rolled slightly inward and the spine slightly lifted. 王 西 安 Fig.
lower your energy abruptly and push forward with short energy using small steps.51.49 When practicing with short energy. • Repeat using the left palm. 陈 氏 太 极 拳 推 手 技 法 3.5. a Double Palm Push needs to be sudden and exerted directly forward. • At the same time step forward with the left leg. 3.52). thrust your arms out about 50% (Fig.Fig.50. The power. • Thrust the right palm forward or diagonally to the side. gather the chest and stomach like a cat stalking a rat. 3. As the energy reaches the wrists. elbows and wrists are lowered. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. 王 西 安 73 . Make sure your shoulder. 3.49). using long or short energy (Fig.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. 3. Just before the explosive strike. speed. To be effective. 3.
陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. 3. and hence conquer your opponents without effort. 3. With continuous practice. 3.51 Fig. gradually increasing the speed. abruptness and power of the push.50 王 西 安 74 Fig.52 . Fig. you will be able to explode energy with natural ease by combining both external form and internal spirit.
while gathering the other hand beside the ribs (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.54). 陈 氏 太 极 拳 推 手 技 法 Fig. whilst using the other palm to push at the opponent’s chest or strike at their stomach. 3. Direct energy above the waist upward and energy below the waist downward. This creates an energy balance that stabilizes your centre of gravity. 3. • • Step one foot forward and ward off an arm attack with one hand.3.53 Fig. 3. 3.53).54 王 西 安 75 .5. enabling you to hit your target with more precision and power (Fig.
3. • At the same time.55). the stomach gathered and the chest rolled inward (Fig. first at an angle then vertically upward. • To push with the right palm: bend the right knee. • Keep the hips relaxed.陈 氏 太 极 拳 推 手 技 法 3. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). • As you push upward.55 76 .4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward.5. 王 西 安 Fig. 3. Explode this energy through the right side of body out through the right palm. while gathering energy on the left side. and then straighten it while pushing the right palm upward. open the right side of the chest and stomach.
’ Apply this technique during Single Palm practice. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3.56 Fig.58). 3. then quickly striking their chest with your right palm (Fig.57 77 . stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’.56).5. 3. 3. • At the same time. • Then swiftly draw the opponent into your domain by touching their back with your left hand.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. rotate your body to the right.57). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. 3. Keep your body and energy lowered while doing this. Shun means ‘sequence’) (Fig.
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. • As you lower the body. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. 王 西 安 78 .5. if the opponent seizes your right hand and twists it outwards with Shun reeling. This helps to concentrate energy in the palms. 3. and gather the ribs and dantian.陈 氏 太 极 拳 推 手 技 法 Fig. left and right. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling.58 • • Also apply the usual principles: roll the chest inward. 3. Coordinate the movements of your body with those of the palms. moving the body quickly forward. For example. lower the shoulders.
• Again. this time at the left side with your right hand. thrust forcefully at the opponent’s ribs. 3.60 • • • As you do this. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward. extending the thumb and fingers (Fig. lower your body then extend it forward with Shun reeling. Next.59 Fig. inclining outward and exploding with the left palm (Fig.60). 3. 3. 王 西 安 79 . • Key points are the same as with the left hand push above. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling.Fig. 3. Unify the three actions of stepping forward. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. respond in this way: • Step forward with the left foot.59).
• Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles. regardless of the technique or force used. especially when stepping forward and exploding energy (Fig. goes through legs. . so that energy flows to the very tips of the body. “Energy comes from heels. Also.61).” 3.陈 氏 太 极 拳 推 手 技 法 Fig.7 Danzhang Shunni Chan Fa Shun or Ni Reeling with Single Palm 王 西 安 80 This technique consists of using either hand to seize the opponent using Shun or Ni short spiralling energy. 3. • As you seize. 3. Relax your joints to enhance energy application. roll your chest slightly inward and bend your right arm inward. coordinate the waist and legs when exploding energy. as advised in an essay.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. dominates the waist and penetrates to every part of body.5. change your centre of gravity from the left to the right.
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.62 Fig.5.Fig. listening closely to your partner as you do so. practice alternating the seizing between right and left hands. • At the same time. 陈 氏 太 极 拳 推 手 技 法 3. 3. 3. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. To speed up your response. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended. reach under your opponent’s front arm.62).63 • • • With your right arm. palm open. Thus. 3. If the opponent escapes. 3.63). guide or bring along . 王 西 安 81  ‘Dai’ means to lead. you are able to use both palms to seize the opponent (Fig. Change your right hand to Shun reeling and your left to Ni reeling.
65 • • • • • Extend your right arm forward. Change your weight to the back and turn to the right. fingers up. 3. face the left palm outward. Bend your right arm 90o inward and form a fist with your right hand.66). palm up. . 王 西 安 82 3.陈 氏 太 极 拳 推 手 技 法 Fig. moving your arms to stabilize this rotation. Clench the left hand into a loose fist and push it forward.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. fingers pointing to the front (Fig.64 Fig.64). 3. Transfer your centre of gravity to the front.65). 3. Practice on both sides. Then hit the opponent with the right arm (Fig. gather the right hand beside the ribs. 3.5. fingers to the front (Fig. As your step forward. 3.
to increase the speed and power of the explosion. reel the right hand in Shun reeling to the right and step the right foot forward.67). coordinate the waist and spine when shaking the right palm forward in Shun reeling. To increase the precision and power of the fingers. Also. As the right foot lands on the ground.Fig.66 Fig. left under right and right under left (Fig.67 • • • • • • Lift the left palm over the right. place the left thumb and little finger in opposition while the remaining fingers face forward. 3. and then explode both palms forward with a piercing thrust. 3. move the left hand and foot quickly forward together. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. 王 西 安 83 . Next. Return the hands to their original positions before the next energy explosion. 3.
王 西 安 Fig. strike forward with the right elbow while hitting backward with the left elbow. 3.69).陈 氏 太 极 拳 推 手 技 法 3. Practice striking with both elbows with corresponding weight changes to either side. the left arm counter-balances the movement of the right. 3. 3. As you change your weight to the front.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot.68 Fig. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body.6.6 elbOw pracTice 3. palms facing in (Fig.69 84 .69). 3. In this case. Remember to apply long energy before you apply short energy (Fig. At the same time.
70 Fig. 3. bend the right elbow inward.70). take a small step forward with the left foot. At the same time. Step the right foot forward and strike the right elbow down forcefully as the foot lands. As the right elbow descends. slap the right shoulder with the left palm. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. and clench the right hand into a fist. wrist turned inward and the palm facing backward. palm up. After the strike.2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. gather it close to the right ribs. step the right foot forward again and extend the left arm forward. Then strike the right elbow down for the second time (Fig. 3. 3.3. return the elbow to the right side.71). Alternatively. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.71 85 . 3. Lift the left hand when the right elbow completes 90o of its descent. At the same.6.
3. then turn right with the right toes facing slightly out.陈 氏 太 极 拳 推 手 技 法 3. 3. 3.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward.72 王 西 安 Fig. Rotate slightly to the left.73 Fig. Fig.6.74 86 .
Turn to the left and strike out explosively with the right elbow. toe tips slightly touching the ground. palm facing in. 王 西 安 87 . 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. so that both feet are approximately 50 cm apart. 3.75). 3. 3.73). Gather the body to prepare for attack by lowering the body slightly (Fig.6. As you do this. as if warding off (Fig. Move the body to the left and transfer your centre of gravity to the right and back. Step the left foot forward. raise the right hand across the front of the chest to the left in an upward arc. transferring your centre of gravity to the left.74). then step forward with the right foot. • • • Practice with the other arm.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. Remember that the right leg moves forward with the right arm and vice-versa. clasping the right forearm with the left palm. Gather the body by bending it slightly. Lower right fist to the left side of the body so that the right arm is held at 900 while stepping the left foot forward (Fig. 3. Step the right foot to the left and bend the right arm. clasping the right forearm with the left palm.72). clench the right hand into a fist. 3. gather the ribs and lower your Qi.• At the same time.
王 西 安 88 3. Practice with both sides (Fig. gathering it horizontally in front of the chest. balancing this movement with the left hand. Once familiar with the practice. Simultaneously. the right fist lowered to front of the left armpit. with the following differences: .6. step right with the right foot. turning the body to the right.76). • In the initial stages. strike the right elbow to the right.75 Fig. 3. use short and fast energy. practice with long and slow energy. 3.陈 氏 太 极 拳 推 手 技 法 Fig.76 • Spiral the right arm forward with Ni reeling.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. 3. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). palm down. Next.
while Xin Zhou is targeted to the front (Fig.78 3.• • Shun Lan Zhou is aimed slightly to the back. palm facing right. Touch the right knee with the right palm. • Simultaneously.77 Fig. jump slightly with the right foot. landing approximately 50 cm apart from the left foot. Before the foot lands. toe tips on the ground. 陈 氏 太 极 拳 推 手 技 法 Fig. • Turn the body to the right and reel the right palm across the chest to the right. 3. 3. 3. • Stand at attention with the arms relaxed at the sides. palm down.77). extend your left palm forward.78). • Jump the left foot half a step to the left. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig.6.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. 3. 王 西 安 89 . fingers pointing up.
Practice on both sides. 3.80 Fig. Look to the right side of body while striking upward. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). bending the wrist before striking upward quickly with the back of the right fist. step the right foot forward. 3. 3. followed by the right foot. placing the left fist below the right. 3. taking the waist as the dividing line. After the strike. step the left foot to the left. starting with slow movements initially until the steps become familiar. . Move the right fist toward the right shoulder using Shun reeling. toe-tips on the ground. clench both palms into fists. avoid letting all your energy flow upward as this will destabilize your root. then transfer your centre of gravity to the right.79). balance the energy between the upper and lower body. 3.79 Fig. Also. While striking on the right. then gradually using short and fast energy. Next. Instead. toe tips touching the ground (Fig.80).81).陈 氏 太 极 拳 推 手 技 法 Fig. 3. As you change weight. Return the left fist beside the right ribs (Fig.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig.
then exploding both elbows horizontally. 3.6. Gather the fists close to the chest (Fig. 3.83).82). • • • • Step to one side with either leg. looking to the left and concentrating energy in the elbow tips (Fig. while the left the supplementary strike.3. 3. Change your weight to the left.7 Shuang Kai Zhou … Double Open Elbows This technique consists of striking simultaneously with both elbows by holding the arms in front of the chest.83 王 西 安 91 . the right elbow executes the dominant attack. 3. Practice alternating both sides. then strike with the right elbow. In this position.82 Fig. If you stepped to the left. place the left arm inside the right. 陈 氏 太 极 拳 推 手 技 法 Fig.
• • Step one foot forward.85 . 3.陈 氏 太 极 拳 推 手 技 法 3. prepare for the stike by gathering the wrists inward.84).84 Fig. 3.6. 3. 3. holding fists on either side of the ribs (Fig. 王 西 安 92 Fig. This increases the force of your attack.85).8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows. As your weight transfers to the front. looking to the front and rolling the chest and shoulders inward. Try to feel the effect of this preparation during practice (Fig.
3. 3.6. rotate the body to the right. palm facing inward and inclining backward.3. As your centre of gravity shifts to the left. 3. palm to the front. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. At the same time. Practice alternating both sides. 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. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. then lift it so that the right elbow is positioned over the right knee (Fig. clench the right hand into a fist.86). Simultaneously. take a big step forward with the right foot in front of the left.86 Fig.87).87 93 . 3. As the weight shifts to the left. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side.
王 西 安 Fig. moving it beside the left ribs.88). As one of the Eight Forces. • At the same time. palm up. 3. Make sure both hands move and arrive at their destinations simultaneously. • Change your weight to the left. • Shift your weight abruptly to the right and form a half fist with the left palm. In this way. 3. • Step the right foot forward. • After exerting Pie force. • Extend the right hand outward. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. shifting your centre of gravity to the front. • All movements are guided by the rotation of the waist and spine. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng).6. strike forward explosively with the right forearm using a short-energy (Fig. then lower it over the right knee. the legs should be parallel to each other.88 94 . Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb.陈 氏 太 极 拳 推 手 技 法 3.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin).
• Raise the right hand from the right side. The thumb and index finger form the character Ba ‘八’.89 95 . 3. closing it slightly. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. using guiding energy from the little finger. use Cai technique to strike out explosively with the outside of the right forearm and elbow.89). ring and middle fingers. • Step backward with the left foot shifting your weight to the left. Form a hook (Diao Shou) with the right hand with the little. palm up.3. using downward Ni reeling. • While lowering the left hand. 3. Shift your weight more to the left as you do this (Fig. both internal and external movements are integrated with the movements of the body and limbs. • Then. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. bending the elbow. lower the left hand from the front of the chest to the left ribs. In this way.6. • Keep the left hand open so the thumb is separated from the fingers. and extend the left hand forward to the right.
90). While transferring weight. • • • • Bend the left knee.90 Fig. you raise the right hand in Ni reeling to descend the elbow (Fig. and then. 3. 3. 王 西 安 96 Fig.陈 氏 太 极 拳 推 手 技 法 3. Note: For maximum effectiveness. and extend the right leg backward. toes grasping the ground. 3.6. strike the right elbow backward at an upward angle (Shang Chuan Zhou). moving your weight to the right (Fig. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. the right thumb guides energy flow. make sure power is gathered properly through the whole body and that your timing is correct before you strike.91 . At the same time.91). 3.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. especially useful as a defensive move when being attacked while in a passive situation.
Shuang Bei Kao and Qi Cun Kao. Xiong Kao. 3. 3. Ce Jian Kao. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm. 3.92).92 Fig.7.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao.3.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. 3.93 97 . As you shift your weight to the right. Ying Men Kao. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. The right foot and right arm should reach their positions at the same time (Fig.
On completion of the shoulder push. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). As the heel touches the ground. 3. After executing the above. take care to maintain your centre of gravity by not stretching too far forward (Fig. if you find you get into an appropriate space for attacking.陈 氏 太 极 拳 推 手 技 法 • • • Then. pushing it forward and down.94). The left hand follows the right hand in support and comes to a rest in front of the right shoulder. use the outside of the right shoulder to execute Qian Zai Kao. 3. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. Then take another big step forward with the right foot. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward.93). Then step the right foot forward again to execute Zai Kao for a second time. As the body inclines forward significantly during this move. Repeat these steps for both sides. step forward with the left foot and place it next to the right foot. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig.7. .2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. 3. Note: Only push when you are in the correct position.
Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. arms are a defense against attacks. then techniques such as Ying Men Kao can be used to penetrate defences and attack. 3. This only comes with closely combining the Yin (guide).94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. light but not floating” .3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors.7. 王 西 安 99 . 3. conversely if one is able to ‘open’ the doors of the opponent.Fig. lowering down but not stiff. When firmly closed. Dai (lead and pull) and Ji (attack) energies together.
move both arms to each side of the body and push the right shoulder forward in attack (Fig. 3.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. cross the hands in front of the chest. fingers pointing up and palms facing the sides of the body. Separate the hands of the opponent to expose his chest (Fig. 3. It is easier to hurt the partner using a narrower attacking surface.95).陈 氏 太 极 拳 推 手 技 法 Fig. Once the attack is completed. 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. 3. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. the right hand above the left. At the same time. 3. Next.95 Fig. . • You can use more of the shoulder surface in the attack. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. move the left foot forward parallel to the right foot and repeat the sequence for another attack.96).
4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent.97 Fig. • Step the right foot forward. can you execute it in actual combat (because you may easily hurt yourself ).98). 3. Only with a thorough mastery of this technique. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • After this move is completed.7. the chest and waist are in a collapsed position. 3. 3.98 101 . 3. move the left foot parallel to the right. using this shift to deliver a sudden push with the chest (Fig. A good sense of timing is essential for defeating the opponent. • To begin.97). shifting your weight to the front. • Extend both arms from the sides to the front in an embracing gesture. • Then roll the chest inward and shift your weight quickly from left to right.3. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. Note: Focus on sharpening your sense of timing during practice.
3. 3.100 102 .7. and the shoulders execute Bei Kao to the right . You may lead with either leg.99). 王 西 安 Fig. as the shoulders deliver Bei Kao backwards (Fig. 3. • When the whole body holds and collects to a moderate extent. a capability that comes only with extended Quan practice. • Stand with feet parallel. Note: As mentioned in previous techniques. shoulders slightly concave and with power guided by the thumbs (Fig. take a sudden breath in and push the chest forward quickly. This technique also uses Duan Jing (short power).100).99 Fig. 3. • When the weight moves forward the chest rolls inwards. • Gently rotate backwards with both palms facing backwards. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. rebounding and shaking power).陈 氏 太 极 拳 推 手 技 法 3. remember to gather and withhold energy before delivering the strike.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. if further away. 3. • Gradually move the right arm downward toward to the inside of the right leg. Note: If the opponent is at close-range. 3. • Once your root is stabilized. • Turn the body slightly to the left as the right hand rises.3. extend the distance of your Kao slightly. Find a stable centre of gravity with the body and gather your body in this position. continue to transfer your weight to the right.101 103 .7. • Extend the right foot and arm forward. fingers pointing down. • Practice pushing from both the right and left sides.101).6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. use short power in your push. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig.
Place the elbow below the knee (Fig.102). This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). Practice this sequence in rounds from left to right. Note: Power applied in the initial stages should be slow rather than quick. • • • • Take a large step diagonally forward with the left or right leg.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice. 3.7 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.102 104 . 3.7. Incline the body forward in the same direction.
104). Diao gai Na. and Shuang He Na. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. 3.103). palm facing in. Shuang He Fu Cai Na. 3. palm up (Fig. Chan Rao Na. 3. 3.104 105 .3.103 Fig.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. • Extend the left foot and left hand forward. Tui Na. Xiong Na. Fu Na. • Relax the left side of the crotch and shift your weight forward to the left. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig.8. • At same time. 3.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Rest the right hand near the right ribs.
Your moves will become more effective as your internal Qi integrates more closely with the external movements. After seizing. move the weight slightly backward then move forward again. but she evades your attack by ducking down. roll the chest in. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. 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. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. drop the elbow. Note: Shun and Ni reeling are interdependent and cannot be separated. . Shun reel with the right hand and Ni reel with the left. Repeat the above sequence. this time reeling in Shun direction with the left hand and Ni direction with the right. Seizing techniques are quite difficult to practice.e. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. you will be able to execute these changes quickly and smoothly. When seizing. then you must respond promptly by swapping the reelings to the opposite hands. tighten the ribs. in order to block the opponent’s energy path. i. With practice. lower the shoulders.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. even though you deliver the power later than the partner. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. if you practice each side diligently. and lower your waist and Qi. 王 西 安 106 Closing with the left while seizing with the right and vice versa. Try to relax at every step while applying the seizing action firmly.
• • • • • 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. Relax the left side of the crotch. Again.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. extend the left hand forward to rest in front of the body (Fig.3.105). 3. At the same time. 3. 3. roll the chest in. lower the Qi.107 王 西 安 107 .107). relax the left side of the crotch and shift your weight to the left. and clench the right hand into a fist.105 Fig. 3. placing it in front of the chest. The shift to the left enables you to hit the target clearly (Fig. and shift your weight to the right side. palm out.106).8. Then rotate the right hand and body to the right.106 Fig. 3. As you do this. 陈 氏 太 极 拳 推 手 技 法 Fig. Then lower the right hand to the right ribs. 3. tighten the ribs.
• Step the left foot forward and extend the left hand to the front. The left hand leads by closing the power causing the right hand to follow. Move the whole body in a natural and relaxed state. Move quickly and follow your partner but do not lose power. 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 crotch. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. the palm forming a “八” (Ba) shape. Make sure to keep your own axis when seizing the opponent. • At the same time. • As the weight shifts to the left. 王 西 安 108 .3 Fu Nang … Seize with the Abdomen This technique consists of seizing with the abdomen filled with descending Qi with the assistance of the hands.” 3. roll the chest slightly inward and gather the ribs.109).8.108). Match the speed of your movements to that of your partner. palm facing right (Fig. reel with both hands in a Shun direction. while the two hands serve as supports. 3. • Step the right foot forward and pass the right hand across the left side of the body. The strike is actually applied by the left side of the chest. and gather energy in the ribs. rotate the body. • Close the crotch. palm facing left (Fig. the force of upward suspension maintains the axis. Shift your weight forward and accumulate power well. Draw the arc with the intention of meeting the opponent’s hand. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. 3. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground.
109 Fig.110). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. seize with the right and roll the abdomen – these three actions combine to become one power. 3. 3. whose movement is heavier (Fig.Fig. 3. the left hand moves lightly and assists the right. The eyes look forward and to the left.110 109 . clench the left hand. The abdomen provides the main supporting element. 3.108 • • As the Qi descends.
陈 氏 太 极 拳 推 手 技 法 In summary. facing in so that the fingers are directed towards each other. palms about 10 cm from the lower abdomen.111).112). push the abdomen out suddenly (Fig. bending them at the elbows. move the palms up to chest level and seize the opponent’s elbows using Na power. Direct the eyes to the front. 3. keep your intention firm for victory or failure will be decided in a second. roll the chest slightly inward. Both hands extend forward in sequence. the right hand moving down while the left moves up. As your weight shifts. Continue to shift your weight forward. extend both arms to the front.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. do not be kind to the foe for the opportunity to attack comes just once. As you seize. Move swiftly without hesitation. 3. 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. 3. and gather them towards you (Fig. followed by the left. capture and immobilize the opponent. while the hands use Na (seizing) power to collect inward. immobilizes their wrists by bending them outwards. • • • • 王 西 安 110 • • Take a half step forward with the right foot. the right foot steps forward. and both feet standing steadily as the hands move. whereby the abdomen gathers power to support the hands. Concentrate your energies then pounce on your opponent like an agile cat. .8.
fending the opponent off upward to the right (Fig. so that you respond by moving your weight forward. supported by the warding right hand. Step the left foot forward and shift your weight to the left.113). 陈 氏 太 极 拳 推 手 技 法 3.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. and lower Qi in your abdomen before protruding it forward. 王 西 安 111 .8.5 Chan Rao Na … Seize by Reeling This technique uses the gathering power of one hand to seize while the other reels from the inner side of the opponent. 3. 3. Lower the right hand then cover it with the left. • • • • Step the right foot forward and pass the right hand across the chest. 3.111 Fig. Reel the left hand forward.Fig.
by taking a step forward (Shang Bu) each time.113 Fig. 王 西 安 112 Note: If Qi descends smoothly. . Alternate practice on both right and left sides. Combine them with the power of chest to become one power (Fig.114). Collect the body by rolling the chest slightly inward. this technique can be used effectively to break wrists. bones. Step the right foot forward again and repeat the above steps. 3. gathering the ribs and lowering the waist and Qi. But remember: practice like an adept. Collect the hands inward to about 15 cm in front of the chest.陈 氏 太 极 拳 推 手 技 法 Fig. not like a thug. 3. 3.114 • • • • Put your body in a squatting position by bending the knees slightly. tendons and veins.
115 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. • As you step. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni reeling to seize downward from the right side. • As soon as the right hand reaches the level of the left leg. 3. In this way. relax the crotch.8. • As the knee swings inward.3. The powers of the left arm and right hand unify as one. 3.116 113 . roll the chest in and gather the ribs (Fig. shift your weight forward and bend the knees slightly so that the body squats like a bent bow.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. • Bend the left arm inward to gather both palms. • As the weight moves forward.115). • Step forward with the left foot and extend the left arm to the front. fingers pointing forward. Lower your Qi. the Three Powers (Jing Qi Shen) combine to seize the opponent. and move both hands to assist the left leg.
3. As you step forward. spiral the right hand up from the right side into an arc. • Then lower the right arm by executing Lü downward in Ni reeling. gradually guiding it inward to rest in front of the right ribs. 王 西 安 Fig. 3. 3.7 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. guiding it to the right ribs for support (Fig. • At the same time.118 114 . Then step forward with the left foot. 3.117). shift your weight quickly to the left and step forward with the right foot.8.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. shift your weight to the front and extend the left arm again to repeat the steps and seize once more. The changing of the legs happens quickly.116). extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig.117 Fig. • Step forward with the right foot.
119 • • • • • • As soon as the right foot touches on the ground. As the hands move. Then move the right hand forward in Shun reeling until it reaches the same level as the nose.Fig.118). Continue to move the right hand and foot forward. the left palm moves down in Shun reeling to cover the the arm of the opponent so that the forces of both arms work as one. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. roll the chest slightly inward and bend the knees slightly into a squatting position. shift your weight to the right and step forward with the left foot. The intention is to have the whole body collecting and seizing together with the hands. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 . lower the shoulders.119). 3. shift your weight to the right and move the left foot and hand forward (Fig. 3. 3. When the right hand moves up. As the right foot touches the ground.
3. step forward with the left foot and shift your weight to the front. 3. Combine this with the power gathered in both hands and seize with one force. At the same time.121). Prepare for the seizing by lowering Qi to the Dantian. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig. 3. 3. This step marks the transformation of Peng (ward off ) to Na (seizing).8.121 116 .8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize. then gather both hands and grasp the opponent’s wrist firmly downwards. Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig.陈 氏 太 极 拳 推 手 技 法 3. Bend your knees so your body squats like a bending bow. 王 西 安 Fig. strengthed by whole body coordination. rolling the chest inward and tightening the ribs.120).120 Fig.
Shan Jing Ce Jian Jie 7. and finally the index finger. Guan Gong Jie Dai 2. Guan Gong. • Stand with both feet in parallel. middle finger. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. 3. Fan Na Cu Bu Jie 9. ‘Wars Among Three Countries’ by Guan Yu.9. eyes looking forward.122). such as a waist grasp from the rear to throw you down. • Move Qi in from the outside and lower it to the Dantian. Qu Wan Fan Na Jie 6. • Hang the hands naturally at the sides. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. • Inhale.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. 王 西 安 117 . then the ring finger.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. shoulder-width apart. Shuang Wan Zhi Jie 4. • Next. This technique enables a practitioner to avoid capture or break a hold. the Guan Gong Jie Dai technique is said to be named after its creator. Diao Wan Qu Zhi Jie Tuo 3. Chuan Zhang Jie 5. curve the fingers into hooks and raise them in front of the ribs with the little finger leading.3. Shan Jing Zhen Zhang Jie 8.
This technique becomes effective only after extended practice.123 • Synchronise the speed of this movement with that of the body. If the fingers are being held. and also with the speed of Qi descending. In this way. hook the wrist and bend the fingers to escape. .122 Fig. otherwise it is not easy to unfold (Fig. 3.9. the squatting of the body.2 Diao Wan Qu Zhi Jie Tuo Escape by Hooking Wrist & Bending Fingers This technique is especially useful to release a hand hold by an opponent. 王 西 安 118 3. the gathering of the ribs and the hooking of fingers should combine to become one unit.123). 3. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip).陈 氏 太 极 拳 推 手 技 法 Fig. 3.
3.125 • • • • • If the fingers of one hand are seized by the opponent. 3. By doing this. 3. so that Tuo (escaping) power can reach the fingers effectively. 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. your conjoined fingertips and knuckles should be able to escape with ease (Fig. 王 西 安 119 .125). 3. join the fingers of your hand together and point them diagonally upward to the right (Fig.124). lowering the elbows. relaxing the shoulders. unblocking the arm area being attacked. rolling the chest inward. slowly bend the wrist and fingers. Move your body to transform the attacking power. By the end of your movement. Practice these steps with both hands in turn. you relax and elongate your encaptured arm.124 Fig. and lowering your Qi as you do so.Fig. As you move.
3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. • • • Step one foot forward and shift your weight to the other leg (Fig. 王 西 安 Fig. and lower the Qi so that power can flow smoothly to the inner side of the wrists. 3.126). clench both hands into fists.陈 氏 太 极 拳 推 手 技 法 3. then move your arms forward and upward as your weight shifts forward (Fig. 3.127 120 . roll the chest inward. lower the shoulders and elbows. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. While doing this.126 Fig. 3.9.127). Just focus on relaxing and lower the Qi. closing your hands while opening the opponent’s. tighten the ribs. bend the arms. At the same time. It is not necessary to use large movements in this technique. 3.
It is most often used in the transition between the Jin Gang Dao Zhui posture (Buddha’s Warrior Attendant Pounds Mortar) and the Lan Zha Yi posture (Lazily Tying Coat). placing the right hand on the left (Fig. • Bend the knees slightly to place the body in a squatting position.4 Chuan Zhang Jie Tuo Escape by Crossing the Hands before the Chest This technique consists of crossing both hands before the chest when you move to the left or right to transform power. two eyes look forward horizontally. and Qi.9.128). and lower the shoulders. 3. • Bend both arms 90o inward and cross them in front of the chest. and roll the chest inward. tighten the ribs. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. 3. • Two feet stand flatly and the body stands straight.128 Fig.129 121 .3. elbows.
3.9. Do not rush forward but defend you territory in straight postures (Fig.131 122 . 3. 3.陈 氏 太 极 拳 推 手 技 法 • • • If you choose to turn to the left: rotate the body to the left then right.130 Fig.129). 3. Then ward off (Peng) by pushing both palms outward. and lock the palms of the opponent. then to follow your opponent by bending your wrist in Ni reeling while you rotate to the right position so as to extend the left hand and seize with the right. It requires you to twist the captured fingers outward in Shun reeling. and move the right hand in Shun reeling while the left does Ni reeling. If you choose to turn to the right: rotate the body to the right then left. 王 西 安 Fig.5 Qu Wan Fan Na Jie Escape by Bending the Wrist and Seize the Opponent This technique is used to counter-attack a hold on the right fingers. swapping the Shun and Ni reeling to the opposite hands. then rotate forward again.
step the right foot forward (Fig. 3.133 • • • • • Extend your right arm forward. 3. If you practice diligently.131). it will be difficult for opponents to overcome your attacks. As the right toes touch the ground. Your movements should be relaxed and executed with power at all times. extend the left hand forward to support the right hand as it seizes downward (Fig. While rotating the arm. raise the elbows. then bend it about 450.133). 3. Apply the principle of constant change and flexibility in Taiji circles. Rotate the arm about 1800 outward in Ni reeling. 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. relax the shoulders. 3. wrist bent inward in readiness to seize and fend off danger (Fig.132 Fig.130). 3.Fig. As you do this. 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.132). palm facing left (Fig. 王 西 安 123 . 3.
• As the right palm reels outward. so that the power of the left hand combines with the right to become one. 3. • Simultaneously. 3. • The right wrist bends inward with the arm to rotate the hand in Ni reeling.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. coordinating it with the lifting of the back and the descending Qi. palm facing right.134 Fig. right fingertips initially pointing downward. Together. the palm gradually guided by Ni reeling to slant externally to the right. • Extend the right arm horizontally and bend it 900 inward. you should rotate externally and upward in Ni reeling. roll the chest inward.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. move the left hand rightward to the front of the chest. then move swiftly to the right to destabilize the opponent. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push).135 124 . this sequence of movements make up the Shan Jing Ce Shen Jie technique. In response.9. Next.
you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. make a big step forward with the right foot. then quickly step the right foot forward (Shang Bu). shift your weight to the left . 3. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push).9. All the above movements of the hands. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. because with these.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. The above movements of both arms and the right foot should occur in one very smooth and swift motion. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. Almost at the same time. giving him a sense of losing of Qi. 3. and thus enabling one to evade capture.• • • As your left hand moves. Note: Move in Ni reeling while the opponent moves in Shun reeling. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. So Shan and Jing serve as the pre-condition of escaping. 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. touching the ground with the toe tips (Fig.134). 陈 氏 太 极 拳 推 手 技 法 3.135). 王 西 安 125 .
Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. 3. palms facing up and eyes looking forward.137). the body squats.137 Fig. step forward quickly and attack with the palm (Fig. clench the hands into fists and place them at the sides of the body (Fig. When the body and two hands send the Dou power. palms facing up and the two little fingers placed on the middle of each arm. At the same time. 3.138).138 126 . This power should be quick and strong. 王 西 安 Fig. and both palms draw inward. As soon as you surprise and destabilize them with your moves. 3. and the extending palm reaches the right position at the same time. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. open both fists and shift them away from the sides of the body. 3.136). then Shang Bu (take a step forward). then the whole body sends a Dou in a circle in Shun reeling (short power). 3. 3. Next. Simultaneously. slowly raise both hands and bend them inward about 1800.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time.136 Fig.
because sometimes appropriate retreating gives one a closing power.139).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. holding and collecting a quicker speed.140). With Shan and Jing. then shift your weight to the left and inclining the body to the right to hold and collect. extend the right hand diagonally forward to the side.It is just like the poem reads: ‘It is not a failure if you retreat your pace. Then push the left palm to the right. 3. you find escaping easy. the partner cannot reach you though his attacking power is strong. fingertips slanting up (Fig. 王 西 安 127 . palm facing out. and attacking by the Cu Bu or Dun Bu technique (stomping). since he or she can easily twist your fingers and get you caught’. extend the left hand from left to right. Step diagonally right with the right foot. which is against principle. It is not wise to grasp the opponent’s elbow with your fingers. 3.9. Bend the knees slightly to place the body in a squatting position. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. Two elbows draw inward and hands move outwards. first bending it inward then moving it outward to the right. thumb separated from the fingers (Fig. As the right foot steps on the ground. 3. At the same time.
王 西 安 128 . from long power to short power. do not react or become anxious but remain confident in your prowess. from slow to quick. Even if you sense the opponent’s intention to move. the body should move from high to low. Be patient and diligent with practice. Incline your body and explode the energy with great unity by stomping with the right foot. Then you will free yourself from capture. This power can only be gathered with greatly unified power. 3. side pushing with the left palm and exhaling at one time. During the practice.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. paying attention to the upper and lower body and your surroundings.陈 氏 太 极 拳 推 手 技 法 Fig. Stand rooted like a big tree. 3.139 Fig. only by this will you increase in strength.
141 Fig. 3.141). palms facing in (Fig.142). roll the chest in. • In this way. palms facing each other. eyes looking forward (Fig. bending inward about 90o. • Then bend both wrists inward.9.3. 3. 3. the left hand in Ni reeling and the right in Shun reeling. • Step the right foot forward. lower the shoulders and elbows. exhale. the hands wrest free of the opponent’s wrist grip. As you do this.142 129 . • Extend both arms forward.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. breathing in as you do this. separate the hands to the sides of the body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. tighten the ribs and lower Qi to the Dantian. • Next.
You can escape from seizing by one closing and one opening. finally returning them to the front of the chest to repeat the cycle (Fig. 3.144). 3. then separate them to each side. 3. 王 西 安 130 .144 Notes The extent to which you separate your hands depends on the opponent’s grip. then raise your hands. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling.143). If you still can’t free your wrists with this technique. 3.陈 氏 太 极 拳 推 手 技 法 Fig. insert both palms downward (Xia Cha Zhang. During practice. keeping both arms tightly together like pincers. If you cannot push the opponent’s hands away. then you transform and eliminate the seizing on your wrists. Palm Inserting Down) (Fig.143 Fig.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
As Qing Dynasty Taiji Master. each of which can be practiced individually or in sequence: 1. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. 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). states: “If a tree has deep and strong roots. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. Wu Ji Zhuang (Wu Ji Posture) 2. its leaves and branches must flourish.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. Peng. . Ji and An. Chen Xin. Kai He Zhuang (Opening and Closing Posture) 4. These movements are applied throughout the whole system of Taiji and Tuishou practices. 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.陈 氏 太 极 拳 推 手 技 法 4. Lü. opening and closing. Chan Si Zhuang (Reeling Silk Posture) 6. Taiji Yangsheng Zengqi Gong can be divided into six postures.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. rising and falling. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. San Ti Shi (Three Postures) 5.
1 Postures a) Posture 1 • • • • Stand upright.2 wu ji zhuang (wu ji pOsTure) 4.1 133 . Open your eyes gradually. feet parallel and shoulder width apart.2. Concentrate your intention (Yi) in the Dantian. breathing gently and slowly. keeping your mind relaxed. Hang both arms at the side of the body and relax. eyes closed. 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4.
the right hand rotating in Shun reeling and the left in Ni reeling. the reverse for females (Fig. 4. the right over the left for male practitioners. 4. Lower the hands onto the abdomen.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. 4. 王 西 安 Fig. On the other hand. 4.3). Maintain the hands at shoulder height. Try to expand your arms moderately. when it should actually be solid. Take care of these points and you will not lose power (Diu Jin) unnecessarily.3 134 .2 Fig.2). palms facing downward and slanted diagonally (Fig. do not do it so gently that Qi becomes too soft and weak to reach every part of the body.
The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. Your shoulders should be loose and slightly lowered. the mind and facial muscles naturally relaxed. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. until they reach the lower Dantian. inhale and then swallow saliva down into the stomach. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed.2 The requirements for every part of the body 1. 3. 2. guiding the Qi and saliva through to the middle Dantian. bend the knees slightly and grasp the ground gently with the toes. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue.4. Your elbow joints should be lowered.2. so that the waist descends naturally. 4. lower it when exhaling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 . The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai.2. The whole body will be steady if you gather the internal organs consistently. Pay attention to the following points when practicing the Zhuang posture: 1. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. 4.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). Lift the buttocks and anus up a little. Gather the chest and ribs inward. The neck should be firm and straight.
leading to Qi filling and blocking the chest. through the Wei Lü Guan point. While lowering the internal Qi. Raise your Yi (intention) from the Hui Yin point (perineum). 王 西 安 136 . you will enlarge your vital capacity and exercise the diaphragm muscles. keeping your body upright and lifting your back slightly. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. 3. lower the waist and gather the Qi in the Dantian. which will help with the distribution of Qi around the body. While exhaling Lower every part of the body. Practice also enhances your ability to guide Qi with Yi (intention). Maintain your vertical axis. roll the chest slightly inward. including the internal organs. By practising the above key points. up along the spine. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). Feel the sensation of all the body joints. until it reaches the Bai Hui point.陈 氏 太 极 拳 推 手 技 法 2. skin and fine hairs opening as the Qi rises. While inhaling Gather your chest and abdomen inward while breathing in Qi. so that they all have the same rhythm. across the Yu Zhen point. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further.
• • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . so it is recommended that they do not practice Yi and Qi until they become familliar with the form. Qi cannot be separated from Yi (intention). Only these can guarantee normal and healthy internal Qi circulation.4.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. Qi follows Yi. Only through mastering your mental activities such as intention. consciousness. quietude and concentration.2. Beginners generally find it difficult to remember the postures and key points. During Wu Ji Zhuang. external movements) follows Qi. However. patients and the correct mastery of key points. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. and emotions. The key requirements for practice are relaxation. Practitioners should modify the scope of their practice according to their level and progress. thinking. these can be accomplished only by hard learning. and achieve the smooth Zhoutian circulation and help with body combat. just as Xing (posture. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian).
1 Postures 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 4.4 Fig. 4.” Hence. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation. 4. 4. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.3.3 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. is an important basic skill in Chinese Martial Arts.5 138 .” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.
Keep the head naturally erect. focus on a static object at the same level as your eyes.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high.3. b) Posture 2 • • • Separate the hands when the left foot reaches ground. Execute the posture as if embracing a big tree. Keep the fingers evenly open and slightly bent as if half grasping a sphere. 4.4). The old and weak may practice using a high body stance. waist and crotch. if closed. 王 西 安 139 . Leave your eyes naturally open or close them. 4. The upper body should be kept upright.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. then lower the waist (Fig. waist and back straight. Stand with your feet parallel. The palms face each other. If your eyes are open. then move them back to the middle. Relax the shoulders. the neck. mid-level and low. Next. a little more than shoulder-width apart. Bend the knees so that the body is squatting a little. with practice duration increasing gradually from short to long.5). fingers pointing at their counterparts about 30 cm apart. Lower the elbows and shoulders slightly. 陈 氏 太 极 拳 推 手 技 法 4. focus your attention on the Dantian (Fig. shift your weight to the right and lift the left foot and take half a step to the left.
becoming gradually longer. At this point. and guide the saliva down to the middle and lower Dantian. Inhale again as the body rises. For example. increasing to thirty or forty minutes at later stages. touch the palate with the tip of the tongue. and slight trembling may occur.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. Du Mai. the thigh muscles and even the whole body may tremble rhythmically. up the spine. past the Yu Zhen point. although this may become more obvious with prolonged practicing at mid or low stances. then bend the knees to lower the body until the buttocks are at the same level as the knees. Que Qiao. The trembling may only be detected by touch or by close observation of the leg muscles. swallowing your breath with saliva. then lower your body again. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. inhale slowly first. you should raise your stance slightly to rest. graduating to midlevel. until it reaches the Baihui point. Practice duration can last just a few minutes in the initial stages. when doing Standing Zhuang at a high stance. At the same time. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). then a low stance. 王 西 安 140 . Wei Lü Guan. 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. Now lower the tongue and inhale. In this case. Beginners will find that the thighs may ache after two weeks of practice. through the Ren Mai. This relieves or may even stop the trembling for a period. Should this happen. raise Qi from the heels up the legs. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles.
as it responds to the circulating blood. 4. It rises and falls like a boat in the ocean. breathing motions and digesting processes.As you exhale slowly. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . Standing on the ground steadily like a mountain. but the apparent non-activity is misleading. Zhuang skill is actually a practice using static strength and tension. the body quivers in a relaxed and peaceful state of mind. like a wild goose flies off and falls. The body weight is always subtly moving in various directions. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs.3. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath.3 Breathing Breathing is an important element of Zhuang skill. Practice this process repeatedly.
The navel and Ming Men are in the same rhythm. 4. At the same time. extend your breath slowly through the practice process. 4. The distance between both arms starts short then grows longer.8). the palms face inward and the eyes are slightly closed (see Fig.7 142 . as are the requirements and key points for the body parts.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. the breath is usually short. In the initial stages of practice. 4.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. the body rises slightly with the inhalation. Gather the chest and abdomen.陈 氏 太 极 拳 推 手 技 法 4. 王 西 安 Fig.4. the middle fingers connect. The only difference is that in this posture. 4.6 Fig. relax and open the internal organs.
crouch down and lower the elbows.8 143 . lower the waist and gather the rib muscles. use your intention to guide the current outward. All internal organs are filled with strength. using your intention (Yi). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. At the same time. Roll the chest slightly inward. b) Posture 2 • • • • • • Exhale and gather the organs. the navel and the Ming Men Mai swell out. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. 4. Acting slowly. Focusing on your intention (Yi).Note: when you inhale and open up. Qi appears between finger tips of both hands like a magnetic force. 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. Drop the wrists and hold the palms facing inwards in a concave shape.
To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. Lastly. and when Qi rises – the body and internal organs gather slightly. 4. 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.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. Qi and strength. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. if you require the breath to be slow.4. intention and Qi. For example. one’s thoughts need to implement intention consistently. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. “the internal Qi moves inside”. when extending the hands. For thought (or attention) to combine with intention. This practice also strengthens the practitioner’s ‘root’. This is called. and also helps the practitioner build skills in relaxation and quietness. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. as well as the internal Qi moving in the body with the guidance of your intention. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. . Qi here refers to the fresh air exchanged between the lungs and the outside. For example. In this way. gentle and even. as well as breath control. then your strength must be soft.2 The relationship between Thought.
In particular. Guided by intention. Its purpose is to stimulate the nerve system by muscle movement. With practice. this movement becomes a conditioned reflex and helps move muscles which are normally static. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. the chest. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 .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. abdomen and back. and are one of the main requirements in Zhuang skill.
then open your eyes and look into the distance. When the weight shifts completely to the left leg. Start the posture with your eyes closed.10).5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. This posture could also be called a sideways Bow Step (Fig. raise both hands above the right leg. The fingers are poised as if grasping the air. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. then shift your weight forward from the left foot to the right knee. At the same time. 4. Expand the crotch like a circle.9). The length of inhalation should match the speed of the weight shift. the right hand in front of the left. Purify this saliva with your intention. inhale and move your weight backward. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. When inhaling. Gather the Lao Gong points of both hands inward. make sure your eyes are drawn inward to looking internally. Swallow the fresh air inhaled.陈 氏 太 极 拳 推 手 技 法 4. 4. . then breathe it out slowly as you move forward (Fig. Next. focusing your intention in the Dantian.
9 b) Posture 2 • • As Qi is lowered into the Dantian.11). 4. close and fold your strength into your chest and waist.10 Fig.Fig. lower the waist.11 147 . Repeat this process alternating the left and right sides. then push both hands forward slowly (Fig. 4. 4. 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. As you exhale and shift your weight forward. You need to have the feeling of closing before opening.
confidence is a critical prerequisite. and persistence. practitioners are required to cultivate their Three Spirits when they begin practice. determination. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. 王 西 安 148 . If. and hold firm to these attributes throughout path of practice and study. confident and diligent practice. With confidence comes determination. and great determination. Only after prolonged practice can confidence be nurtured. on the contrary. leading to progress and experience of the benefits. Through serious dedication. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. practioners will make the expected progress. You can persevere only if you firmly believe in the benefits of Zhuang skills. So where does confidence come from? From practice. Confidence in Zhuang skills grows with practice as difficulties are overcome.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. your practice hesitant and inconsistent. persistence may be engendered. with confidence and determination. In sum. your belief is half-hearted. Indeed. then your progress will be poor.
Peng force is maintained while the foundation of the body is reinforced as well. In this way. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). As you step forward.4.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. both palms facing forward. extend both hands forward with the right hand before the left. 4.12). 陈 氏 太 极 拳 推 手 技 法 The difference of this posture from that of San Ti posture is: • Both hands extend outward with Peng energy to prepare for the opponent’s Lü gesture. 4. • At the same time.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. • The fingers of the both hands point to each other.6. 王 西 安 149 . inhaling all the while (Fig.
4.12 王 西 安 150 Fig.13 Fig. 4.陈 氏 太 极 拳 推 手 技 法 Fig.14 . 4.
Inhale and swallow saliva. drop the elbows. you start to repeat the sequence. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. 王 西 安 151 . lower the shoulders. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. step the right foot on the ground. the right hand in front of the left. rotate the left hand in Shun reeling in front of the lowered abdomen. otherwize. 4. withdraw the right hand so it intersects the left. you will lose your weight and axis).14). open both fists into palms facing inward. turn the waist and twist the crotch.b) Posture 2 • • • • • • • Next. gather and close the whole body so it forms a posture prepared for opening activities. As you shift your weight. relax the right crotch and shift your weight gradually to the right. 4.13). As this happens. At the same time. When the left hand executes Lü (roll back) to the middle of the body. When this happens. As the weight shifts. keeping the left hand inside and the right outside (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. relax both arms. inhale and crouch the body slightly. Both hands make a half fist when reeling. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. suffusing it with Qi before lowering it down to the middle and then lower Dantian.
陈 氏 太 极 拳 推 手 技 法 4. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. decreasing to seven or ten breaths per minute. The normal breath frequency of adults is six to twenty times per minute. then to five times per minute. Inhalations and exhalations should be of proper length. This phenomena of “connected arteries. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. This is a primary sign of beneficial Zhuang practice. 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”).6.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. When you practise Zhuang skills to a certain level. Therefore. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. your breath should be natural and of the proper duration so that it enhances body combat and health. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). After mastering the key principle of natural breath. you will feel your key joints and your arteries and veins become unblocked and re-connected. and comes only after accumulated practice. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. inhalation/exhalation being one breath. the breath can become slower and longer. you should focus on increasing the duration and depth of your breath. After practicing Zhuang skills for a period. Dual practice with Yi (intention) and Qi connects the whole body. Ren Mai starts 王 西 安 152 . This helps in the exchange of carbon dioxide and promotes metabolism in the body. and even to one or two times per minute. Only by this can you avoid errors and side effects.
from the tip of the tongue. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. and Yu Zhen Guan. For both. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. then infusing Qi into the Dantian. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. even and quiet. In Da Zhou Tian. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. The Qi of Da Zhou Tian originates from the Yong Quan point. Du Mai starts at the perineum. The whole process of moving Qi through Ren Mai and Du Mai. the difference being that Da Zhou Tian extends Qi to the lower limbs. Jia Gu Guan. reaches the perineum through the Dantian and then connects to Du Mai. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. the five sense organs internally gathered. reaches the Bai Hui point through Wei Lü Guan. deeper. more gentle. and Yi and Qi should move in the required routes. the body should be relaxed. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. except that the breathing in the former is longer. all channels extended and unfolded.
4.16 154 .15 Fig. then bring in the right foot so that both feet are a shoulder-width apart. bring in the arms and place both palms in front of the abdomen (Fig. 4.15).7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. then infuse it into the lower Dantian. At the same time. a) Posture 1 • • • Shift your weight gradually to the left leg. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. close your eyes and inhale. Swallow Qi down with saliva and guide it down to the middle Dantian.陈 氏 太 极 拳 推 手 技 法 4. 王 西 安 Fig. 4.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.17 Fig. fingertips pointing obliquely down. Then using the little fingers to guide the energy.16). 4. finally placing them in front of the shoulders. Clench both hands into fists and lower them to ear level as the body lowers. palms facing each other. 4. palms facing in (Fig.17). As the body lowers. lift both arms upright. swallow Qi and saliva and infuse them into the lower Dantian (Fig. 4.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow.18).18 155 . Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. 4. 4. separate the arms to the sides. pointing the fingertips upward.
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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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For example. To help you master correct Dang postures in routine and Tuishou practice. This realization caused the ancients to suggest that “the ground door should be always closed”. anus contraction should only be slight and done in a natural way. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. rectocele. Doing so over an extended period can have a positive effect in curing hemorrhoids. the left knee and ankle vertically aligned to each other and the ground. a short introduction of key Dang movements. are described below: 陈 氏 太 极 拳 推 手 技 法 5. Jian Dang and Tang Dang. womb prolapse and so on. 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. Yuan Dang. and it became difficult for vena blood to flow to heart. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. After humans evolved to the upright posture and started to walk. womb and so on. This requires the left leg to be solid with the lower leg standing upright. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. In Taiji practice. A brief introduction is provided below. the positioning of the anus also needs careful attention. In ancient times. advocating contraction of the anus during physical exercise as a remedy. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. 王 西 安 161 .The Anus In the same way that the positioning of Dang is very precise.2. the weight distribution is 3:7. Ding Dang.
“It is easy to teach but hard to change what is learnt. at the end of the Dan Bian (Single Whip) posture. This should be corrected at the earliest stages of learning. A practitioner trying to eliminate the habit of Ding Dang in his or her postures will require a long period of re-adjustment as the new correct Dang posture will initially feel very uncomfortable. the root of Dang should be relaxed. which means there will not be opening-closing power if he or she crouches in the Horse Stance. For example. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. As for practitioners. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction.2. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. energy in the legs is strengthened and the body is well supported. when the right leg moves to the side. there are many opportunities and responsibilities. Hence. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. Some perform better than others due to learning abilities. That is. the body crouches as the right knee moves outward. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight.” Indeed. and at this moment Dang should open in a circle so that both legs can support all parts of the body. If a practitioner is advised to relax. “closing in opening” and that “Dang should open in a full circle”. These traditional teaching methods should be changed as implied by the adage. innate talents. 王 西 安 162 . 5. the right knee should incline outward. In traditional teaching methods. it is very difficult to correct bad practice habits solidified with prolonged practice.陈 氏 太 极 拳 推 手 技 法 In this way.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing.
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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since both the attacking and defensive movements are interrelated and cannot be separated. 王 西 安 168 . your opponent may respond defensively with Xiong Kao (Kao by chest). with attackers changing to defensive roles in an instant and back again without warning. then strike back with Jian Kao. Indeed. if you advance using Ying Men Kao (Kao diagonally to the front).陈 氏 太 极 拳 推 手 技 法 6.1 Overview Within the Chen style Taiji routine. you can defend using An (pressing). we will describe how to apply these eight Tuishou techniques in sparring practice. For example. In this chapter. if the opponent attacks using Jian Kao (Kao with shoulder). Tuishou is commonly divided into eight categories. the attack-defense stances change dynamically. While the combinations of Tuishou moves are infinite. practitioners may master its secrets and principles with serious study. For example.
1. silk reeling in the shape of a flower) 2. Dan Wan Hua (Coiling Flower with Single Hand. Jin San Tui San (both parities advance and then retreat for 3 steps.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. which is regarded as the highest level of Tuishou. where the the practitioners are no longer oblidged to the sequences or fixed routines. i. while Tuishou) 8.6. and any movements can be exerted by intention. Shun Bu Tuishou (Tuishou with movable footwork. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5.e. normally a forward step then a backward step) 6. Da Lü (larger scale movements) 7. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. Luan Cai Hua (Picking Flower. He Bu Tuishou with static footwork.
novices should start by learning one set at a time. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. these consist of the Cai. Lü. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. or Kao hand techniques. Bie. Ding Bu (static footwork) 2. Xuan Wan (rotating wrists) 4. and not be limited to one or the other. During sparring. Duli Bu (standing on a single foot) 8.1. feet placed together ) 7.陈 氏 太 极 拳 推 手 技 法 6. Shuang Tuishou (Tuishou with double hands) 3. Huo Bu (moving footwork) 3. Qie Zhang (palm chop) In static footwork.e. Ji. Si Yu Shou hand techniques are always used. Bing Bu (step touch. Cha Bu (inserting steps) 6. An) is usually applied. Dan Tuishou (Tuishou with single hand) 2. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. Si Zheng Shou (Peng. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. However. as follows: 1. Dian Bu (stepping on toe-tips) .2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. i. Zou. including: 1. There are many categories of footwork techniques.
6. In this posture. 6. when both players retreat after being mutually warded off.2. roll the chest slightly inward and lower the waist and shoulders.2 TuishOu handwOrk Techniques 6. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. In single practice. 6.1).2 171 .6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. The elbow must be dropped. 6. Da (meet) and Sao (sweep) movements.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig.2). the four fingers extended and joined together to form a slightly concave palm (Fig. When cutting downward. The roots of the fingers are relaxed.2. with the wrist lowered and fingers relaxed. one arm is extended horizontally sideways. Shuan (bind). it is also applied to Gun (roll).1 Fig. with the forearm bent toward the upper arm at an angle of 450. palm facing in. 6. you need to place the body in a crouching position.
During sparring. Xie Tuo Zhang is also applied in the process of Big Lü.4).陈 氏 太 极 拳 推 手 技 法 6. the hand is stretched upward to the sides (Fig.2. 王 西 安 Fig. 6.4 172 .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. In this instance. where the raised hand lies above the middle of the upper arm.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.3). For example.2. the power lies in the root of the palm. 6. 6. then reverse to the Ni direction when the hands arrive at his or her body. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). The palm posture during this direction change is called Xie Tuo Zhang. the little finger is used to guide energy and draw inward toward the thumb.3 Fig. 6. when hands are rotating horizontally in a circle. if the opponent executes Lü on you. one player may guide the other to reel first in the Shun direction. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. 6. As you rotate the hand downward or outward.
see above). for example: • When you rotate both hands in vertical circles. then lower your shoulders and drop the elbows.2. fingers slightly parted (Fig.5). • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. and gradually press your hands toward the opponent. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). the hand is inserted upward or vertically/diagonally downward. see above).5 173 .6. • In Luan Cai Hua (palms reel in non-predictable angles. This technique is called Diagonally Upward Cha. Cha Zhang is widely used in Tuishou. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. separate them and switch to Cha Zhang. 6. 6.5 Cha Zhang … Slanting Palm In this technique. insert your hand downward and rotate it in the Shun direction. as the hands insert downward. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork.
When you guide your partner via Shun reeling to the front of your chest.2. 6. This way.6).陈 氏 太 极 拳 推 手 技 法 6.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. you can rotate your arm with the middle finger. while the thumb and the index finger form a “ 八” shape. 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. the ring finger. 6. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. Fig. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. and the little finger bending inward.6 王 西 安 174 .
6. 陈 氏 太 极 拳 推 手 技 法 Fig.7 王 西 安 175 . This knee is turned slightly outward to provide a frame for all parts of the body.6. the knee positioned approximately above the tip of the foot (Fig. the Yong Quan point should be empty while the Dang is open with the intention to close.3. toe tips bent slightly inward. In this posture. The toe tips point slightly inward. following the principle of ‘closing in opening’.7). The other leg bends with the intention to straighten.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. the thigh nearly parallel to the ground. following the principle of ‘straightening in bending’.3 TuishOu fOOTwOrk Techniques 6. 6. One knee is bent so that the body is in a half crouch. the sole fully touching the ground.
2 Hou Zuo Bu … Back Seat Step In this posture. 6. Position both feet fully on the ground. toes grasping the ground.3. 6.8 6. straighten the front leg so that the back leg becomes the Bow leg.3 Qian Dian Bu … Forward Tipping Step In this step. 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.陈 氏 太 极 拳 推 手 技 法 6. • This step is always used in Shun step. 6. knee bent slightly over the toe tips. It is applied widely in Tuishou. Fig.8). big Lü and Luan Cai Hua.9). body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles). the heel touches the ground with the toes pointing up at about 450 (Fig. When the weight is completely transferred. if the opponent presses on any part of your body with his or her hands or arms. 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.3. 王 西 安 176 .
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. if an opponent applies Lü on you. 6.10).Fig.9 6. and Luan Cai Hua For example.3. 6. followed by the sole then heel (Fig.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü. 6. move your weight back and withdraw the front leg backward by stepping the toe tip back first.10 177 .
6. Hence the name ‘Falling Step’.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 178 Fig.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. Lü applied through large-scale movements) (Fig. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg. which now lies close to the ground. 6. 6. in the ‘Dragon sweeps ground’ form.11). and is widely used in forward or backward movements (Fig. For example.12 . Big Lü and Luan Cai Hua. 12). When the opponent applies Big Lü on you.e. This posture is applied to Shun step. 6.
It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers.1 Shun Chan … Conforming reeling In Taijiquan. while simultaneously executing Kao on the opponent. where it returns to its original position of circulation. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the term ‘reeling’ means to spiral energy.e. In Silk Reeling technique.6. For example. you can use Shun Chan to gather energy and edge into the opponent’s territory. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. This move is called Shun Ji Shun Fa (i. the shoulders guiding the elbows and the waist guiding the shoulders. The principle of Shun Chan is that with the elbows guiding the hands. with the little finger guiding energy as it points to the thumb when it is drawn inward. In addition. in Bei Zhe Kao (Lean with back). when the opponent executes Lü on you. 6.13 179 . you draw the opponent inward into your territory. with the other fingers slightly turned outward. power rises from the heels up the legs. spirals around the waist and shoulders. Shun Chan means to spiral energy from the outside to the inside.4.4 hand Techniques in TuishOu reeling 6. exerting Ji and Na in confronting reelings). enters the bone marrow through gaps in the scapula and travels down the arms.
roll your chest slightly inward and lower your waist.15). by using the waist to urge the shoulder.14). In Ni Chan.4. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. In horizontal circle rotations with single hand. Here. Ni Chan is used to open outward. Zuo Wan (descending wrist) technique is adopted (Fig.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’.陈 氏 太 极 拳 推 手 技 法 6.14 Fig. 6. 6. while the other fingers turn out slightly (Fig. 6. the shoulders to urge on the elbows and the elbows guiding the hands. shoulders and elbows. Note: to apply this technique precisely.15 180 . 6. concentrate you energy in the wrist.3 Shun Ni Zuo Wan Wrist descending in Shun and Ni directions This technique consists of lowering the wrist gradually during the transition from Shun to Ni Chan. 6.4. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent. the thumb gathers inward and guides the little finger. 王 西 安 Fig.
while trying to ‘listen’. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi).4. which is formed by pointing the little. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. and adhere to him or her. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the Shun hand changes to Diao Shou (Hooked Hand). Kao). Cai. 6. • For example. by holding on to the opponent by the hand. to provide a closing and opposing force with the three fingers (Fig. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. 6. Ji. your right hand rotates at 90o towards the right side of body in Ni reeling. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng.16 181 . The wrist is drawn inward to form a Diao Wan (Hooked Wrist). At this point. Zhou.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent).16). Lie. Diao Wan is also widely applied in response to a Lü attack. Lü.6. in case of single hand rotation in the horizontal circle.
陈 氏 太 极 拳 推 手 技 法
6.4.5 Shun Chan Yang Zhang Raised palm in conforming reeling
This can be divided into inward Yang (palm rising) and outward Yang (palm rising), which are always used in the four front oriented techniques (called ‘Si Zheng Shou’ in Chinese, i.e. Peng, Lü, Ji, An) and four side oriented techniques (called ‘Si Yu Shou’ in Chinese, i.e. Cai, Lie, Zhou, Kao). First, if the partner executes Lü on your right arm, you insert loosely in Ni reeling, and then advance and press inwards by Shun reeling, raising the hand while advancing. It is called Yi Yang Zhang (palm raised inward), because at this time the palm is facing inward and upward. Second, if you guide the partner and withdraw your step, the partner will likely expose some weak point after you raise your palm in Ni reeling. To lift the partner in this ‘openning’ provides preparation for your ‘closing’, i.e. to capture your partner in Shun reeling quickly. At this time your palm is facing upper outward, so it is called Wai Yang Zhang (palm raised outward) Internally, whether in outward Yang or inward Yang, you should coordinate whole body movements coherently. Yang is a kind of opening, so at this time the body should close, so as to support each other and not be separated. Practitioners must pay attention to these principles in practice.
王 西 安
6.5 TuishOu sTeps 6.5.1 Shang Bu … Forward Step
Shang Bu is a forward step with one foot, and begins with both a step forward and the bending of the knees so that the body is slightly crouched, five toes grasping the ground (Fig. 6.18). This preparatory posture resembles a cat ready to pounce on a rat, and allows you to step forward lightly and flexibly. Like a cat, you should prepare first by gathering energy, then extending the foot while listening and feeling intently. Step first with the heel then uncurling the rest of the foot flat on the ground. This procedure will limit your vulnerability.
6.5.2 Tui Bu … Retreating Step
The Tui step consists of moving one leg backward in an arc, and it can consist of more than one step (Fig. 6.19). Key to the Tui Bu is the bending of the weight-bearing knee. How much this knee bends and hence how much your body squats depends on the size of the Tui step. The bigger your retreating step, the lower you will have to bend your knee. However, it also depends on your body condition. Whatever the case, the Tui step has to be done flexibly and lightly and not with stiffness.
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 6.18 Fig. 6.19
陈 氏 太 极 拳 推 手 技 法
6.5.3 Gen Bu … Following Step
The Gen Bu can also be called the Dian (adding) Step (Fig. 6.20). This step is used in the situation where one normal step is too small to reach the target while two steps too excessive. In this instance, one is said to Gen (follow) or Dian (add) a small step after a normal step to reach the target distance. Gen is applied to the four front orientated techniques, Si Zheng Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua. The main purpose of Gen Bu is to get closer to the opponent to decrease their chances of escape. However, note that the Gen step is completed without the opponent’s awareness, a technique called Die Fa (a general concept of body combat techniques, referring to the comprehensive techniques and strategies to defeat the opponents, on the basis of quality ‘listening’ to their speed, weight and power in Tuishou). The importance the Gen step in Tuishou is reflected in the saying, “You cannot reach the depth and secrets of Tuishou without understanding Die Fa.”
王 西 安
solo pRaCTiCe in Tuishou
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
Solo Tuishou practice consists of individual practices useful for improving flexibility, agility and responsiveness to combat. Typically, body movements are initially executed at a high stance, gradually lowering to mid then lower stances. However, practitioners should practise according to their body condition. Likewise, beginners should start with practicing at slow speed, gradually working up to faster then very swift movements. At each stage, slow movements should not become blocked, fast movements not energy-losing, and very fast movements not chaotic. In other words, you should not lose energy in slow practice, nor be obstructed in fast movements. On the contrary, you should keep the consistency, coherence and Liu He (the Closing and Consistency of six parts of the body), and avoid any disorder and energy loss.When one part of body moves, all other parts follow and coordinate. In solo Tuishou, you should act as though following your partner neatly, and always keep attention concentrated, shoulder blades relaxed, and movements flexible. Execute solo practice as if you were actually fighting with a partner, with the fight so vivid that it brings you more interest in your practice. As a result, after thorough sole practice, the whole body moves flexibly, neatly and smoothly, and you are able to do well in actual paired Tuishou.
王 西 安
in preparation for the right leg step forward lightly. Continue relaxing the crotch. so as to avoid empty stepping (i. 7. relax the crotch and lift the right knee.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. heel first with toes pointed up. the left toes grasping the ground. 7.3). 王 西 安 187 .2. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. eyes looking forward (Fig.2.2.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. Relax the arms and hang them at the sides. Step the right foot forward. stepping without thought) (Fig. 7.7.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. palms lightly touching the sides of the legs. straightening the neck and lifting the top of the head. Shift your weight slowly to the left leg.2). As your weight shifts.1).e. Maintain the vertical axis.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. precise and full of intention of listening. 陈 氏 太 极 拳 推 手 技 法 7. Your step should be light. then slowly roll down the rest of the foot to the ground. empty the Yong Quan point. 7.
4).陈 氏 太 极 拳 推 手 技 法 Fig. the left elbow and the right hand should move coherently in collaboration with each other.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. 7. thumb behind the fingers (Fig. 7. 7.2 Fig. As the weight shifts.1 Fig. 王 西 安 188 Note: in later movements. 7.3 7.2. right elbow and wrist. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. . While the right arm moves. Complete the movement by raising the right fingers to form the Li (erect) palm. relax the left arm so that the left hand hangs down.
4 Fig.2.5 7.Fig. 7. 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. 7. The right knee follows the movement of the right hand and rotates inward at the same speed (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. As you reel.5).
陈 氏 太 极 拳 推 手 技 法 Fig. At this point.7 7. the elbow in a slightly warding off (Peng) position in coordination with the little finger.2. 7. 7. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. .6 Fig.7). The right forearm now moves transversely in front of the abdomen.6). The other fingers reel outwards in coordination with the elbow (Fig. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. When the right arm moves downward. Step the right foot either flatly on the ground or with toe tips pointing up. 7. right palm facing down and wrist bending 450 inward using the little finger as a guide. 7.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. the weight shifts completely to the left.
shift your weight to the right. followed by the hand.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. The 3600 rotation of the arm follows this sequence of changes: Shun. until it reaches the front of the right ribs.2. Use the rightward rotation of the waist and torso to steer and guide the partner’s power into your territory towards your right side so you can eliminate it. Shun. Ni.7.7 Part 7 • • • • Using the little finger to guide the energy.2. 7. changing into Ni reeling. pointing the right knee slightly outward and moving it in a helix. Return the bent arm and the bow leg to their original positions (Fig. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. 7. 王 西 安 191 .9 Part 9 • • Now using Ni reeling. At this point. three Shun reelings and two Ni reelings. While the right arm reels. 7. Ni.9). 7.8). bend the knees slightly to place the body in a squatting position. Rotate the waist to the right.2. Shun. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. that is. As the arm changes to Ni reeling. extend the right hand slightly forward. Then place the palm downward (Fig. power is most concentrated and exerted on the external side of the thumb and index finger. using it as a pivot to rotate the right shoulder rightward. a 900 arc to the right side of body. draw the chest slightly inward and relax the right side of the crotch.
the lower body follows. Ni. The middle body moves in coordination with the upper and lower bodies. the arms rotate with the waist and the axis while the hand guides the energy. all parts moving together collectively. Practice alternating rotations with both arms so that there is a feeling of balance. When you feel tired practicing on the right. Notes In these horizontal-circle rotations.9 • The left arm rotates from the left. 7.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 192 . the upper body guides the lower body’s movement. The movement of every part of the body should be continuous and synchronised – when the upper body moves. Practice until you reach a level where when one body part keeps still then all other body parts keep still. 7. Ni. Relax the waist and shoulders. Shun. the reeling sequence being Ni. three Ni reelings and two Shun reelings. Shun. practice on the left by switching to the left leg and the left hand. rotate the wrist. when one body part moves then all other body part follow.8 Fig. that is. that is. and ensure your body weight moves back and forth in synch with the body movements.
switch to Ni reeling. relax the left side of the crotch. 7. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. lower your Qi. Next. The whole movement is mainly guided by the rotating waist and relaxed shoulders. 7. • • • • • Keep your body weight on the left leg and step forward.11). drawing an arc of about 90o to the left.12). It only requires vertial hand revolution and very small shifts in weight. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. Bend the left leg so that you squat slightly.7. heel first with the right foot. drawing an arc of about 180o which goes downward and then up to the right. Finally. then turn the body to the left and raise the right hand in Shun reeling. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. Focus the eyes on the right palm (Fig. with eyes looking forward (Fig. then switching to 90o Shun reeling. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . 7. Next. with the rest of the foot gradually fully touching the ground. palm slanting upward with intention to gently guide and draw in.10).
10 Fig. then reel in Shun.11 Fig. 王 西 安 194 . 7. Practice rotating both arms in turn. Notes The single-hand vertical circle is not completely vertical but slightly slanted at an angle to allow you to guide and draw the opponent in. Vertical arm rotation is guided by spiraling movements of the waist and back. Finally. reel in Ni to the right at 90o.12 • • When rotating in the opposite direction. 7.陈 氏 太 极 拳 推 手 技 法 Fig. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. 7. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward.
in preparation for action (Fig. the palms should move forward at an inclined angle (see picture). toes relaxed and pointing downward (Fig.13). Relax the left crotch and while focussing on the right crotch.14 Fig. Note: when applying Tui Palm. 7. the forward shift of the body should stop once the palms reach their natural end position. 7. 7. Also. 7. shift your the weight gradually forward. then raise the right foot. Raise the forearms 90o upward. palms facing to each other.14).15 195 . pushing both palms forward (Tui Palm) at the same time. 7. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. otherwise the shape of the posture will be lost (Fig. eyes facing the front (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed.13 Fig. Bend the left knee to put the body in a crouching stance. 7.7.15). This body posture is now one of holding and collecting. Shift your weight gradually to the left leg.16).
王 西 安 196 . this time relaxing the right crotch and focussing on the left crotch. 7.陈 氏 太 极 拳 推 手 技 法 Fig.15) by drawing a circle by the sides of the body. then pushing both hands forward. 7. 7. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig.16 Fig. Practice this cycle.17 • • • Next. Repeat the Tui Palm movement again. then lowering to the front of the abdomen. imagining the hands seizing the opponent’s wrists by Diao (Fig. 7.17). shift your weight backward and separate both hands to the sides of the body. palms vertical.
7. Grasp the ground lightly with the toes and face the eyes forward (Fig. lower the waist and shoulders.18 Fig.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. drop the elbows and sink the Qi downward. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua.19 197 . stated as follows: Stand at attention with the body upright and relaxed. Raise the forearms 90o upward. palms facing to each other. Bend the left knee to put the body in a crouching stance.14). then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. While raising the hands. eyes facing the front. Shift your weight gradually to the left leg. 7.19). toes relaxed and pointing downward (see Fig. then raise the right foot.7. draw the chest inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7.18). in preparation for action (Fig. 7. 7. This body posture is now one of holding and collecting.
At the same time.21 • • • • 王 西 安 198 • Next. Then. after another small Ni reeling upward. Next. 7.21). cross both hands slowly in Shun reeling.20). 7. 7. stopping at shoulder level (Fig. with the intention of supporting something upward.20 Fig. Extend both hands forward in an ‘offering’ stance. push the crossed palms over the head in Ni reeling. continue to draw your chest inward. palms facing forward. During this process. . both palms facing inward. 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. 7. the palms descend to the sides. As both hands separate upwards. finish the weight shift to your right leg. step the left foot on the ground and shift your weight forward (Fig. extending the hands forward so that the left hand crosses over the inner side of the right wrist.
Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. only that palms in the latter move horizontally. upper arm. You will feel the power after long practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . the chest.Note: as both hands separate outward. so as to start a new cycle. strike out in succession to the sides so that the arms become a pulled bow. Closing form: palms continue to Shun reel. then hands. shoulders. With body gathering. Both hands then draw a downward arc to fall to each side of the abdomen. palms facing each other. palms cross together. that is. • • Now the left hand reels in Ni while the right hand reels in Shun. finger-tips pointing down. while weight totally switches to the left. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. forearm.
then bend it inward 45o. heel first. Lü. extend the right hand diagonally forward to the right. • As the weight shifts. Extend the left hand transversely and place it on the middle of the right upper arm. body and steps.22 Fig.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. Ji. Open every body part to make your rotations natural and flexible. eyes. The key points are the same as those of solo Tuishou. palm facing in. • Stand at attention. 王 西 安 Fig. Note that one should practice with intention rather than by force. When practicing. • Shift your weight to the left leg and lift the right foot to step forward. thumb pointing down and the little finger pointing upward. 7. palm facing forward. Coordinate the movements of your hands.23 200 .陈 氏 太 极 拳 推 手 技 法 7. 7. with the foot gradually stepping fully on the ground. act as if sparring with a partner. and An.
and the eyes look forward to the right (Fig. the arm opens like a circle. Shift your weight to the left slightly then to right. as the left hand moves inward in Ni reelings.• • • • • The left arm intends to Peng outward. raise both hands in Ni reeling.22). Next. relax the left crotch.24 Fig. and so continue to Peng upward before executing Lü. Meanwhile. the wrist bent slightly inward and palm facing inward. 7. 7. At the same time. shift your weight left and focus your eyes on the front of the right hand (Fig. focus your intention on meeting and holding the opponent’s hand. 7. During this process. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.25 201 . 7. 7.23). Move the right hand in Shun reeling. the left hand ahead of the right. Relax the right crotch and turn the body to the right. lower the right shoulder and drop the right elbow. 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.24). As the left hand rises. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig.
The right hand reels in Ni direction also with the intention to push outward (Fig. This is the same as the starting posture of Da Shou posture. Note: In this movement.22). As this happens. and the left hand helps the right to execute Lü.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. Repeat the process. shift your weight forward to the right leg. Peng and An are transitional actions executed in 王 西 安 202 . 7. 7. Execute An forward with both hands the palms facing each other about 33 cm apart.25). alternating left and right sides. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. You will also need to use your left shoulder to push and use the right hand to help press forward. If the left leg is in the front. The edges of the hands become power-exerting points. eyes looking forward. pushing it outward. an instant. the right hand executes Peng. At this point. visualize your left hand pressing down on the hand of the opponent.
Lü. outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. where the pushing power is exerted. moving forward is combined with Ji and An hand movements. Keep the eyes looking to the front right (Fig. Step the left foot on the ground with the inner side of the foot touching the ground. As the weight moves forward. Face the outer hand edges. sink the shoulder downward and drop the elbows. 7. Lower the waist. • • • • Step forward with the right foot then shift your weight forward. 7.27 203 . raise both hands to attack by pushing them to the front right of the body.7. 7. moving backward uses Peng and Lü hand movements.26 Fig. Ji and An. These actions drive two the hands forward. Hand movements consist of four Zheng hands: Peng.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.26). draw the chest inward. In practice.
29).28 Fig. The body moves forward following the shift in weight. Note that Qi should not be allowed to float upward. withdraw the left hand gradually and place it on the middle of the right upper arm. toes pointing down (Fig. and in preparation for moving. Relax the left crotch after pushing and shift the weight to the left. 7. turning the right elbow out and upward. As this happens. At the same time.29 • • • • • 王 西 安 204 • • • After the pushing attack. As the arm moves. thumb pointing down and palm facing down. shift your weight to the left and lift the right foot. followed by the arm and the hand (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. rotate the right hand slightly downward in Ni reeling. tiptoe first. 7. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body. 7. . move the left hand downward then draw a forward arc to form a Lü posture with the right hand. 7.27). Push the shoulder forward.28). At the same time. Bend the left leg to squat further and extend the right foot forward. Eyes look to the front right (Fig. with the intention to close before opening. 7. Raise the right hand in Shun reeling.
raise the right hand quickly to push forward together with the left hand toward the left side of the body. Eyes look to the front left (Fig.30). then shift your weight to the right. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . Next. As the weight shifts. raise the left hand in a spiral to form a Lü movement with the right hand.32). Both hands are about 33 cm apart (Fig.30 Fig. gradually squat the body. 7. Next. 7. Raise the right foot and take a step backwards to the right. Eyes look to the front left (Fig. The front push of the right hand provides an instant defense.Fig.which takes place in an instant. 7. then draw a circle downward. then in Shun direction downward to the left. 7.33). Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. Visualize sending the opponent’s right hand out to the left side of your body. While the right hand switches to Lü. thumb pointing down and palm facing forward. Reel the left hand first in Ni direction. The outer edges of the hands are power-exerting points. the upper and lower body form a balanced block of strength with the waist as the boundary. Then the right hand switches to Lü. Eyes look to the left (Fig.31 • • • • • • Relax the left crotch and shift your weight to the left.31). 7.
extend the right hand to the right front of the body following the right foot. until the left hand reaches the middle line of the body. 7.32 Fig. 7. 王 西 安 Fig. Raise the body gradually and slowly shift your weight to the left leg. Eyes look to the front left (Fig. the right arm then bends to 450 inward.35 206 .陈 氏 太 极 拳 推 手 技 法 Fig. 7. 7. 7. As the weight shifts.34 Fig. At the same time.34). take a step forward with the right foot.33 • • • Both hands execute Lü from left to right following the body.
Fig. Eyes look to the front right (Fig. Note that the waist power descends to the left first then the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. 7. 7.36). 7.36 Fig. place the left hand on the right upper arm. thumb pointing down.35). Then shift your weight slightly rightward.39 207 . 7.37 • • Simultaneously. Eyes look to the front right (Fig.38 Fig. 7. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy.
Relax the right crotch and shift your weight to the right.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left.39). then move it out to the right. Next. As soon as both arms finish pressing forward.38). Eyes look to the right (Fig. Start a new cycle (Fig. visualizing that you are pushing the opponent’s hand outward to the right. At the same time. 7. 7. 7. execute Lü downward with the left hand. 王 西 安 208 . move the right hand in front of the left hand quickly. Eyes look to the front right (Fig.37). 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.
Furthermore.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. Zhou. In this chapter. As such. Lü Ji and An. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. 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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. we will only refer to two main Da Lü postures as shown in the pictures which follow. Lü. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. Bie Zou. Zou. the only difference being that the extent of the steps in Da Lü is bigger. 7. beginners should first practise the routines.7. One is Da Pu Bu. The other picture demonstrates the big Frontward Bow Step. Kao with large-scaled body movements. Bie. The other movements are the same as the movements in Shun Step (forward or backward step). and Kao. The circulating of steps in Da Lü when practicing Peng. then the fives methods of solo Tuishou practice. If not. It is not easy to practice Cai. whereby Player B executes Lü on Player A. 7. and Kao. Lie. 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. literally meaning “big falling step”.40 Fig.41 209 .
42. and flexible.陈 氏 太 极 拳 推 手 技 法 7. 7. and also uses the Si Zheng Shou. Luan Cai Hua is also built on the foundation of Peng. 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. This way you will not lose energy unnecessarily nor become stiff. The body movement and gait should be neat and swift. Ji. It’s features include free movement with no fixed direction. See how to execute Dian step in Figure 7.9 sOlO luan cai hua TuishOu The gait in Luan Cai Hu is called San Bu (scattered steps) or Hua Jiao Bu (steps in flower tracks). You need to rotate neatly when executing a step forward as the partner changes his or her direction. 王 西 安 Fig.42 210 . Lü. you should pay attention to the following points. and An. precise rotation. In the Luan Cai Hua Tuishou practice.
It is not easy to apply Die Fa. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . looking for the attacking opportunity. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. you feel the partner’s energy as you rotate. the only difference being in the stances of the body. Your movements should be quick but not chaotic.In this technique. getting close to their upper body while causing them to raise their lower body or slant it. You should practice listening repeatedly. the steps are small but the speed is fast. Do not just practice at fast speeds or you will lose your energy or get stiff. Ji. light but not empty and floating. When you apply Luan Cai Hua in Tuishou sparring. When circulating the four Zheng hand techniques (Peng. An). 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. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. heavy but not stiff. and entice the partner to advance and show his or her weak points.
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 .
gathering speed in the later stages. development should follow the stages of San Shou to Zhan (coherence). try to choose a partner of similar level for pair practice. the practice stance should start high. similarly. Lian (connecting) and finally Sui (following). If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. I hope that the reader will use this to practice diligently and master the key points. An introduction to Tuishou pair practices has been provided in the following pages. pair practice should start slowly. Like solo practice. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. Pair practice Tuishou improves combat skills. moving as the partner moves. Pair Tuishou embodies the essence of Taiji Tuishou.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring.陈 氏 太 极 拳 推 手 技 法 8. flexible and without weaknesses. lowering to mid-height then low stance. Nian (sticking). whereby your actions should be precise. Faster progress may be made if your partner is proficient in Taiji. like a flowing river: smooth. pair practice becomes beautiful to watch. 王 西 安 214 . Lastly. In addition. If possible. If both partners have Taiji proficiency. flexible and rapid. then pair Tuishou may be described as “acting as if there is no partner although you have one”. agile. so you must strive to concentrate. movements in pair practice should start simply before gaining in complexity.
8. These may be shortened to ‘A’ and ‘B’.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. Their bodies are upright. 王 西 安 215 .1 Both players take a step forward with their right feet.2. 8. arms hanging relaxed by the sides.1 Posture 1 Both players stand at attention facing each other. toes pointing slightly outward to form a 八 shape. Player B refers to the female practitioner dressed in red. an arms length from each other so that their fists touch when arms are outstretched. 陈 氏 太 极 拳 推 手 技 法 Fig. gradually forming a front Bow Step.8. The distance between both right feet should be about 10 cm.
with the middle fingers at nose level. The back of the palms touch each other. 8. Fig. Alternatively. corresponding with the rotation of the waist. B’s weight continues to move forward to form a single-hand An (pushing) power. The right hand extends forward with the left hand akimbo.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. Both players watch their hands throughout this step. both players raise their right palm and extend it forward. A’s weight shifts backward. .2. and his body crouches slightly to form a closing power. using the middle line of the nose as the boundary. the left hand can also be placed naturally along side the body. As both players draw this arc.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 8. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. eyes focussed on the right hands.
2.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. 8. then she guides A’s hand to the front of his abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4 217 . Repeat this cycle. B shifts her weight gradually backward while her hand draws an arc following Player A. At the same time. then Ni reels 90o to the front of Player B’s abdomen. 8.Fig.3 8.
1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation. then then draws a 90o arc to the left.5 8.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).3 single-hand verTical circle wan hua in pair pracTice 8.3. Both players then rise. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. . Player A guides Player B to move first in Shun reeling. Fig. the only difference being that here the Da Shou (meet partner with hand) position is higher. 8. both hands perpendicular to each other and eyes looking forward.陈 氏 太 极 拳 推 手 技 法 8.3.
During the above process.Fig. guiding Player B to Ni reel 900 to his right side. B always adheres to A. Partner B relaxes the left crotch. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. when A draws an arc to the right side.3. For example. 8. turning to the right (B’s left side). with eyes looking at the same direction.7 219 .6 8. 8. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position.3 Posture 3 Player A relaxes his right crotch and turns his body to the right.
4. they lower their waists. 8. Now both players wait in a defensive mode. lower the shoulders and drop the elbows.8 220 . placing them outside A’s hands. with aim to form a front Bow Step. Both right feet start to uncurl to the ground. 王 西 安 Fig. Then Player B extends her hands forward. Player A raises two hands in front of his chest. having first shifted their weight onto the left leg. ready to move and attack if hands touch. toes turned up (optional). draw their chests inward and gather their ribs.1 Posture 1 Both players stand at attention facing each other. While waiting.陈 氏 太 极 拳 推 手 技 法 8. eyes looking forward.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. heel first. Both players step forward simultaneously with their right foot.
2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling.4. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks. Here. her hands reel in Shun. B’s little fingers “stick” to A throughout the process. A’s weight shift to the right foot has been fully completed. In other words. He stops pushing when his hands are 20 cm away from Player B’s chest. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance.8. As Player A pushes his hands forward. 陈 氏 太 极 拳 推 手 技 法 Fig. As B’s weight moves backward.9 王 西 安 221 . 8.
4. using the outer edges of his palms.陈 氏 太 极 拳 推 手 技 法 8.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. 8. Fig. Then both players return to the original position. While Player A separates. 王 西 安 222 .3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. then separates Player B’s hands to the sides of her body at shoulderlevel. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. She relaxes her chest as her hands separate. While A draws arcs. 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.10 8. B moves her weight forward to form a Bow Step. He shifts his weight backward.4.
11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 . 8.Fig.
The positions of all hands are higher than the eyes.12 王 西 安 224 8. guiding Partner B to raise her hands. the weight for both parties starts to shift to the right. . B has been shifting her weight to the left.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward.5.5. then step their right feet forward simultaneously. The two parties’ eyes always follow their movements.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. all eyes look forward. and separate hands to the sides of the body at shoulder level. A’s weight is all at the right foot. Now.1 Posture 1 Player A and B stand facing each other. with the inner sides of both feet facing each other and 10 cm apart. draw a vertical circle outward. Fig.陈 氏 太 极 拳 推 手 技 法 8. 8. Both players extend and raise their hands in front of their bodies with Player B’s hands placed on the outer edges of Partner A’s hands. Now.
5. she shifts her weight forward to form a front Bow Step. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8.13 8. 8.Fig. his little fingers slightly catching Player B’s wrists. Both players’ eyes face forward.14 225 . while he shifts his weight backward. While Player B rotates her arms downward following Player A. Player A draws outwards while Partner B draws inwards.3 Posture 3 Player A switches to Shun reeling. and draw arcs to the lower abdomen.
Note: The steps are the same.陈 氏 太 极 拳 推 手 技 法 8. his hands crossing before the chest with both palms facing in.5. Player B follows Player A closely and feels his change. the body squats to prepare for openning. Both players face forward. Both players can practice this in turn. Repeat this cycle. whether Player A separates B or vice versa. and continues to move her weight forward. 王 西 安 226 . Then Player A returns to the original position by Ni reeling and separating his arms outward.4 Posture 4 Player A continues Shun reeling.
with the inner sides of both feet facing each other and 10 cm apart. Now. 陈 氏 太 极 拳 推 手 技 法 Fig.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. yet start to shift to the right.6.8. then step their right feet forward simultaneously. and then extend their right hands forward so they cross each other. the weight for both parties are both in the left. Player A and B stand facing each other. Both players then shift a little more weight to the right. 8. backs of the hands touching.15 王 西 安 227 . eyes looking forward.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8.
both of B’s arms form an An (Pushing) power. gradually switching from Peng (ward off ) to Lü leftward. 8. At the same time.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. he places his left hand on the middle of the right upper arm.陈 氏 太 极 拳 推 手 技 法 8.6. Her right hand presses Player A’s right hand slightly downward. In this way. During this process. then turns his right hand left in Shun reeling following the turn of his body. Fig. Player B places her left hand on the right upper arm of Player A as he moves. . he places his right hand on the middle of B’s left upper arm. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. Player A relaxes his left crotch and moves his weight slightly leftward.16 8. While the right arm turns.2 Posture 2 Player A shifts his weight forward. 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. then extends forward to press against A’s left forearm.
then moves quickly forward to press the middle of Player B’s right upper arm with his left hand.18 229 .6. Partner A withdraws his pressing hand and places it on his own right upper arm. Then Player B wards off Player A’s left hand upward.17 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and executes Lü (roll back) again. In response. 8. Player A executes Lü on B’s hand and presses it downward. thus returning to the original position.4 Posture 4 Player B executes Ji (press) on Player A. Player B switches from An (push) to Peng (ward off ). 8.Fig. shifting his weight forward to add more pressure. In response. Repeat this cycle.
Player B’s right hand crosses the outside of A’s right hand. bending it 450 inward. and places her left hand on the middle of A’s right upper arm. Player B steps her right foot forward at the same time. so that both knees touch (A’s inner knee and B’s outer knee).19 230 . then places his left hand on the middle of his right upper arm. Player A steps his right foot forward to form a front Bow Step.陈 氏 太 极 拳 推 手 技 法 8. placing it on the outside of A’s right leg.7. 王 西 安 Fig. palm facing outward. Player A raises his right arm as his right leg moves. 8. A’s left hand then crosses with B’s left hand.1 Posture 1 Both players stand at attention.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. Both players look at each other from the side.
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. shifts his weight slightly to the right.20 8.7. and then wards off Player B’s left hand upwards. Player B shifts her weight forward to double her pressing power.3 Posture 3 Player A relaxes his left crotch first. Simultaneously. and moves his weight leftward. and switches both hands to double-hand Shun reeling to ward off outward gradually. turns his body to the right. 陈 氏 太 极 拳 推 手 技 法 Fig. executing Lü (roll back) with his right hand. This switch from Peng to Lü happens in an instant. he lowers his left shoulder and left elbow. 王 西 安 231 .2 Posture 2 Player A then relaxes his right crotch. Both players look to the front and gather themselves to prepare for futher movements. Player B continues to move her weight forward when Player A applies Lü. raises his left hand.7. At the same time. he places his right hand on the middle of B’s left upper arm. As Player A’s body turns right.8. Both players look to the front. 8.
forming an An force. with the aim of getting her to fall to his right side. 8. with the coordination of his right hand. 8. 王 西 安 Fig. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. At the same time. he presses Player B’s left hand downward to the front of her lower abdomen.7. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand.陈 氏 太 极 拳 推 手 技 法 Fig.21 8.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. then pushes her left hand rightward. When Player A presses downward.22 232 .
At the same time. As Player B executes Lü. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages.23 8. 8.7.5 Posture 5 Player B’s left foot steps on the ground. her right crotch relaxes and she shifts her weight to the right.6 Posture 6 Player A shifts his weight back to the left leg after pushing. At the same time. A’s upper and lower body move as one. tiptoe first. 陈 氏 太 极 拳 推 手 技 法 Fig. In this move.8. then her foot gradually steps on the ground fully. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. his right hand switches to Ni reeling to force Player B to step backward. 王 西 安 233 .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. Player A moves his weight first to the left and lifts his right foot quickly to step forward.
and steps within A’s left leg so that their two knees connect. Simultaneously. then pushes Player B’s right hand first down then left using the pressing power of his left hand.7. turns his body slightly left and shifts his weight slightly leftward.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. . palm out. shifts her weight leftward. Fig. to form Ji (press) power with her right arm. Player B wards off slowly outwards with both hands in Shun reeling. Both players look diagonally to the front. B also places her left hand on the middle of her right upper arm. so as to form Peng and Lü with both of his hands. B steps forward in synch with A’s guiding hand. 8. Player B relaxes her left crotch. In response. Player A places his left hand on B’s right upper arm.24 8. While this happens. Both players look to the side at each other. then takes a step forward with her right foot. shifting her weight gradually rightward.陈 氏 太 极 拳 推 手 技 法 At the same time.
At the same time.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left.25 8. Simultaneously.26 235 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then switches her left hand instantly from Peng to Lü.Fig. Player B lowers her left shoulder and left elbow. 8.7. then raises her left hand in an upward Peng on A’s left hand. B also places her right hand on the middle of A’s right upper arm. 8.
陈 氏 太 极 拳 推 手 技 法 As this happens. 8. Both players look to the sides. then raising his left hand upward onto B’s right upper arm to warding off (Peng). At the same time. she presses forward on the middle of A’s right lower arm.7. 8. then to her left. A responds first by flowing downward.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. both A’s arms form an outward Peng power. Then with her left hand. Both players look diagonally to the front. In this instance. As Player B pushes A’s left hand downward. then withdraws his right hand to place it on the middle of his left upper arm. His right hand then comes into contact with B’s right hand. 王 西 安 Fig. Both B’s hands work together to form an upward pressure pose. Player A continues to shift his weight forward. she presses Player A’s left hand first down to the front of his lower abdomen. then quickly forms a pushing power towards B.27 236 .
王 西 安 237 .10 Posture 10 Both players keep moving and rotating. 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. relaxes his left crotch. Player A steps his left foot on the ground. Player B shifts her weight first to the left. In response to A’s Lü. He moves in Lü until his left hand reaches the mid-line of his body.7. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. taking care not to go beyond their territory as this would mean that the transferring and changing of movements would not be as quick and flexible. Both players should defend and stick to defend their own territory.28 Notes: Player B’s upper and lower body should follow each other when pushing forward.8. following A’s Lü power. 陈 氏 太 极 拳 推 手 技 法 Fig. 8.
then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. 王 西 安 238 . shifts his weight leftward. Both their knees connect. 8.26. Simultaneously. At the same time. Player A places his left hand on the middle of his right upper arm. You may have found that. As B shifts her weight backward. foot gradually steps fully on the ground. palm out. Ji and An.陈 氏 太 极 拳 推 手 技 法 8. Lü.7. one full cycle consists of one step forward and one step backward. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. her right hand changes to Ni reeling to force Player A to step back.27. The rotating methods are the same as those on Figures 8.11 Posture 11 After pushing forward. tiptoe first.25. Player B shifts her weight backward to her left leg. both players return to their original positions. B places her left hand on the middle of A’s right upper arm. 8. At the same time. A relaxes his left crotch.28. Finally. to form a Ji power with his right arm. Both playesr look diagonally to the front. and 8. her two hands forming a Lü posture. and are ready to start a new cycle. as well as an accomplishment of one cycle of Peng. for both of the two players.
8 pair pracTice in da lü TuishOu (large scale lü TuishOu) Da Lü Tuishou pair practice is the fourth technique of of Chen-style Taiji Tuishou. which is Cai. 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.29 王 西 安 239 . requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground.8. and is based on Shun Bu Tuishou. Bie. 陈 氏 太 极 拳 推 手 技 法 Fig. you should combine Si Zheng Shou practice with Si Yu Shou. which is aimed at reinforcing your lower body stance and leg power in this technique. This technique consists of larger scale body movement. Zhou and Kao. 8. In this low body movement.
can you win consistently. Sao means to sweep or clear away. nor the location of your body weight. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. With this method. In Da Sao. the opponent cannot discern your target. Gun Shuan is an extension of Da Sao. use your elbow or Kao (shoulder strike) to attack when you find a weak point.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). Gun Shuan (roll and seize). left and right. try to feel the Gongfu level gap between you and your opponent by listening. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. or power direction. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). so as to transform the opponent’s power. If you choose not to attack under some circumstances. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. From this position. up and down. Only this way. Bi Ya (push and press) and so on. 王 西 安 240 . depending on the circumstances. reel them in Shun and Ni directions. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. During combat. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body).陈 氏 太 极 拳 推 手 技 法 8. Instead of sweeping the arms horizontally. push and press against the opponent to force them into a defensive mode.
These are the main methods and purpose of Luan Cai Hua pair practice. Combine the power of both your hands so that they become one indivisible power. you can advance two or three steps to gain a territorial advantage. For example. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). direction and angle of changes. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. 8.32 Fig. Your Dian Bu should be light. flexible. 8. coordinated with Shang Long Xia Ti.31 王 西 安 241 . Actually. 8. Fig. This is an example of the Die Fa. which you think harmful to your opponent. if the opponent retreats one step.Your footwork should be coordinated with your handwork. agile and swift. Apply Ti (lift) and Long (holding close) unpredictably and precisely. there are no restrictions in the application during practical body combat. Your footwork should be based on the speed.30 陈 氏 太 极 拳 推 手 技 法 Fig.
Taiji Philosophy is most easily expressed and understood through the use of body language. through Taiji forms and postures. much of the theory in this book is based on the guidelines written by Yang Chengfu. that is. For this reason. . opposing and complementary. Yang. each action or form occurs as a result of a certain combination of forces which are generated by Heaven.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. While the Taiji form has undergone many changes through the ages. According to this philosophy. the philosophy of Taiji attempts to explain the workings of the universe. one of the pre-eminent representatives of Yang Taiji family. Sun and Wu Styles. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. At its foundation. culminating in the modern-day Chen. of two fundamental forces: Yin and Yang. our world and the human body through the interactions. 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. Earth or Human realms. and offered new ways of understanding humans as a microcosmic blueprint of the Universe.
inbiworld.com . and a referential resource for Taiji instructors and practitioners for generations to follow. this tome was intended by its author to be both the first ever written repository of Taiji lore. The English translation of this canon marks the first ever attempt to translate into English Chen Xin’s highly esoteric and detailed technical explanations of Chen-style Taijiquan techniques. A work of intense scholarship which took over fourteen years to complete. www.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. including his meticulous inscriptions for over 400 illustrations.
An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. Q.chenxiaowang. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. How do I purchase calligraphy or make a contribution A. China. How is the project being funded? A. Wenxian.com . Q. All people who buy calligraphy or make a direct contribution will have their name and the amount carved into a stone tablet to be displayed in Chen village.Chen Village Restoration Project • Q. Q. What is the Chen Changxing - Chen Village Restoration Project? A. Who was Chen Changxing? A. www. Henan Province. founder of the Yang style.
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