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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 .
More than ever. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . the Japanese are coming to love Taijiquan and the great charm of Chinese culture. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. indubitably a result of the efforts of Taiji followers in both countries. we believe that Taiji. to consist of everything’. as an expression of the profound spirit inherent in all human beings. 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 shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. In the spirit of Taiji’s original meaning. belongs not only to China but to the rest of the world. is to be published. ‘to exist everywhere. newly written by Master Wang Xian. I look forward to Master Wang’s future works with great enthusiasm. an impressive feat of concentration and energy considering Master Wang’s teaching workload. Atsuko Noguchi January 1998. One of the finished manuscripts resulted in this book.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. Indeed. Tokyo.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
............97 8........................................................84 7...............................................................................................................................26 7...............................29 8. Na (Seizing) Techniques ......... Elbow Practice .................................................................25 6....................................................................... 2.........................38 2.....................................................................................................31 9............. 4.... Zhan Nian Techniques................23 5.............................. Feet Practice ...................72 6... Listening to Energy .........................................55 4......................................35 Chapter Three: Single Form Practice 1....................... Lian Sui Energies .......................................................16 2..................13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1............................................................................................18 3..............3 Tuishou Practice – Going Inward...............105 9................... The Relationship Between Three Stages of Taijiquan Practice and Tuishou ..........................10 5.................... Tuishou: the Only Criterion to Judge the Gongfu of Taiji.................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix .......................Table of Contents Chapter One: Introduction 1................................................................. Step by Step ...... Fist Practice ....... Leg Practice ....................................................................63 5............ Na (Seizing) Practices ............................................... Kao (Push) Practices.......................................... 3................................................................................................................. Dongjin – Realization of Energy .................................................................. Misleading and Transforming Techniques .........34 10................................................ Reeling Silk ............40 3.................... Jietuo (Escape) Practices................ Ti (Raising) Energy ......21 4...................................................................................................................................... Introduction .....................................4 The Core of Tuishou ....... Energy Explosion ........................... The Origin of Taijiquan Tuishou ........................................... Opening and Closing .......................................... Palm Practice ...............................................................................................................................
................................. Classifications of Tuishou ......................................... Single-hand Horizontal Wan Hua in Pair Practice ...................................... Single-hand Vertical Circle Wan Hua in Pair Practice ................... 157 Chapter Six: Chen Style Taiji Tuishou Categories 1.................171 3.....146 6....................................... He Bu-Tuishou ...........................................209 9.............168 2.....210 Chapter Eight: Pair Practice in Tuisho 1...................................................................132 2................. 138 4............ Hunyuan Zhuang (Circle Posture) ....142 5.....................................................................................240 王 西 安 x .......193 4. Pair Practice in Shun Bu Tuishou.........................................175 4........................................... Introduction .............................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1................................................. Solo Ping Yuanwan Hua ......................... Solo Double-hand Flat Circle Wan Hua ......................................187 3......................... Introduction ..................................200 7........... Shun Bu Tuishou ......................................................................................149 7...220 5.........179 5............................. 183 Chapter Seven: Solo Practice in Tuishou 1..........................................................................................154 Chapter Five: Practice for the Buttocks and Crotch ................................................................203 8.................................. Tuishou Handwork Techniques .................... Solo Wan Hua ........218 4..............................227 7.................................................. Pair Practice in Da Lü Tuishou ....................... Wu Ji Zhuang (Wu Ji Posture)................224 6............................................................................. Pair Practice in Luan Cai Hua Tuishou..... Solo Tuishou With Static Footwork ..................197 6......................................................................................... Chan Si Zhuang (Reeling Silk Posture) ...................................................................... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ........................... San Ti Shi (Three Postures)...................................186 2................ Tuishou Steps ................... Tuishou Footwork Techniques...............................214 2.....................................................195 5....................................... Introduction .......................... Solo Luan Cai Hua Tuishou .............239 9................................................................. Hand Techniques in Tuishou Reeling................ Kai He Zhuang (Opening and Closing Zhuang) ...................................230 8...... Shuang Shou Li Yuan Wan Hua..... 133 3.. 215 3.................... Shuang Shou Ping Yuanwan Hua ................ Solo Danren Da Lü Tuishou ...................................... Solo Double-hand Wan Hua in a Vertical Circle ..
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
it helps maintain fitness. as well as the principles of Yin and Yang. Tuishou. was the creator of Taijiquan and 9th generation head of the Chen Family. in the period between the Ming and Qing Dynasty. is a practical combat technique based on grabbing. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. Chen Wangting. originally known as Jieshou or Dashou. According to the book. the ‘Book of Changes’). (also known as Zouting) was a famous martial arts master. agility and flexibility. As it is not stressful to the body.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. Taiji Tuishou practice is not restricted by a practitioner’s age. and will continue to do so in years to come. throwing and striking. With the accelerated pace of modern life. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. location or access to equipment. China. Henan Province. it helps build health and defence as well as to develop a sensitivity to movement. Wenxian County. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. sword and stick routines. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. transforming. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . gender.1. reducing illness and prolonging a healthy life. he drew on the theories of the Yijing (I Ching. catching. ‘The Family Tree of Chen’. Its creator. As a combat techniqiue. In doing so. and he was recognized as the creator of Chen Family boxing. Chen Wangting.
Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. to the Deity’. Follow the circling movements with the whole body. With sustained practice over a period of time.陈 氏 太 极 拳 推 手 技 法 1. you will be able to release explosive energy to both small and large targets.2 TuishOu pracTice – gOing inward. and do not disconnect or oppose your partner’s energy. be relaxed. Tuishou translates as ‘push hands’. hard/ soft. listen to each other’s energy flow. pacing your learning step-bystep. or appreciate the interplay of the slow/quick. so much that you will be able to apply combat techniques. A Taijiquan proverb pertains also to Tuishou. and what it consists of. transformation is the basis. 王 西 安 4 . that is. from the realization of Jin. intuitive and subconscious. followed by the double hand horizontal and vertical practice. Less well known is Tuishou’s other application as a technique for internal transformation. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. catching. Tuishou practice should be soft and modest. sTep-by-sTep To practice Tuishou. Initially. Literally. Relaxation is fundamental. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. and striking. throwing. ‘From the familiarity of forms. nor will you be able to intuit your opponent’s energetic intention. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. to the realization of Jin. As you reach the level of adept. Become familiar with the single hand horizontal and vertical practice. you must know its significance. principles. such as grasping. You will not realize inner transformation. with greater efficacy and subtlety. enabling you to throw opponents meters away without hurting them. an athletic activity based on mutual pushing.
your intention and commitment must be deeply held. Practice makes perfect. but never practice just in order to practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . mind and spirit with determination. you will ultimately enhance your health and combat techniques. force and speed in your actions. As long as you practice persistently and make progress. In solo practice. To cultivate ‘inner listening’.Remember that ‘inner listening’ is the one essential skill required to improve your technique. combining your heart. be calm and concentrated in your demeanour. Skill arises from consistent and accumulated practice. imagine a partner practicing or competing with you.
with the lightest of touches. you will develop the capacity to subconsciously anticipate quick or slow changes. At a more advanced stage. upward or downward movements.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. Kuai (quick) and Man (slow). follow) and Chansi Jin (Reeling Silk). Tuishou practice is based on thirteen ‘forms’ or energies. The thirteen forms are: • Ward off • Roll back • Press • Push • Pull down • Split • Elbow strike • Shoulder strike • Advance forward • Retreate back • Look backward • Gaze forward • Central equilibrium Peng Lü Ji An Cai Lie Zhou Kao Jin Tui Gu Pan Ding 王 西 安 6 Tuishou flows seamlessly between the application and combination of opposites. distance and direction of energy. your partner’s weight. Sui (stick.陈 氏 太 极 拳 推 手 技 法 1. continue. actions to the left or right. You will learn to follow your partner’s intention and forget your own. while its theoretical basis builds on the philosophies of Yin and Yang. When you can control these energies within yourself. Movements alternate freely between Gang (hard) and Rou (soft). adhere. and so on. . speed. attacks or retreats. which are also the essential elements of Taiji. it will enable you to feel. gathering or exploding. opening or closing. Lian. Nian. Qing (light) and Zhong (heavy).
‘if the opponent moves slightly. 王 西 安 7 . Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. don’t move’. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. When releasing explosive energy. Use the forces of elasticity and friction Use these forces when applying techniques such as ‘draw the opponent into one’s orbit to destroy their centre of gravity’. move before they do’ etc. it is the force of friction that enables you to hold and seize their arms etc. Like a balloon whose air has been exhausted. concentrate on one direction at a time. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. Attack the opponent’s centre of gravity Use techniques such as ‘control a stronger opponent with weak force’ and ‘defeat weak points with a stronger force’. this energy refills automatically to its original ‘full’ state. expansion. stretching. ‘follow slow attacks unhurriedly’. ‘if the opponent does not move. 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). or other deformation.
whether ascending or descending. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. when you move forward in your turn to 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).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. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. whether they strike or twist. 王 西 安 8 . The canon of Taiji teachings is rich with such sayings. push or strike.” Chen Changxing. push or strike your opponent you do so without alerting them in order to capture their energy. Using this. Even if attacked by a monster. also states: “No one knows when I gather or stretch. I follow my partner. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. results in the shaking off of the opponent’s upper body and lifting of their lower body. I always follow their intention.” This technique. the 14th generation master. utilizing the techniques of Kao. no matter how hard they press. I can conquer a force of a thousand jin with a tiny force of four Liang. I perform strictly to the principles so as to make me unassailable. Similarly. none of your opponents can defeat you. and is worth remembering.
the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. In order to inherit and develop this Chinese cultural heritage. I sincerely hope Taijiquan followers will embark on a serious study of this art and strive toward the as yet unbounded acme of this science. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. One with four Yin and six Yang is among the group of the adepts. Only one with five Yin and five Yang is called adept. As a science. requiring us to further our exploration and improve our practice of it. Here. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 .
one comes into the group of the adepts’. The three stages of Taijiquan are: 1. ‘three-yin seven-yang. Zhong Quan (medium circle) At this stage.陈 氏 太 极 拳 推 手 技 法 1. 2. 3. with fuller details available in Chapter Two of my book. Zhao Shu (familiarity with the forms) Outer form drives Qi. ‘Chen Style Taiji Laojia’ (Old Routine). Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. as stiff as a stick’ evolves to ‘two-yin eight-yang. Correspondingly. is San Shou’.4 The relaTiOnship beTween The Three sTages Of Taijiquan pracTice and TuishOu A brief description of the three stages of Taijiquan practice will be provided here. 2. . still regarded hard’ turns into ‘fouryin six-yang. Dong Jin (realizing the inner energy) Qi drives outer form. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity.
as well as the combination of the respective techniques applied in the big. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). random alternations between states of energy gathering and releasing within a relaxed and elastic body. all parts of the body become as highly sensitized as finger tips so that when competing. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. possess abundant internal energy. At the third stage of Shenming (deity). the complete fusion of external form and internal spirit. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . medium and small circles. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). enjoy a feeling of lightness. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. and does not mean total stillness.3. along with the Tuishou practice of Da Quan (big circle). that is. that is. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. By this stage. in addition to a diligent assimilation of knowledge. one is regarded as a Deity’. We must pay attention to different methods during different stages of practice. and be able to achieve constant internal changes between Xu and Shi (void and solid). The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. along with the Tuishou practice of Zhong Quan (medium circle). at the first stage. Following a correct program of practice as outlined above. an adept may say. Note that ‘no circle’ denotes a state of subtlety and skilfulness. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). That is to say. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). At the second stage of Dong Jin (realization of energy).
This is not unattainable.” 王 西 安 12 . if you don’t make efforts to go forward. as our ancestors tell us. even though I don’t know how I do it’. you surely go backwards. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void). Also known as ‘Five-Yin Five-Yang’.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. “Taiji practice is like rowing in the river.
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. However. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. It simply requires practitioners to have sufficient physical force for competition. In other words. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. Skilled practitioners rely on a highly developed sense of touch. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. Tuishou develops one’s sensitivity to others.5 TuishOu. Without the latter. tough energy. they are able to strike back instantly in response to an opponent’s movement using conditioned reflexes derived from highly sensitized skin alert to every minute stimulus. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . Nevertheless. softness can break through hard. These reflexes are faster than thought and only come with constant practice. Remember too where your weight is placed to maintain control of your centre of gravity. the stronger force) also can defeat the weaker force. While appearing deceptively easy. Ding meaning ‘stiff resistance’). four Liang defeats thousands of Jin’. When forces are equally matched during competition. This is called. meaning ‘loss of energy’. Tuishou actually requires a strong sense of balance and an ability to combine energy and force.e. hence it is essentially a competitive activity. The Only criTeriOn TO judge The gOngfu Of Taiji Not only is Tuishou a reliable test of one’s level in any martial art form. Hence. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. It is this dynamic that we need to explore during practice. ‘thousands of Jin’ (i. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. ‘Weak side strikes strong side. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. no techniques can be executed.1. nor is it just a matter of pitting one’s physical force against others.
陈 氏 太 极 拳 推 手 技 法 王 西 安 14 .
CHAPTER TWO: inTeRpReTaTions on The Ten FoRCes oF Taiji 陈 氏 太 极 拳 推 手 技 法 王 西 安 15 .
continue. one’s force is injected into the marrow. the skin. but also with the eyes. a practioner’s body can react instantly with great accuracy and flexibility. and taking Zhan Nian Lian Sui (stick. filled with abundant internal Qi. sensing through the skin enables reaction in any manner within the rules. squeeze and press. During Tuishou sparring. her body light and flexible. and a highly-tuned awareness of sensations in the heart and nerves as well. I know others and sweep all enemies aside. Listening can be divided into three areas: listening with the bones. a rise or fall in height or changes in weight. The entire body surface of a high level practioner is highly sensitive. with the skin and with the fine hairs on the body surface. position and magnitude. the act of ‘listening’ has profound resonances. no matter if the changes are in the opponent’s rotation.1 lisTening TO energy In the context of Taiji and Tuishou. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. feel your partner’s movements. alluding not only to listening with the ears. ‘Without being known. Similarly. her changes in rotation. On receiving these signals. allowing both body and mind to enter into the level of deity and transformation. With your skin. Hence the saying. follow) as fundamentals. when an opponent touches one’s fine body hairs. One’s skin is the key weapon. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. At this stage. 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. What is listening with the skin? It means following the command of the heart and mind. adhere. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin.’ 王 西 安 16 . The level of one’s overall listening ability is determined by one’s internal energy (Gongfu).陈 氏 太 极 拳 推 手 技 法 2.
陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . blood and breath. ‘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. Only through accumulated practice can one’s sensations detect the smallest changes. As Sunzi Bingfa says. Failure to do so will cause one’s energy to remain stuck in the chest. listen without hearing. you fight back. let alone the attainment of energy for combat. so a practioner cannot generate energy for sparring if he or she is unable to listen. defending and attacking blindly. special attention should be paid to ‘the intervals of fastness and slowness’. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. your judgement confused. How good it would be to attain this level. rising to the upper body. which is essential for constant adjustments to frequently changing circumstances. opening and closing (快、慢、沉、稳、虚、实、 开、合). Without this preparation. You will look without seeing. descending. Just as a deaf person is unable to comprehend a conversation as he cannot hear. that is why it destroys the strongest of enemies”. In all this. Your reactions will become slow. slow. where every knot of one’s body opens and stretches without crude force. your listening untrue. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. While the majority of practitioners are able to listen with the bones. ‘descending Qi and steady steps’. “The most super-human strategy is formless and soundless. emptiness. solidity. until it is too late to repel danger. leading only to failure. very few achieve the ability to listen with the skin. Nervously. Listening is essential to Tuishou. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. calm. making all one’s muscles stiff. listening would be impossible.
direction. Di (resist) and Gun (roll). transform. Zhe (hide). 化hua – change. 拿na – capture. magnitude and hitting point. you cannot note any of the above changes in the oponent. Na. await them. We call such shortcomings. Gou (hook). Pai (squeeze out). Duo (escape). length. Ba (seize by force). Hua. Lou (hold). Fa (引yin – lead. speed. Shan (dodge or flash). Peng. that is.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Dang (block off ). your energy too resistant (Ding) or being lost unnecessarily (Diu). 王 西 安 18 . Failure to overcome these shortcomings would be to fail to realize energy. the ability to circle and the principles of Zhan Nian Lian Sui. Cuo (rub). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Tui (push). Qin (intrude). straightness and curvature. Ba (pull out). Be warned that mistakes will occur on this learning path. An (press). “faulty palms” or “faulty body”. Qi (insult). Ying (stiff ). Zhan (chop). Zhuan (cheat). It is the ability to note present or potential changes in emptiness and solidity. Li (leave). Ling (pressing). Teng (jump). you cannot realize it. You may find yourself being too stiff (Jiang). Bo (move with hand). Realizing energy is based on listening. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. Even for those who achieve this skill. vertical axis and flexibility. Gua (hang on). this skill may eventually be attained with diligent practice and a good teacher. Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity.陈 氏 太 极 拳 推 手 技 法 2. 发fa – explode) at the appropriate opportunity. Jia (stiff ). Shi (tight). Ting (stick out). Hun (mix up). Without ‘hearing’ the energy of one’s partner. your posture too straight (Zhi). Ji (hit). Meng (sudden). new challenges such as ‘being too fond of competing’. hardness and softness. While beginners may find this difficult to achieve. Ke (knock). Ya (push down). Zhi (straight).
is misleading and does not take into account its fundamental role across the Chinese martial arts. Zhou and Kao). Ji. they share the common practice of ‘realizing energy’. the Tuishou practitioner must aim to apply these techniques (seizing. Ultimately. hence its continuing ties with Tuishou and. twisting. In fact. but also in the combat arts and and Sanda (free sparring). Lie. angle. Hence. developed from further transformations of Tuishou routines. with Taijiquan. and shares many common principles with Sanda (free sparring). no matter if they use the technique of Kao or twist. Whilst all Chinese martial arts possess unique characteristics. ultimately. striking. Tuishou is the combat application of Zhan Nian Lian Sui. As Chen Changxing. the poplular stereotype of Taijiquan as a non-combat. these eight techniques form the method for Tuishou. Sanda can simply be taken as a higher evolution of Tuishou. look around and maintain an upright axis during Tuishou practice. grasping. changing one’s centre of gravity and flexibility) in synchronous movements. which is used not only in Tuishou. I follow my partner.The practice for ‘realizing energy’ also tests one’s position. Concordant with the adage that ‘external forms are the method and the pathway’. ‘The Taijiquan Formula’: No one knows when I gather or stretch. 14th generation Taiji master from the Chen family. says in a verse from his book. form and quality of Tuishou. Lü. transforming. An. dodging. jumping. Cai. 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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . and also in one’s facilitiy with the eight energies or techniques (Peng. When attacking. In effect. falling. I always keep remembering to follow their intention. relaxation and health practice for the old and infirm. Sanda complies with basic Tuishou principles. utilizing the techniques of Kao in spiralling. rather than use them as disparate forces to enhance one’s attacking prowess. Whilst acknowledged as a combat technique in its own right.
step by step. until I come to the level of Deity”. ward off. Again. Everyone knows how to hook. fourth and fifth sentences refer to the application of Taiji Sanshou. The third. press and hold back.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. “From the familiarity of forms. ‘listening and realizing energy’. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. that is. that is. Indeed. The author stressed the importance of ‘follow’. Li. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. With the development of modern weapons. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . As mentioned. to the realization of energy. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. push or press. Chen Xin once said. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. Hence. In addition to applying Master Chen Changxing’s advice. we can clearly see that in all movements. The second sentence of the verse means to follow the other partner’s intention while circling them. The attacks from me by twisting. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. adaptable to both Tuishou and Sanshou. the Chinese martial arts have evolved into health and fitness promoting practices. to act naturally and follow one’s intention. strike. to forget about one’s own intentions and follow the opponent’s. leading to a wider understanding of the profound benefits and applications of Taijiquan. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. and horizontal Cai are also irresistible. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. this verse confirms Taijiquan as a profoundly practical Martial Art.
3 zhan nian Techniques Zhan & Nian are forces directed forward. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. this results in a deeper and more precise understanding of energy. magnitude. Conversely. Through reeling-silk practice. This ability comes through great patients and a life-long perseverance of effort through the three stages. Whilst it is said that form practice cultivates a capacity to know oneself. 2. to one’s opponent. in this way maintaining the upper hand at all times. “Form practice is the essence of Zhan Nian training. extent. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . Zhan Nian energies work as a pair. Zhan Nian techniques develop one’s capacity for high precision. and come to realize the laws of movement and force. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. This is why it is said. like glue. the first being ‘familiarity with form’ and the last being ‘realizing deity’.effectively. direction and the position of a partner’s energy flow. Nian means to chase and follow one’s opponent. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. will be able to instantly sense the delicate changes in the movement. that is. Tuishou practice cultivates the capacity to know others. It is commonly used in attacking strategies. capturing and transforming his energy and using it to attack at the first opportunity. with which one’s opponent will find difficult to escape. A practitioner. Only with the awareness of both oneself and others can others be conquered. so that he finds it hard to escape. Ultimately. At this point. and its natural and intuitive use.” Zhan literally means ‘stickiness’. the adhesive force that allows a practitioner to become strongly attached. while Tuishou exposes the quality of Zhan Nian techniques. on reaching the final stage of ‘deity’.
Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. as indicated by these teachings: ‘Follow my partner’s intention. beginners find Zhan Nian energy difficult to comprehend let alone detect. ‘I move before them on feeling their slightest motion’. especially those who. and forget my own’. Zhan Nian energies can be detected by sensations that start at the palms. When Zhan Nian techniques are applied. It is Zhan energy that envelops the body. Once the whole body is enveloped. and so on. these techniques will lead the opponent into faulty moves. continuous and diligent practice. Understandably. as reflected in their stiff bodies and tense. but even many long-term practitioners find total understanding or realization elusive. and then through the entire body. one can never accomplish quality ‘chasing’ (Nian). Simultaneously. 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. yet arrives at the hitting point earlier than the opponent)’. the practitioner can exert Zhan Nian forces towards the opponent. This is why it is said that at this relatively high level. ‘I don’t move if they don’t move’. 王 西 安 22 . Zhan Nian energies can only be realized through thorough theoretical understanding and careful. slow reactions to slow attacks’. flow up the arms to the shoulders and back. but certainly achievable for diligent practitioners with good teachers.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). Ultimately. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. inflexible muscles and joints. an internal energy manifesting externally. have failed to attain high proficiency in the art. ‘Fast reactions to fast attacks. During Tuishou. despite prolonged practice. victory or defeat is decided in an instant. Not an easy task for ordinary practitioners. ‘I win by striking after the enemy has struck (My fist starts late.
continuity. non-pressing. no resistance). follow and move in the same direction as one’s opponent. there can be no Lian. Once palms come in contact. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. Used in concert with Zhan Nian energies. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. including consistency. Sui. In so doing. one observes and reacts to the opponent’s Zhan Nian techniques. the opponent cannot escape because if one follows closely using Zhan Nian. moving effortlessly between quick/slow and forward/ backward movements. slow reactions to slow attacks.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. Lian is dependent on one’s use of Zhan. ‘Bu Diu Bu Ding’ (no loss of energy. that is. and no chance to escape. another rises’. Lian has a rich amalgam of meanings. can we execute Yin Jin Luo Kong efficiently. and can only exist in the presence of the latter. adhesiveness. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. fast reactions to fast attacks. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. taking any opportunity to attack. Without Zhan’s adhesive force over the partner preventing escape. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . ‘to react while following’.2. It can be summarized as ‘co-relating to the opponent’. how can Sui be achieved? Sui technique means to react. Unless one follow’s the opponent with Lian (co-relation). Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. non-forcing. so that ‘as one falls. emerges from the application of Lian.
As the teaching says. successfully use Lian and Sui to attack and prevent escape. without any break in flexibility or continuity. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. Beginners may attain the preliminary stage of Lian Sui.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. on the other hand. Lian and Sui can never function without the other. upper and lower coordinate any motion in the middle. therefore it is advisable to practice the combined application of both. the basic ability to follow the opponent’s movements. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. 王 西 安 24 . so that they can ascertain if their energy levels match the purpose and intention of their actions. 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.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. following their energy flow without interruption. whether through form practice or Tuishou”. “The lower body automatically follows any motions of the upper body. Adepts. It is vital that beginners are able to feel the movement of internal energy inside their bodies.
Once neutralized. or feet to upset their centre of gravity. and cannot exist without Yin first being applied. Hua is the transformative force.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. hence ‘misleading’ and transforming the opponent’s energy.2. 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. then gradually upwards. Literally meaning ‘to draw’ or ‘to lead’. and in this way mislead and neutralize your opponent’s energy. A particularly effective combination is Luo Kong. if my partner presses my right arm with their palms. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). going up or down. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). Note that while applying Yin and Hua forces. elbows. hips. I apply Shun reeling downwards. I lower my body then stretch my right foot toward his or her crotch. hands. As Chen Xin explains. the adept draws the opponent into his or her domain. using Lian Sui to follow their energy flow. knees. we should apply She Ji Cong Ren without being detected. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . Using these complementary techniques. legs and so on”. neutralizing any opportunity for attack. When applying Yin. one should avoid Diu and Ding (losing energy and resistance). using our arms. Use these principles whether you are going backward or forward. reeling my back inward before suddenly striking outward. so as to mislead my partner’s energy and upset their centre of gravity. we then use our shoulders. While moving. Yin is the ability to draw the opponent’s energy into one’s control. When we feel the changes in our opponent’s energy flow. palms. turning left or right. For instance.
2. I “roll over. tie up. and hence the harder the opponent falls. and their pain penetrates right to the marrow. Opponents will feel as if their tendons and bones are about to break. When I attack. he or she can easily capture his opponent through the combined use of all . Hua and Xu (gathering). 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. just as one should attack forcefully without hesitation. hence rendering them helpless. so as to accumulate and release energy effectively. explode energy as if releasing the arrow”. As Chen Xin suggests. elbows. they are conquered. rotate an opponent’s joint towards its unnatural direction. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. “gather energy as if pulling on the bow. It is important to remember that one must gather energy well before misleading one’s opponent. touch. I know my partner without being known. dodge. shock. In Tuishou and San Shou. In this way. the further one’s arrow flies.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. i. using all these techniques to mislead my opponent. one must cultivate the forces of Yin. depending on circumstances.e. Instead. destabilizing their centre of gravity and transforming their energy in order to conquer them. sweep. the more one stretches the bow. That is to say. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. Any hard fan guanjie (joint twisting. meaning the direction which hurts the natural structure of joint. However. look one way and go another”. As Chen Changxing advises. my Taiji harmony within emerges so that even ghosts fail to predict my next move. that of Taijiquan is accepted as the most refined. wrists or hands to inhibit their rotation or movement.
you need to seize first’. ‘is called the “best of the best”’. applying the energy smoothly and judiciously without over-exertion. thus reaching their goal. With the combined application of seizing. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. flexibility and skilfulness). To apply Na effectively.their gathered forces. When utilizing Na. in order to strike well. Zhua (grabbing). 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . This is called ‘dual-utilization of seizing and gathering’. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. I utilize Na to prevent my partner from escaping or from transforming their energy. Indeed. you must react quickly and flexibly to any changes in your opponent. The seizing technique in Tuishou is very important. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. so that I can strike them cleanly and successfully. If you fail to attack lightly and skilfully and your intentions are detected. There is a saying. throwing. I move using the principles of Qing Ling Huo Qiao (lightness. ‘Na (seize) always goes with Da (strike). agile. agility. ‘Only this.’ as Sun Zi Bing Fa says. Na (seizing). you still have the opportunity to move in quickly and seize them by their palms before they move away. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. Tuishou accentuates Taijiquan’s martial power. so that I may capture my opponent without hesitation or detection. In Tuishou. transforming and striking. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. These recovery measures also depend on a light. a Tuishou practitioner can exert the invincible might of Taiji. techniques such as Zhan Nian Lian Sui. Shuai (throw). This is why it is said that Na is the pre-condition of Da. Hua (transforming) are all preconditions for striking (Da). If he or she succeeds in escaping.
Na is the synchronous manifestation of the internal and external. Na technique works together with Cai technique. and sensing the amount of force the partner’s joints can withstand. ‘Never be rude and rash when you begin to practice Na. if you want to seize your opponent. your root will become unsteady. and your ribs. In peace every part of my body moves at the time of movement’. Then strike directly forward in a spiral and hit your target accurately. use the Na technique carefully to avoid hurting your sparring partner. your centre of gravity destabilized and you will find it difficult to protect yourself. just as it is stated.’ 王 西 安 28 . Next. he will be able to press forward. If Qi ascends. Miscalculations often result in injuries. During practice. both palms covering his right wrist. your chest rolls inward naturally. By relaxing. application of appropriate angles and techniques. making sure your hitting points are clearly defined. in which case. Never let Qi float upward and never let your feet lose their roots. include controlling one’s speed and magnitude of attack. especially amongst beginners. every part of your body works in harmonious cooperation. Common problems. twist his right arm inward with your left hand. chest. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. hence it is advisable to heed the teaching. When relaxed.陈 氏 太 极 拳 推 手 技 法 When applying Na. If you fail to Peng (ward off ) your opponent adequately. Exert your energy first lightly then with force. shoulders and crotch all gather downward in concert. Using this will overcome the opponent without fail. remember to maintain a relaxed state by lowering your whole body. stomach and the protruding and concaved parts of the shoulders. whether you exert Na by the co-ordination of your hand and chest or with your ribs. releasing your force like bullets rushing out of a gun. you have no option but to relax your joints. ‘No part of my body is not peaceful. stomach and legs. How then can you hope to seize another? Indeed. with no part tense. and all parts in a gathering motion. the targets for both being the arms. seize him then guide his pressing force into your territory using Lü energy.
one cannot ‘open’ without first being ‘closed’ and vice-versa. Indeed. making sure all movements are steered by the waist. Opening (Kai) means to stretch and reach. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. just as Chen Xin mentioned in his works. gathering versus exploding. bend and gather. Even masters of Chinese philosophy – Kungfuzi. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. preserve. Mengzi. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing).Work on your technique step-by-step: develop a closed crotch. opening and closing illustrate the subtlety of Taijiquan. Remember – to attack your target with agility and flexibility requires long accumulated practice. In all Tuishou and Taiji movements. Inhale from the stomach so that it remains solid. As complementary opposites.7 Opening and clOsing In the martial arts. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. OpeningClosing techniques. transform. Closing (He) means to draw in. every part of the body is engaged in the action of opening and closing. relax the shoulders. solid stomach and slightly concave chest. often meaning to ‘guide and attack’ in the martial arts. As Chen Xin says. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. are widely used in Tuishou. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . Gather the ribs. 2. Keep every joint relaxed before you exert Na. This is an important concept which bears deeper contemplation. Sanda and form practice.
and sometimes they disappear. Likewise. ‘Opening-Closing. Yi moulds changes in external shape while Jin (force) rises with Qi. from the soles of the feet. muscle energy (Qi). While standing. since Yi (intention) follows wherever Xin (heart) goes. The Opening-Closing technique starts from the closed state. 王 西 安 30 . external shape (Xing) and spirit (Shen). Kai (opening) energy originates in the root of your body. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. these changing motions. swift and powerful. Closing not only means to bend and withdraw your upper body. your ‘opening’ explosion will be natural. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. you will find your opening powerless. The quality of the effort you put in to closing determines your ability to open with power and effect. you will find that Qi penetrates your whole body more smoothly and powerfully. forceful. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. Thus positioned. filling you with great vigor. crude and slow.’ Only diligent practitioners have the opportunity to experience this phenomenon. grasp the floor with the toes and soles. the rebounding force exerted by the ground can be used to energise any upward movement.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. but also to coordinate the heart (Xin). every part of your body follows suit. with the qualities of both solidity and emptiness. As the saying attests. that is. Your heart acts as the guide and leader during energy explosion – when your heart opens. pressing the ground with your heels to empty the Yong Quan points. so that all parts of the body work together. Without closing well. if your energy is gathered and conserved well. this means that one needs to be closed first before one can open. sometimes appear before our eyes. so that your targets become accurately defined and attacks successful. the louder the explosion. In practice. your intention (Yi).
The solution is to make your energy round. 2.As you explode energy. roll your chest slightly inward. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. the whole body returns to a state of softness and relaxation. presenting your partner with opportunities to attack. Exploding energy at close-range is best as Kai energy.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). strikes may not find their mark. flexible and compact enough to mislead and upset your opponent’s centre of gravity. The explosion should be short. then to every corner of the body. and to develop high sensitivity and rapid responses to external stimuli. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. Practitioners also need to build-up a reasonable level of muscular strength. This energy originates from the soles of the feet. or worse still. you need to train your muscles in relaxation and gathering.33 cm. is limited by its short duration and small coverage which extends only as far as your body. spirals up the legs to the waist control-center. After exploding energy. keep your elbows down. you will need to drop and relax the shoulders. albeit swift and powerful. the energy released unhindered. To master this elastic force. while being mindful of the adage. land on the ground on your in-steps. your centre of gravity may be lost. lower your waist and let Qi flow along the spine. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. Beyond this range. To gather energy of this quality. or you may find your Kai technique lacking in power and precision. then spiral your internal energy up the legs to the waist. which then distributes it to the other extremities.
straight forces. skilfully. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. Your performance in competition depends not only on the quality of your sensitivity. but also that of your internal energy and combat strategy. frictional forces. that you are unable to neutralize. counter forces. your opponent is vanquished. in effect. not strength”. utilize. 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. and to explore the interactive relationship between them. When doing Tuishou exercises. internal forces. it is necessary to distinguish clearly the respective functions of internal force and external force. horizontal forces and so on. Transforming and gathering are complementary and cannot function without each other. which manifests as our weight. To do this. Constant diligence. abundant internal energy and intense physical and energetic concentration. Gathering. However. To combine the power of the three. there are also a myriad of other forces which influence our bodies – supporting forces. Failure to counter your partner’s force means. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. The main external force that we humans experience is gravitational force from the earth. all these are prerequisites to “destroy something already in a state of ruin”. spiral forces. one must explode energy smoothly. The external force of both parties affects each’s internal energy flow. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. not relying on rigid or crude force.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. Without these. flexibly and harmoniously. transforming and attacking are closely related. you must practice Changjin 王 西 安 32 . consistent good performances will not be achievable. and exploding energy with elastic vibrations. dissipate or absorb her external force. and with that outburst. though random wins may happen. The force that you and your partner exert on each other in Tuishou is external force.
(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. Upward energy and downward energy exist in opposition to each other. even with the slightest touch. one should not attack at close target. during Tiaozhou practice (upward strike with elbow). elastic or vibrating variations. despite its ferocity. the whole body moves as a synchronized force to follow the slightest movement of intention. An attack. easy conquest of the opponent does not necessarily follow. will find the opponent flung far and wide. there would be no striking the partner from one inch”. quick. while downward flowing energy helps maintain a firm and stable root. it is not advisable to exert Changjin (long energy). For example. Alternate between these three with slow. leading to very smooth and swift responses. Still Tough’ and ‘Four-Yin Six-Yang. Continue developing these techniques step-by-step until the level of deity is reached. As it is said. This means that if one finds it difficult to attack from a distance. and even when elastic cunjin (hitting a target at very close range) is executed. Close-range attacks require a high-level of competence. imagine a line between the navel and Mingmen. you will find it easier to hit targets more accurately and swiftly. At this level of Gongfu. At the transitional stage between ‘Three-Yin Seven-Yang. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. especially exhaling-inhaling and opening-closing motions. below which energy flows downward and above which energy flows upward. Good Hands’. “Without striking the partner from a distance of three metres. beginners need to do the following: do the big circle practice. the medium circle practice. as their attacks flow naturally from their heart and intention. By mastering the key points of energy explosion. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . instantaneous. To reach this level. Only very high-level practitioners may achieve this. and the small or no circle practice.
This means that no matter what Tuishou techniques you use. then your instant and precise attack can never fail”. At the same time. while you keep your intentions and energy flow undetected. The rising force is difficult to use if forced.9 Ti (raising) fOrce Ti means to ‘rise spirally’. Remember to maintain your centre of gravity with the coordination of the other leg. Instead. never let your partner know your intention before you act. shadow your opponent with agile steps. rotate your Dantian so that your body lifts with greater speed and accuracy. Remember to maintain full concentration. To lift your opponent up with Ti requires the combined effort of legs. powered by upward spiralling energy. When applying Ti. The arms and legs work together. waist and arms. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. heart. combine your rising force with your elastic force. First. To apply Ti successfully requires the whole body to work in coordination. and intention into one entity. 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. keeping your axis upright and combine your eyes. To conquer your opponent.陈 氏 太 极 拳 推 手 技 法 2. 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. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. Using Zhan Nian Lian Sui. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . your opponent’s upper body will shift out of their control. As Qi flows up the spine. and may lead to loss of control. Even if not thrown completely off balance. while you maintain a state of relaxation.
touch or sweep in response to the circumstances and you remain always observant and alert. on the verge of losing their centre of gravity. whether you rise or descend. you will be able to transform energy while striking. follow the primary principles and develop your skills stepby-step. transform and defeat your opponent’s attacking energy. your force will reach its target just with intention. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. mislead. Adequate practice will naturally lead to success. 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 . Though undiscernible initially. tie. Mastering this energy requires much effort and practice. and manifests externally as it permeates through to the fine hairs on the skin. 2. reeling outward.and power. For beginners. When this happens. you will find it easier to follow. walk with such assurance as to shock evil spirits. as it emerges from the feet. Do not try to strike others before you have attained a reasonable level of competence. you will come to sense it with practice. their root and they will certainly fall. so you feel able to “protect your descendents and kill the rebels”. passes through the legs up the spine and arms. go forward or backward. You roll. revolving energy which originates internally in the body. your attacks will never fail. The Reeling Silk consists of great varieties: reeling inward. reeling upward. reeling to the left or reeling to the right. and not even know from whence your power emanates. until it reaches the fine hairs of the skin. Attaining high-level skills will make you braver. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball.10 reeling silk Reeling Silk is a spiralling. but once attained. You will attack like a flying dragon.
misleading) always comes with Jin (approaching forward or attacking) and vice versa. and apply opening and closing techniques. all these reeling movements are always comprehensively combined together and closely connected. As for posture. collapse the waist and establish a stable centre of gravity in the legs. The solution lies in the middle path: keep a balance between softness and toughness. reeling to the front or reeling aside. focusing your energy internally and guiding the flow of your responses from Yin to Yang. While reeling. reeling horizontally or reeling vertically. 王 西 安 36 . When being utlilized.陈 氏 太 极 拳 推 手 技 法 small circles. Shun reeling (conforming) and Ni reeling (contrary). Yin (guiding. remember to keep your Zhongqi (energy to keep your axis upright). When using Reeling Silk energy. one must avoid being too soft or too tough. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. Be humble and respectful during form practice. and so on. Keep a firm root. and thus renders you unable to react properly and to be easily manipulated by the opponent. maintain the interplay between solidness and emptiness. excessive toughness makes you get too rigid. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. quiet and calm. remain balanced. reeling forward and backward.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
you need to execute Jin (go forward).1 Yilu cultivates Qi. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. It also demands a period of diligent practice to ascend gradually through the primary. Single Form practice is vital for hand-to-hand Gongfu combat. Tui (go backward). so the Single Form Practice and Erlu help to compensate for this disadvantage. An. for example. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. As we know. Shan (dodge). Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. Because Yilu lacks speed and Gang (tough) energy. Kao.’ In this way. This practice requires a solid foundation in preparatory exercises. Shuai (fall). Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Lü. Ti. relaxed and soft. goes through the Sanguan (Three Gates). Erlu explodes In this technique. full relaxation of the joints. where ‘Qi spreads to the whole body. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. Qi will flow around the body to the extremities and skin. Zhan (battle). Da. 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. 王 西 安 38 . as well as techniques focussing on various target areas of the body. This means that Yilu fosters Zhongqi so that. if practice is diligent. Hua (transform) and Na.1. Faji (attack) effectively under any conditions. To win. movements gradually become agile and flexible. Lie. keeping your energy tracks undetected by the opponent. who is then inevitably conquered. Erlu and Single Form practice help to accumulate and strengthen Gang. and exerting energy too forcefully (Ding) while exploding energy.1 inTrOducTiOn This is a practical lesson in combat practice.陈 氏 太 极 拳 推 手 技 法 3. Zhou. Cai. Ji. A wide variety of single movements must be practiced repeatedly. medium and high-level stages.
Gongfu masters. legs and hips using relevant principles. Lastly. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). hands. you fail’ and so on. To do otherwise would be to ‘attend to trifles and neglect the essentials’. so that the path to deeper understanding and realization may be paved. you harvest. 搭Da (touch) and 扫Sao (sweep). Well known examples include the foot techniques of Li Bantian. such as: ‘Profound principles emerge by themselves. Significant gains may be attained by practicing the single forms step-by-step. after you practice the form ten thousand times’. inner meanings of the mysterious art rather than a competition. Hence. Chen Zhaopi was the undisputed master of 滚Gun (rolling). the seizing techniques of Eagle Claw King. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. ‘You practice. He was known to say that he found throwing partners too easy. Though widely differing in style. each have their own unique combat style drawn from continuous tempering in their practice. more like a relaxing stretch to enjoy the subtle. we have Master Feng Zhiqiang who is venerated for his steady. Single Form practice is of vital importance. they always got hit and thrown to the ground. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. No matter how steady his partners stood in the beginning of a fight. sober movements and his relaxed yet vigorous energy explosions. resulting in loss of vigor and effectiveness. If prolonged. back. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . you don’t. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. be they exponents in internal Gongfu or external Gongfu. elbows. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. These clearly advise diligent practice of the shoulders. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. 拴Shuan (tie). neglectful practice becomes increasingly difficult to rectify. ‘Skills come naturally when you are familiar with forms’.
1 Exercise One • • Squat slightly. trampling. 王 西 安 40 Fig. With one hip relaxed and the opposite foot slightly touching the ground. pedalling forward. swinging up and down and so on. 3.2 feeT pracTice Feet practice includes the following movements.1 . alternating between both legs: kicking forward. bend and raise your knee slightly. upwards and sideways. chest rolled slightly inward.2. stomach gathered and head suspended from above. horizontally. face to the front.陈 氏 太 极 拳 推 手 技 法 3. 3.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. stepping. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. collecting the energy at the abdomen.3. sideways. upward and downward swing. 3. horizontal. feet hanging backward and so on. • Relax the feet so energy can reach the toes where it is required.2.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. pedaling. up and down.2 41 . bend the other leg with toes grasping the ground to maintain a firm centre of gravity. make sure your in-step is stretched moderately tightly. Descriptions of some of these exercises are provided below. • Roll the chest inward and aggregate energy with the whole body. • Kicking smoothly.
3). for example. 3. 3. On landing with either foot.5). It should be practiced with both feet so that. edges of the foot plate and the sole (Fig. Beginners should practice slowly.陈 氏 太 极 拳 推 手 技 法 Fig. if you kick with the right leg. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. your left foot prepares to kick with the toes or instep as the right foot lands.3 • This technique is applicable to the toes. . 3.4. use the rebounding force of the earth to bounce up and propel your kick (Fig. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). At this point. 3. they will be able to direct energy explosions to targets with precision and ferocity.
3.4 Fig.Fig. 3. 3.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.6 43 .
Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. flexible and quick.7 The Upward Kick is used for high targets.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. The kick should be light. The Upward Kick should match the rhythm of the hands’ movements. There is no jumping in the Upward Kick. usually the opponent’s chin. • Switch your centre of gravity to the left foot. . practice kicking with each foot sequentially. instead. The whole body must be kept balanced and straight when kicking upwards. a principle also applicable to the Double Kick (Er Qi Jiao). 3.
exploding energy as quickly and fiercely as you can. Then empty the Yong Quan point. but try to keep some weight in the un-weighted side as well. 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. 3. standing with left leg. cup your right fist and left wrist together in front of the chest. As your right foot explodes energy stamping downward.8).8 • • • Then stamp your right foot on the ground. all the while rolling the chest slightly inward. 王 西 安 45 . 陈 氏 太 极 拳 推 手 技 法 Fig.• Bend the left knee. feet firmly grasping the ground. 3. grasp the ground with the left toes and. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. keeping the right foot at the same distance from the left foot as before.
王 西 安 46 . 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.9). practice with the left leg) (Fig. 3. In Single Form exercise. you can practice with the alternation of legs (after praciticing with the right leg for a while.陈 氏 太 极 拳 推 手 技 法 Fig. e) Forward Kick This consists of a straight kick forward with the sole of the foot. including the alternating use of the legs (Fig. remember to follow instantly and quickly with the other leg. 3.9 Regardless of which leg steps forward first. The key points here are the same as those for the previous segments. 3. Kick as high as your opponent’s stomach and chest.
3.11).11 Kick mainly with the heels.13). 王 西 安 47 .12) and the Outward Kick (Fig. sometimes with the soles. • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front.Fig. fierce and perfectly targeted.10 Fig. As you reach a higher level of skill. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. 3. Before kicking. 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. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity. 3. with hitting points mainly on the inside of the foot (with the occasional use of the outside). 3.
王 西 安 48 • . as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking).12 Fig.13 • The Outward Kick is executed outward and upwardly. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. In the Sideways Kick. 3.陈 氏 太 极 拳 推 手 技 法 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. with the hitting points mainly on the outside of the foot (occasionally inside). while the body becomes straightened when kick is streched). explode energy like releasing the arrow”. the whole body gathers together then opens up with an explosion of energy. 3. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. this reflects the relationship between Yin and Yang’.
use the Gen Bu (follow-on Steps). Kick upward with the back foot. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other.15). turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. then swing it outward in a natural arc. While swinging outward to the level of the shoulder. then bring it backward (Fig. 3. Before kicking. be it with the right or left foot. Your swinging foot is targeted at the back of the opponent’s head. Squat slightly.14).14 49 . Eye your target and prepare for the kick by gathering your internal energy and lowering it. toes grasping the ground and all muscles of the body relaxed. 3. smack the foot with your hand to ensure the integrity of the energy. while your hands are targeted at the face. Always coordinate the kick with your hands. which allows you to use quick and continous forward steps. If kicking with the right foot.
. I take the back of the opponent’s head as target. 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility. And kick upward along with palms coordinated with Lü.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig.15 With openings and closings. And smash enemies to pieces. I smack in the air by switching into the track of a swing arc. 3.
• The foot hangs to the calf suddenly to make the opponent lose his balance. rotating it slightly so that it slants to one side. • Pay attention to that you finish this action with the guiding of the waist and back. • Hold the body in a squatting position for the next few movements. depending on the distance between you. coordinating both with Tou Bu (sneaking steps). No matter which you use. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . The powers of hand and foot combine together. • Swing both hands backward to the side of the back hanging Foot. • Hang one foot backward. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. keep your footwork flexible and neat. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. • Use both hands to execute Lü on one arm of opponent behind the body. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). remember to balance upward Long (close) movements with downward Ti (raise). • The action must be quick and powerful. palms facing outward. During solo practice. Gua (hanging) and Gai (covering) in a second. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. You should finish Lü. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent.
Then lower your foot to the ground. As a Tuishou poem states: With Yin and then Jin techniques. . And kick upward along with palms smashing downward. 3. Hold your position and collect yourself enough to kick upward then swing downward. twisting the waist and rotating the back to exert more power (Fig.16). And enemies fall to the ground with face to the air. 3.陈 氏 太 极 拳 推 手 技 法 Fig. I explode my energy with the rotation of my waist. your face looking upward. Move forward with Tou Bu (Sneaking Steps).16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. 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. I take the opponent’s upper body and chest as target.
30:70. 3. these may not provide an accurate picture of weight changes required in practice or combat. Use Front Bow Steps to practice this movement (Fig. 40:60. Practice this transfer of weight by alternating the legs. The attacking leg must be flexible enough to swing to the left or right.17).Fig. 3. 3. since these are in a constant state of flux depending on the circumstances.19).18. 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.. mindful that while one is in the air. Note that while weight distribution ratios may be used as a guide (e.g. 20:80).17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 .
‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. waist and hands. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles.19 Using Short Energy: Short energy should be used in both inward and outward kicks. I explode and shock the ghosts. Short energy attacks are often used to ‘give a shock to the lower limbs’.18 Fig. making your intention easily anticipated. . shock their lower limbs and unbalance their upper body with my feet. 3. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. 3.陈 氏 太 极 拳 推 手 技 法 Fig. so that the strikes are as rapid and powerful as possible. As one master said: 王 西 安 54 I move my centre of gravity.
making sure your leg is no higher than 15 cm above the ground.3. step your right foot 40 cm forward to the right. 3. Begin with slow practice. change the weight to the right and step out with the left foot. that is. Lower the tip of the toes of your unweighted right foot to the ground. Use intention (Yi) rather than physical force (Li). Change your weight to the left. 王 西 安 55 . toward the target. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). Practice continuously alternating both legs. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. repeating the movements while keeping reeling from the left to right. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. Xiacai Tui (Downward Cai energy). just as in form practice. Waibai Tui (Legs Swinging Outward). ‘Yong Yi Bu Yong Li’.3. look in the direction of the moving leg.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. Keep your legs reeling from left to right. a shoulder width apart from the left foot. When the right foot lands fully on the ground. working up your speed in gradual stages. Move the left foot half a step to the left. Nichan Tui (Legs Reeling in Ni Circles). then squat and step out with your right foot. As the toes touch the ground. Lihe Tui (Inward Knee Strike).3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles).
陈 氏 太 极 拳 推 手 技 法 3. Raise the left foot. 3. rotate to the left forward at an angle of 360o. striking to both sides with each leg. Practice these steps in continuous alternating cycles. then step forward 40 cm to the left. step forward 40 cm with the right foot. and then rotate 360o left stepping on the toes (Fig. remembering that the inner side of the heel is the striking point. continuous practice.20). transferring all your weight to the right. Step the right foot forward.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart.3.20 56 . transferring all your weight to the left. You also need to practice Nichan and Shunchan with both legs. Inner knowledge can only develop with concerted. Next. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. 3. 王 西 安 Fig.
change your weight to the front foot.22). • While practicing. then transfer your weight to the left before moving the right foot forward (Fig. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg. 3.3. • Stand at attention.3. 3. practice with both legs and with change of directions. As such. attack with Lihe and then move 90% of your weight to the back leg (Fig.21). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.22 57 . • Combine Lihe Tui with the rotation of the waist and spine. In Huobu Tuishou (Tuishou while walking). 3.21 Fig.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.
Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. Being content with a superficial understanding is fruitless.陈 氏 太 极 拳 推 手 技 法 3. Through diligent solo Tuishou practice. Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. During practicing Waibai Tui. 3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps).23). Waibai Tui is usually applied during Da Lü (Lü in large scale movement) and the best way is to seek out opportunities for attack is while moving. 3. 3.23 Fig. step forward with one leg and swing the other outward and then closing inward. and requires a sudden outward swing of the leg as weight is transferred. 3.24 58 .3. practitioners will come to realize the deep significance of their efforts. regardless of whether you practice day and night (Fig. 王 西 安 Fig.24).
3. 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). then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. • Start with your centre of gravity at the back leg. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles). • To do Ni Cai: move the back leg forward.25 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent. 3. placing your toes slightly inward. Cai to the right.5 Xiacai Tui … Downward Cai Energy Cai means to pull down.3. placing your toes slightly outward. The outer side can also be targeted once your ability improves.3. Xiacai Tui consists of Cai to the left.
striking to the front. striking inward and striking outward. 3.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. Practice with alternating legs during Single Form practice. 3. Deepen your understanding of Jin Li (energy and force distribution). 3. Bend your knees about 40o – more than this and you will lose your centre of gravity. keep ankles relaxed and Qi descending (Fig. 3.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). Train your body to understand the meaning of ‘stretching consists in bending. With a spiralling move forward.25).26). you can enter the opponent’s territory (Fig. 3. 王 西 安 Fig.28 60 .3. bending consists of stretching’.27 Fig.
• • •
All the above incorporate shifting of weight forward and back. Move the left foot forward then strike out the right knee, aiming it at the partner’s crotch (Fig. 3.27). While striking forward, roll the chest slightly inward and gather energy in the abdomen. Also, keep the hip and ankle relaxed, focusing your energy exertion on the target. Change your weight to the front, raise the knee, then strike it with an open palm (Fig. 3.28).
Li He Bu (Tuishou with Static Footwork) requires you to bend your knee, strike to the left, hit the inner side of partner’s right leg or the outer side of his left leg. (Fig. 3.29). Striking up and outward is called Waizhuang (Striking Outward). Key points are the same as in the previous striking practice (Fig. 3.30).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.29 Fig. 3.30
陈 氏 太 极 拳 推 手 技 法
3.3.7 Houbai Tui … Backward Swinging Kick
This is a wide-spanning movement and beginners are advised to imagine an opponent or target as they perform the technique during solo practice. • Lift the right foot to step forward and as you lean forward, swing the right leg backward using both the waist and spine. • As the right leg swings backward, fend off the opponent’s arm and attack with both hands. This technique of ‘attacking the upper parts and shocking the lower parts’ is often used to throw opponents to the ground (Fig. 3.31). Key points to remember are the same as in preceding techniques, all of which require whole body involvement.
王 西 安
3.4 fisT pracTice 3.4.1 Shangchong Quan … Fist Striking Upward
This technique consists of striking either fist spirally upward. • Step forward with the left leg, bending your knees slightly to transfer your centre of gravity to the left leg, then strike with the right fist using the ‘Ligou Quan’ (Fist Hooking Inward) technique, taking care not to overshoot your blow above the opponent’s head. • Simultaneously, use your bent right knee to hit at the opponent’s crotch (Fig. 3.32). • Integrate both fist and knee strikes with practice principles of rolling the chest slightly inward (Hanxiong), lowering the waist (Tayao), relaxing the stomach (Songfu), and drawing up the anus (Tigang). • Strengthen your centre of gravity to improve your accuracy by ensuring your left leg is slightly bent with toes grasping the ground (Fig. 3.33).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.32 Fig. 3.33
陈 氏 太 极 拳 推 手 技 法
3.4.2 Xia Zai Quan … Fist Striking Downward
This technique encompasses a downward strike with either fist at any angle. For example: • If the right leg goes forward, transfer your centre of gravity from the right to the left leg. • Clench the right hand into a fist, thumb tucked inside neither too tightly nor too loosely. • Strike the opponent’s upper body with the right fist, using your left arm to balance your movement. • You can also use the Bei Kao technique or attack with the elbows as well. • Again, effectiveness of this technique requires involvement of the whole body in the movement: ‘once you move, your whole body follows’ (Fig. 3.34).
王 西 安
3.4.3 Shuang Fen Quan Splitting Fists or Double Bursting Fists
• • • •
Take a half-step to the left (or right). Bend your knees slightly and gather both fists to the chest, centres (Quanxin) facing downward (Fig. 3.35). Prepare to strike by gathering in the crotch and knees, and rolling the chest and shoulders slightly inward. To strike, transfer your weight to the right (or the opposite leg) and simultaneously split both fists explosively from the chest to either side of the torso, fists facing upward. As you strike, open the crotch, knees, chest and shoulders. Remember to keep the external and internal energy consistent, and the energy flow smooth (Fig. 3.36).
陈 氏 太 极 拳 推 手 技 法
王 西 安
change your weight to the right leg and step your left foot forward. Rest the left fist beside the left leg (Fig. Next.陈 氏 太 极 拳 推 手 技 法 3. there are three main distinctions: the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used. Rotate the right toes slightly outward as the foot lands. at the same time hooking the left fist upward.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.37). • • • • • • Take a half step to the right with the right foot.37 . Rotate the body to the right then strike downward with the back of the right fist. However. 3. 3.4. Hold the right fist close to the left side of the chest. 王 西 安 66 Fig.
3. 陈 氏 太 极 拳 推 手 技 法 In summary. involve your whole body in the attack. 3.Fig. and lower the left fist from its upward strike position back to the left side of the body). After striking. 3. stepping the right foot forward and exploding the fists before landing. alternating both sides continuously (Fig. when the right foot steps forward (weight on the left). For each step. the right fist is raised above the left side of the chest for more power and then smashes down to the right. 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. step the left foot horizontally over the right one.38).39 • • • • • Again.39) 王 西 安 67 . 3.38 Fig. Practice these steps. as the left foot steps forward (weight on the right). For example. 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. Then repeat with the other foot. both left and right fists rise and descend at the same time. Likewise.
This counter-balancing movement helps to accelerate the punch of the right fist. • Sychronise both arms so that while the right fist flings forward. 3. fingers vertical. the left arm gathers inward and strikes backward to the left with the elbow. stretching the left hand upward. • Gather the right fist under the right rib (Fig. • Then fling the right fist forward in Ni reeling. 3. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power.5 Dan Bi Zhi Chong Quan … Single Fling Fist Single Fling Fist is a forward punch unique to Taijiquan in that its power is generated by rotating spiral energy at the waist and back. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. 3. • Step the left foot forward. • Sink your weight into the right foot and rotate the waist to the right to gather energy.41). 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. Practice this technique on both sides. 王 西 安 Fig.40 Fig.陈 氏 太 极 拳 推 手 技 法 3.4. concentrating your power in the Quanding (the front of the fist).41 68 .40). 3.
Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4. the main difference being that in the former. Then step the left foot forward. energy does not manifest externally.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. bringing the left palm to the front of the body (Fig. The power of this technique depends very much on the practitioner’s physical condition. 3.43).42).3. and practice alternating both sides. Repeat with the other side. Instead. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. only about 40% of the jin force generated is exerted as short rather than long energy. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. 3. 3. • • • • Step the right foot forward.42 Fig. simultaneously gathering the right fist beside the right ribs.43 69 .
This makes the fist ‘peak’ stable and solid. • Strike with force and ferocity with this fist using short energy. and press the tip of the thumb against the middle fingernail.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. 3.4. • Attack to the left or right. up or down. • Clench your fist so the middle joint of the middle finger protrudes.44 . This forms the ‘peak’ of the fist. like hammering a nail. 3. using small agile steps (Fig. • Brace the middle finger with the index and ring fingers. 王 西 安 70 Fig.陈 氏 太 极 拳 推 手 技 法 3.44).
45 Fig. 3. Place your weight on one leg. Practice both methods using both legs.3. 3. 3. Bring the fists together in the middle about 25 cm apart.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’.45). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Bend the other leg then strike both fists upward together. 3. hence creating a dual attack with both fists and knee (Fig.4. Method 1 • • Method 2 • • • Step forward with either leg. Roll the chest and shoulders slightly inward. Form two nail-shaped fists and strike from both sides using short energy. Guanyang means to hit the temples with two nails.46 71 . gather the ribs and lower your energy to the Dantian (Fig.46).
3.47).47 Fig. though in the initial stages.48 72 . palms facing forward. • Prepare for the strike by ensuring your axis is upright. practice using long energy first. and lower the energy to the abdomen (Fig. 3.5.48). thrusting them forward with explosive force. transferring your weight to the front. while making sure the chest is relaxed. • Step forward with either leg. • Place your hands in front of the chest.陈 氏 太 极 拳 推 手 技 法 3. the chest rolled slightly inward and the spine slightly lifted. the ribs gathered.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. • Step forward with the other leg. fingers pointing up (Fig. 3. • Strike forward with both palms. 3.5 palM pracTice 3. 王 西 安 Fig.
49 When practicing with short energy. 王 西 安 73 .2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). 3. • Repeat using the left palm. lower your energy abruptly and push forward with short energy using small steps. As the energy reaches the wrists. • At the same time step forward with the left leg. 3. 3.50.Fig. 陈 氏 太 极 拳 推 手 技 法 3. Make sure your shoulder.52). elbows and wrists are lowered. 3. speed. • Thrust the right palm forward or diagonally to the side.51. 3. To be effective. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. gather the chest and stomach like a cat stalking a rat. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. using long or short energy (Fig.49). a Double Palm Push needs to be sudden and exerted directly forward.5. Just before the explosive strike. thrust your arms out about 50% (Fig. The power.
3. and hence conquer your opponents without effort. 3. 3.52 . Fig.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly.51 Fig. With continuous practice.50 王 西 安 74 Fig. gradually increasing the speed. abruptness and power of the push. you will be able to explode energy with natural ease by combining both external form and internal spirit.
enabling you to hit your target with more precision and power (Fig. 3.53). 3. 陈 氏 太 极 拳 推 手 技 法 Fig.54 王 西 安 75 . while gathering the other hand beside the ribs (Fig. 3.3. 3. • • Step one foot forward and ward off an arm attack with one hand. whilst using the other palm to push at the opponent’s chest or strike at their stomach.54).5.3 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. Direct energy above the waist upward and energy below the waist downward.53 Fig. This creates an energy balance that stabilizes your centre of gravity.
55 76 . and then straighten it while pushing the right palm upward. • As you push upward.55).4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. • Keep the hips relaxed.5. Explode this energy through the right side of body out through the right palm. 王 西 安 Fig. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). open the right side of the chest and stomach. while gathering energy on the left side. 3. the stomach gathered and the chest rolled inward (Fig.陈 氏 太 极 拳 推 手 技 法 3. first at an angle then vertically upward. • At the same time. 3. • To push with the right palm: bend the right knee.
3.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing.58). 3.56).5.’ Apply this technique during Single Palm practice.57). • At the same time. then quickly striking their chest with your right palm (Fig. rotate your body to the right. 3.3. Shun means ‘sequence’) (Fig.57 77 . 3. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Then swiftly draw the opponent into your domain by touching their back with your left hand. Keep your body and energy lowered while doing this. 3.56 Fig.
apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. 王 西 安 78 .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. and gather the ribs and dantian.5. This helps to concentrate energy in the palms. For example. • As you lower the body. left and right. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. if the opponent seizes your right hand and twists it outwards with Shun reeling.陈 氏 太 极 拳 推 手 技 法 Fig. 3.58 • • Also apply the usual principles: roll the chest inward. Coordinate the movements of your body with those of the palms. lower the shoulders. 3. moving the body quickly forward.
extending the thumb and fingers (Fig.59). Unify the three actions of stepping forward.60). lower your body then extend it forward with Shun reeling. • Again.59 Fig. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand.Fig. respond in this way: • Step forward with the left foot. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. 3. 3. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward.60 • • • As you do this. this time at the left side with your right hand. • Key points are the same as with the left hand push above. thrust forcefully at the opponent’s ribs. 3. 王 西 安 79 . inclining outward and exploding with the left palm (Fig. 3. Next.
• As you seize. Also. change your centre of gravity from the left to the right. 3. especially when stepping forward and exploding energy (Fig.61).” 3. “Energy comes from heels. dominates the waist and penetrates to every part of body. Relax your joints to enhance energy application. goes through legs.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. • 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. as advised in an essay. coordinate the waist and legs when exploding energy.5. so that energy flows to the very tips of the body. . roll your chest slightly inward and bend your right arm inward.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.
63 • • • With your right arm. guide or bring along . 3.5.62 Fig. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig.62).63). 陈 氏 太 极 拳 推 手 技 法 3. 3. • At the same time. you are able to use both palms to seize the opponent (Fig.8 Shuang Dai Zhang Danshi Yanlian Fa Double Dai Palms Single Form Practice Step your right foot forward and transfer your centre of gravity to the front. listening closely to your partner as you do so.Fig. 3. practice alternating the seizing between right and left hands. reach under your opponent’s front arm. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended. To speed up your response. If the opponent escapes. palm open. Change your right hand to Shun reeling and your left to Ni reeling. 王 西 安 81  ‘Dai’ means to lead. 3. Thus.
Transfer your centre of gravity to the front.65 • • • • • Extend your right arm forward. 王 西 安 82 3. 3. moving your arms to stabilize this rotation.64). palm up. Clench the left hand into a loose fist and push it forward. face the left palm outward. As your step forward. 3. fingers to the front (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. Bend your right arm 90o inward and form a fist with your right hand.65).5. Practice on both sides.64 Fig. . fingers pointing to the front (Fig. gather the right hand beside the ribs. 3. Change your weight to the back and turn to the right.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. fingers up. Then hit the opponent with the right arm (Fig. 3. 3.66).
67). Next. to increase the speed and power of the explosion. As the right foot lands on the ground. left under right and right under left (Fig.67 • • • • • • Lift the left palm over the right. To increase the precision and power of the fingers.66 Fig. coordinate the waist and spine when shaking the right palm forward in Shun reeling. 3. reel the right hand in Shun reeling to the right and step the right foot forward. place the left thumb and little finger in opposition while the remaining fingers face forward. 王 西 安 83 . move the left hand and foot quickly forward together. Return the hands to their original positions before the next energy explosion. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. Also. and then explode both palms forward with a piercing thrust.Fig. 3. 3.
3. In this case. At the same time. the left arm counter-balances the movement of the right.69 84 . 3. strike forward with the right elbow while hitting backward with the left elbow. palms facing in (Fig.6. 王 西 安 Fig.69).陈 氏 太 极 拳 推 手 技 法 3. Practice striking with both elbows with corresponding weight changes to either side.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot. 3.69).6 elbOw pracTice 3. Remember to apply long energy before you apply short energy (Fig.68 Fig. As you change your weight to the front. 3. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body.
3. At the same. As the right elbow descends.6. gather it close to the right ribs. 3.2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. 3. Alternatively. and clench the right hand into a fist. 3. step the right foot forward again and extend the left arm forward. palm up. take a small step forward with the left foot.3. wrist turned inward and the palm facing backward. return the elbow to the right side. At the same time.70). Step the right foot forward and strike the right elbow down forcefully as the foot lands.71). Then strike the right elbow down for the second time (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. slap the right shoulder with the left palm. After the strike. Lift the left hand when the right elbow completes 90o of its descent.71 85 . Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig.70 Fig. bend the right elbow inward.
陈 氏 太 极 拳 推 手 技 法 3. Fig. 3.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward.73 Fig. 3.74 86 . Rotate slightly to the left. then turn right with the right toes facing slightly out.6.72 王 西 安 Fig. 3.
then step forward with the right foot. Move the body to the left and transfer your centre of gravity to the right and back. 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. Gather the body by bending it slightly.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. As you do this.6. 3. Step the left foot forward. Gather the body to prepare for attack by lowering the body slightly (Fig. Step the right foot to the left and bend the right arm. so that both feet are approximately 50 cm apart. 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.73). gather the ribs and lower your Qi. raise the right hand across the front of the chest to the left in an upward arc.• At the same time. Remember that the right leg moves forward with the right arm and vice-versa. transferring your centre of gravity to the left. 3.72). 3.74). 王 西 安 87 . clasping the right forearm with the left palm.75). palm facing in. 3. 3. toe tips slightly touching the ground. clench the right hand into a fist. clasping the right forearm with the left palm. as if warding off (Fig. • • • Practice with the other arm. Turn to the left and strike out explosively with the right elbow.
• In the initial stages. turning the body to the right. strike the right elbow to the right. Simultaneously. palm down. step right with the right foot. Once familiar with the practice. 王 西 安 88 3. 3. practice with long and slow energy. Next. balancing this movement with the left hand. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). gathering it horizontally in front of the chest.陈 氏 太 极 拳 推 手 技 法 Fig. the right fist lowered to front of the left armpit.75 Fig. Practice with both sides (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. 3.76). use short and fast energy.6. with the following differences: . 3.
• • Shun Lan Zhou is aimed slightly to the back. while Xin Zhou is targeted to the front (Fig. palm down. 3. fingers pointing up. 陈 氏 太 极 拳 推 手 技 法 Fig.77 Fig. jump slightly with the right foot. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. • Simultaneously.77).6. • Stand at attention with the arms relaxed at the sides. Before the foot lands. 3. • Turn the body to the right and reel the right palm across the chest to the right. 3.78). palm facing right. toe tips on the ground.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. • Jump the left foot half a step to the left. 王 西 安 89 . Touch the right knee with the right palm. 3. extend your left palm forward.78 3. landing approximately 50 cm apart from the left foot.
Practice on both sides.79 Fig. Next. Return the left fist beside the right ribs (Fig. followed by the right foot. clench both palms into fists. Also. 3. bending the wrist before striking upward quickly with the back of the right fist. 3. . Instead. avoid letting all your energy flow upward as this will destabilize your root. 3. toe-tips on the ground. then transfer your centre of gravity to the right.陈 氏 太 极 拳 推 手 技 法 Fig. Move the right fist toward the right shoulder using Shun reeling. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity).80). taking the waist as the dividing line.81).80 Fig. step the right foot forward. then gradually using short and fast energy. While striking on the right. step the left foot to the left. placing the left fist below the right.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. 3. After the strike. starting with slow movements initially until the steps become familiar. toe tips touching the ground (Fig. Look to the right side of body while striking upward. As you change weight. 3.79). 3. balance the energy between the upper and lower body.
while the left the supplementary strike. then exploding both elbows horizontally. Change your weight to the left. In this position. 3.83). place the left arm inside the right. the right elbow executes the dominant attack.82).3. • • • • Step to one side with either leg. 陈 氏 太 极 拳 推 手 技 法 Fig. Practice alternating both sides. 3. Gather the fists close to the chest (Fig.6.82 Fig. then strike with the right elbow. 3. 3.83 王 西 安 91 .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. looking to the left and concentrating energy in the elbow tips (Fig. If you stepped to the left.
prepare for the stike by gathering the wrists inward. This increases the force of your attack.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows.6. 3. 3. 王 西 安 92 Fig.84).85 . As your weight transfers to the front. 3.85). holding fists on either side of the ribs (Fig. 3.84 Fig. looking to the front and rolling the chest and shoulders inward.陈 氏 太 极 拳 推 手 技 法 3. Try to feel the effect of this preparation during practice (Fig. • • Step one foot forward.
3. 3.6. rotate the body to the right.86 Fig. Practice alternating both sides. then lift it so that the right elbow is positioned over the right knee (Fig. palm facing inward and inclining backward. Simultaneously. take a big step forward with the right foot in front of the left. As the weight shifts to the left.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly.87 93 . At the same time. 3. 3.3. clench the left palm into a half fist and place it beside the left leg.86). clench the right hand into a fist. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. As your centre of gravity shifts to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.87). palm to the front.
As one of the Eight Forces. • Extend the right hand outward.88). 王 西 安 Fig. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. 3. the legs should be parallel to each other. • At the same time. moving it beside the left ribs. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. 3.88 94 . In this way.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). then lower it over the right knee.6. • Step the right foot forward. • All movements are guided by the rotation of the waist and spine. palm up. • Shift your weight abruptly to the right and form a half fist with the left palm. • Change your weight to the left. Make sure both hands move and arrive at their destinations simultaneously. • After exerting Pie force. shifting your centre of gravity to the front. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). strike forward explosively with the right forearm using a short-energy (Fig.陈 氏 太 极 拳 推 手 技 法 3.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. both internal and external movements are integrated with the movements of the body and limbs. using downward Ni reeling. 3. and extend the left hand forward to the right. bending the elbow. The thumb and index finger form the character Ba ‘八’. • While lowering the left hand. using guiding energy from the little finger. Shift your weight more to the left as you do this (Fig. ring and middle fingers. Form a hook (Diao Shou) with the right hand with the little. 3. use Cai technique to strike out explosively with the outside of the right forearm and elbow. palm up. closing it slightly. lower the left hand from the front of the chest to the left ribs. • Keep the left hand open so the thumb is separated from the fingers.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow.89). • Step backward with the left foot shifting your weight to the left. • Then.89 95 .6. • Raise the right hand from the right side. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. In this way.
strike the right elbow backward at an upward angle (Shang Chuan Zhou). While transferring weight. At the same time.90 Fig.90). 3.陈 氏 太 极 拳 推 手 技 法 3. the right thumb guides energy flow.91). 3.91 .12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. toes grasping the ground. moving your weight to the right (Fig. 王 西 安 96 Fig. Note: For maximum effectiveness. and extend the right leg backward. 3. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. especially useful as a defensive move when being attacked while in a passive situation. 3. • • • • Bend the left knee. you raise the right hand in Ni reeling to descend the elbow (Fig.6. and then. make sure power is gathered properly through the whole body and that your timing is correct before you strike.
3.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. The right foot and right arm should reach their positions at the same time (Fig.93 97 .92). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. 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.92 Fig. Shuang Bei Kao and Qi Cun Kao. Ce Jian Kao. Ying Men Kao. 3. 3.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. As you shift your weight to the right. 3.7. Xiong Kao.
quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. 3. Repeat these steps for both sides. As the heel touches the ground. pushing it forward and down. use the outside of the right shoulder to execute Qian Zai Kao. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. if you find you get into an appropriate space for attacking. On completion of the shoulder push. 3. As the body inclines forward significantly during this move. Then step the right foot forward again to execute Zai Kao for a second time. After executing the above. Note: Only push when you are in the correct position.94). take care to maintain your centre of gravity by not stretching too far forward (Fig. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory.7. Then take another big step forward with the right foot.93).2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. 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. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). .陈 氏 太 极 拳 推 手 技 法 • • • Then. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. 3.
light but not floating” . arms are a defense against attacks. then techniques such as Ying Men Kao can be used to penetrate defences and attack.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. This only comes with closely combining the Yin (guide). When firmly closed. lowering down but not stiff. 3. conversely if one is able to ‘open’ the doors of the opponent.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose.Fig. 王 西 安 99 . 3. Dai (lead and pull) and Ji (attack) energies together.
Separate the hands of the opponent to expose his chest (Fig. 3. 3. fingers pointing up and palms facing the sides of the body. . 3. move the left foot forward parallel to the right foot and repeat the sequence for another attack. Once the attack is completed. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. 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. move both arms to each side of the body and push the right shoulder forward in attack (Fig.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. the right hand above the left. 3. It is easier to hurt the partner using a narrower attacking surface.96).95 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. Next. At the same time. cross the hands in front of the chest.95). • You can use more of the shoulder surface in the attack.
98). • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. can you execute it in actual combat (because you may easily hurt yourself ). shifting your weight to the front. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. Note: Focus on sharpening your sense of timing during practice. • Extend both arms from the sides to the front in an embracing gesture. 3. • Step the right foot forward. move the left foot parallel to the right. • After this move is completed. 3. A good sense of timing is essential for defeating the opponent.97 Fig.98 101 . using this shift to deliver a sudden push with the chest (Fig. Only with a thorough mastery of this technique.7. • Then roll the chest inward and shift your weight quickly from left to right. the chest and waist are in a collapsed position. 3. 3. • To begin.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig.97).
• Gently rotate backwards with both palms facing backwards. and the shoulders execute Bei Kao to the right . 3.7. 王 西 安 Fig.100 102 . You may lead with either leg. rebounding and shaking power).5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. Note: As mentioned in previous techniques. 3.陈 氏 太 极 拳 推 手 技 法 3. remember to gather and withhold energy before delivering the strike. • When the whole body holds and collects to a moderate extent. 3. • Stand with feet parallel. 3. This technique also uses Duan Jing (short power). Shuang Bei Kao requires Duan Tan Dou Jing prowess (short.99). as the shoulders deliver Bei Kao backwards (Fig. • When the weight moves forward the chest rolls inwards. a capability that comes only with extended Quan practice. shoulders slightly concave and with power guided by the thumbs (Fig. take a sudden breath in and push the chest forward quickly.100).99 Fig.
6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. • Once your root is stabilized. • Gradually move the right arm downward toward to the inside of the right leg. 3.3.101). continue to transfer your weight to the right.101 103 . • Start doing Shun reeling with your right hand as you move your weight slightly to the front. Note: If the opponent is at close-range. Find a stable centre of gravity with the body and gather your body in this position. if further away. • Extend the right foot and arm forward. • Practice pushing from both the right and left sides. 3. 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. extend the distance of your Kao slightly.7. fingers pointing down. • Turn the body slightly to the left as the right hand rises. 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.
Note: Power applied in the initial stages should be slow rather than quick. This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice.7.102). 3.102 104 . 王 西 安 Fig. Incline the body forward in the same direction.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. 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. • • • • Take a large step diagonally forward with the left or right leg. 3.陈 氏 太 极 拳 推 手 技 法 3. Place the elbow below the knee (Fig.
3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling.103). 3. Tui Na.3. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. 3.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. • At same time.104). Chan Rao Na.103 Fig. • Rest the right hand near the right ribs. Diao gai Na. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. and Shuang He Na. Xiong Na. 3.8.104 105 . Shuang He Fu Cai Na. palm facing in. 3. Fu Na. • Extend the left foot and left hand forward. palm up (Fig. • Relax the left side of the crotch and shift your weight forward to the left.
and lower your waist and Qi. Shun reel with the right hand and Ni reel with the left. Repeat the above sequence.e. roll the chest in. Try to relax at every step while applying the seizing action firmly. When seizing. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. lower the shoulders. Seizing techniques are quite difficult to practice. but she evades your attack by ducking down. With practice. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. i.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. changing the weight from left to right. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. drop the elbow. . move the weight slightly backward then move forward again. in order to block the opponent’s energy path. Note: Shun and Ni reeling are interdependent and cannot be separated. tighten the ribs. then you must respond promptly by swapping the reelings to the opposite hands. After seizing. you will be able to execute these changes quickly and smoothly. this time reeling in Shun direction with the left hand and Ni direction with the right. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. Your moves will become more effective as your internal Qi integrates more closely with the external movements. 王 西 安 106 Closing with the left while seizing with the right and vice versa. even though you deliver the power later than the partner. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. if you practice each side diligently.
Then lower the right hand to the right ribs. 3. At the same time.3. lower the Qi. roll the chest in.107).105). 3. Relax the left side of the crotch. 3. 3. and clench the right hand into a fist.106 Fig. 陈 氏 太 极 拳 推 手 技 法 Fig. Again. • • • • • 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 and shift your weight to the left. 3.106).8. 3. Then rotate the right hand and body to the right.107 王 西 安 107 . palm out. and shift your weight to the right side. placing it in front of the chest.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. tighten the ribs.105 Fig. extend the left hand forward to rest in front of the body (Fig. As you do this. The shift to the left enables you to hit the target clearly (Fig.
reel with both hands in a Shun direction. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle.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. roll the chest slightly inward and gather the ribs. • Step the right foot forward and pass the right hand across the left side of the body. and gather energy in the ribs.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. Move the whole body in a natural and relaxed state. the force of upward suspension maintains the axis. lower Qi to the abdomen in preparation for the inward roll and seizing. Move quickly and follow your partner but do not lose power. • Step the left foot forward and extend the left hand to the front. The strike is actually applied by the left side of the chest. Shift your weight forward and accumulate power well. palm facing right (Fig. • Close the crotch.109). 3. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. the palm forming a “八” (Ba) shape. 王 西 安 108 . Make sure to keep your own axis when seizing the opponent. Draw the arc with the intention of meeting the opponent’s hand. • At the same time.” 3.108). Match the speed of your movements to that of your partner. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. palm facing left (Fig. • As the weight shifts to the left. 3. Relax the crotch. The left hand leads by closing the power causing the right hand to follow.8. while the two hands serve as supports. rotate the body.
The eyes look forward and to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.108 • • As the Qi descends. the left hand moves lightly and assists the right.Fig.110).110 109 . seize with the right and roll the abdomen – these three actions combine to become one power. 3. 3. The abdomen provides the main supporting element.109 Fig. clench the left hand. 3. whose movement is heavier (Fig. 3.
and both feet standing steadily as the hands move. extend both arms to the front. Continue to shift your weight forward. 3. gather the ribs and lower Qi to the abdomen so that internal strength flows through the Dantian and the Three Powers (Jing Qi Shen) may unify to guide the attack.8. and commence shifting your weight forward. palms about 10 cm from the lower abdomen. capture and immobilize the opponent.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 your weight shifts. followed by the left. bending them at the elbows.111). 3. Both hands extend forward in sequence. At the same time. 3. push the abdomen out suddenly (Fig. Direct the eyes to the front. roll the chest slightly inward. Concentrate your energies then pounce on your opponent like an agile cat. whereby the abdomen gathers power to support the hands. facing in so that the fingers are directed towards each other. and gather them towards you (Fig. immobilizes their wrists by bending them outwards. the right foot steps forward. keep your intention firm for victory or failure will be decided in a second. while the hands use Na (seizing) power to collect inward. . Move swiftly without hesitation.陈 氏 太 极 拳 推 手 技 法 In summary. move the palms up to chest level and seize the opponent’s elbows using Na power.112). As you seize. the right hand moving down while the left moves up. • • • • 王 西 安 110 • • Take a half step forward with the right foot.
Fig. 王 西 安 111 .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. fending the opponent off upward to the right (Fig.111 Fig. 3. 3.8. so that you respond by moving your weight forward.113). Step the left foot forward and shift your weight to the left. Lower the right hand then cover it with the left. and lower Qi in your abdomen before protruding it forward. 3. • • • • Step the right foot forward and pass the right hand across the chest. 陈 氏 太 极 拳 推 手 技 法 3. supported by the warding right hand. Reel the left hand forward.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen.
by taking a step forward (Shang Bu) each time. 3. this technique can be used effectively to break wrists.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 112 Note: If Qi descends smoothly. Collect the hands inward to about 15 cm in front of the chest.113 Fig. But remember: practice like an adept. Alternate practice on both right and left sides. not like a thug. bones. Collect the body by rolling the chest slightly inward. tendons and veins. Combine them with the power of chest to become one power (Fig.114). 3. 3. gathering the ribs and lowering the waist and Qi.114 • • • • Put your body in a squatting position by bending the knees slightly. . Step the right foot forward again and repeat the above steps.
Lower your Qi. • As the knee swings inward.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. 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. relax the crotch. roll the chest in and gather the ribs (Fig. The powers of the left arm and right hand unify as one. fingers pointing forward. • As soon as the right hand reaches the level of the left leg.115 Fig.115).3. • As the weight moves forward. shift your weight forward and bend the knees slightly so that the body squats like a bent bow. 3. • Bend the left arm inward to gather both palms.116 113 . swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. In this way. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.8. • Step forward with the left foot and extend the left arm to the front. • As you step. the Three Powers (Jing Qi Shen) combine to seize the opponent. and move both hands to assist the left leg.
spiral the right hand up from the right side into an arc.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.118 114 . 3. The changing of the legs happens quickly. gradually guiding it inward to rest in front of the right ribs.8. 3. • Step forward with the right foot. • At the same time.116).陈 氏 太 极 拳 推 手 技 法 • • • After seizing. shift your weight quickly to the left and step forward with the right foot. 王 西 安 Fig. 3. Then step forward with the left foot.117 Fig. shift your weight to the front and extend the left arm again to repeat the steps and seize once more. 3. • Then lower the right arm by executing Lü downward in Ni reeling. As you step forward.117). 3. guiding it to the right ribs for support (Fig. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig.
the left palm moves down in Shun reeling to cover the the arm of the opponent so that the forces of both arms work as one. When the right hand moves up. 3. Continue to move the right hand and foot forward. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. roll the chest slightly inward and bend the knees slightly into a squatting position. lower the shoulders. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. shift your weight to the right and step forward with the left foot.Fig. As the hands move.118). 3.119). As the right foot touches the ground. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 .119 • • • • • • As soon as the right foot touches on the ground. shift your weight to the right and move the left foot and hand forward (Fig. The intention is to have the whole body collecting and seizing together with the hands. 3.
120 Fig. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig.120). then gather both hands and grasp the opponent’s wrist firmly downwards. Combine this with the power gathered in both hands and seize with one force. Prepare for the seizing by lowering Qi to the Dantian. Bend your knees so your body squats like a bending bow. Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig.121 116 . 3. At the same time. step forward with the left foot and shift your weight to the front. This step marks the transformation of Peng (ward off ) to Na (seizing).8.陈 氏 太 极 拳 推 手 技 法 3. strengthed by whole body coordination.121). 王 西 安 Fig. 3. 3. 3. rolling the chest inward and tightening the ribs.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize.
Shan Jing Zhen Zhang Jie 8. shoulder-width apart. then the ring finger. the Guan Gong Jie Dai technique is said to be named after its creator. 3. Shuang Wan Zhi Jie 4. • Hang the hands naturally at the sides. curve the fingers into hooks and raise them in front of the ribs with the little finger leading.122). ‘Wars Among Three Countries’ by Guan Yu.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. • Next. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. Chuan Zhang Jie 5. This technique enables a practitioner to avoid capture or break a hold. Qu Wan Fan Na Jie 6. 王 西 安 117 . • Inhale. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. Fan Na Cu Bu Jie 9. • Move Qi in from the outside and lower it to the Dantian. middle finger. Shan Jing Ce Jian Jie 7. eyes looking forward. Guan Gong. Diao Wan Qu Zhi Jie Tuo 3.3.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. and finally the index finger. • Stand with both feet in parallel.9. such as a waist grasp from the rear to throw you down. Guan Gong Jie Dai 2.
the gathering of the ribs and the hooking of fingers should combine to become one unit.9. 3. hook the wrist and bend the fingers to escape. In this way. If the fingers are being held. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip). and also with the speed of Qi descending. 3. 王 西 安 118 3. 3.2 Diao Wan Qu Zhi Jie Tuo Escape by Hooking Wrist & Bending Fingers This technique is especially useful to release a hand hold by an opponent.122 Fig.123 • Synchronise the speed of this movement with that of the body. This technique becomes effective only after extended practice. the squatting of the body. otherwise it is not easy to unfold (Fig.123). .陈 氏 太 极 拳 推 手 技 法 Fig.
join the fingers of your hand together and point them diagonally upward to the right (Fig. 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.124 Fig. rolling the chest inward. lowering the elbows. 王 西 安 119 . slowly bend the wrist and fingers.125). 3. Move your body to transform the attacking power. 3. so that Tuo (escaping) power can reach the fingers effectively. and lowering your Qi as you do so. By doing this. As you move. unblocking the arm area being attacked.Fig. By the end of your movement. Practice these steps with both hands in turn. you relax and elongate your encaptured arm.124). your conjoined fingertips and knuckles should be able to escape with ease (Fig. 3.125 • • • • • If the fingers of one hand are seized by the opponent. 3. relaxing the shoulders.
lower the shoulders and elbows. 3.陈 氏 太 极 拳 推 手 技 法 3.126). 3. roll the chest inward. It is not necessary to use large movements in this technique.126 Fig.9.127). clench both hands into fists. tighten the ribs. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. bend the arms. • • • Step one foot forward and shift your weight to the other leg (Fig. Just focus on relaxing and lower the Qi. and lower the Qi so that power can flow smoothly to the inner side of the wrists.127 120 . At the same time. While doing this. 3. then move your arms forward and upward as your weight shifts forward (Fig. 王 西 安 Fig.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. 3. closing your hands while opening the opponent’s.
3. • Two feet stand flatly and the body stands straight.3. and roll the chest inward. two eyes look forward horizontally. and Qi. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.128 Fig. placing the right hand on the left (Fig. • Bend both arms 90o inward and cross them in front of the chest.9. • Bend the knees slightly to place the body in a squatting position. 3. 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). elbows.128). tighten the ribs. and lower the shoulders.129 121 .4 Chuan Zhang Jie Tuo Escape by Crossing the Hands before the Chest This technique consists of crossing both hands before the chest when you move to the left or right to transform power.
and lock the palms of the opponent. 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. 3. then rotate forward again. Do not rush forward but defend you territory in straight postures (Fig.9. 3.130 Fig. Then ward off (Peng) by pushing both palms outward. It requires you to twist the captured fingers outward in Shun reeling. 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. 王 西 安 Fig. 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. swapping the Shun and Ni reeling to the opposite hands.131 122 .5 Qu Wan Fan Na Jie Escape by Bending the Wrist and Seize the Opponent This technique is used to counter-attack a hold on the right fingers. 3.129).
Fig. palm facing left (Fig. While rotating the arm. As you do this. raise the elbows.132 Fig. 3.130). it will be difficult for opponents to overcome your attacks. Apply the principle of constant change and flexibility in Taiji circles. Rotate the arm about 1800 outward in Ni reeling. wrist bent inward in readiness to seize and fend off danger (Fig. Your movements should be relaxed and executed with power at all times. step the right foot forward (Fig.132). open the joints throughout the body and stretch the muscles so that power can flow through to the wrist and move to its end point more smoothly. 陈 氏 太 极 拳 推 手 技 法 Note: Use the waist as the boundary dividing rising energy above the waist and descending energy below the waist. 3. 3. extend the left hand forward to support the right hand as it seizes downward (Fig. 3.133). 3. then bend it about 450. 3. As the right toes touch the ground.131).133 • • • • • Extend your right arm forward. If you practice diligently. relax the shoulders. 王 西 安 123 .
3.134 Fig. Together. • Extend the right arm horizontally and bend it 900 inward. this sequence of movements make up the Shan Jing Ce Shen Jie technique. • The right wrist bends inward with the arm to rotate the hand in Ni reeling. then move swiftly to the right to destabilize the opponent. Next. move the left hand rightward to the front of the chest.135 124 . • As the right palm reels outward. palm facing right. 王 西 安 Fig. 3. In response.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push).9. you should rotate externally and upward in Ni reeling. right fingertips initially pointing downward. so that the power of the left hand combines with the right to become one.陈 氏 太 极 拳 推 手 技 法 3. • Simultaneously. roll the chest inward. coordinating it with the lifting of the back and the descending Qi. the palm gradually guided by Ni reeling to slant externally to the right.
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. 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. make a big step forward with the right foot.135). If the opponent seizes your forearms: • Retreat half-a-step with the left foot. 陈 氏 太 极 拳 推 手 技 法 3. then quickly step the right foot forward (Shang Bu). All the above movements of the hands. 3. 3. Note: Move in Ni reeling while the opponent moves in Shun reeling. shift your weight to the left . touching the ground with the toe tips (Fig. So Shan and Jing serve as the pre-condition of escaping. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy.134). then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall.9. Almost at the same time. 王 西 安 125 .• • • As your left hand moves. because with these. and thus enabling one to evade capture. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. giving him a sense of losing of Qi.
3. 3. the body squats. 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. step forward quickly and attack with the palm (Fig. and both palms draw inward.137 Fig. When the body and two hands send the Dou power. palms facing up and eyes looking forward.136 Fig.136). and the extending palm reaches the right position at the same time. clench the hands into fists and place them at the sides of the body (Fig. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. Simultaneously. This power should be quick and strong. 3. 3. slowly raise both hands and bend them inward about 1800.137). As soon as you surprise and destabilize them with your moves. 3.138). Next. 3. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time. then the whole body sends a Dou in a circle in Shun reeling (short power). then Shang Bu (take a step forward). palms facing up and the two little fingers placed on the middle of each arm.138 126 . At the same time.
you find escaping easy. As the right foot steps on the ground.8 Fan Na Cu Bu Jie … Escape by Stomping This is a composite technique consisting of seizing and twisting the opponent’s joints (Fan Na) using the Fan Guanjie (Reverse Joints) technique. and attacking by the Cu Bu or Dun Bu technique (stomping).140).139). Bend the knees slightly to place the body in a squatting position. because sometimes appropriate retreating gives one a closing power. 3. Two elbows draw inward and hands move outwards. It is not wise to grasp the opponent’s elbow with your fingers. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. 3. 王 西 安 127 .It is just like the poem reads: ‘It is not a failure if you retreat your pace. first bending it inward then moving it outward to the right. 3. extend the left hand from left to right. extend the right hand diagonally forward to the side. holding and collecting a quicker speed. fingertips slanting up (Fig.9. With Shan and Jing. thumb separated from the fingers (Fig. At the same time. Then push the left palm to the right. the partner cannot reach you though his attacking power is strong. which is against principle. Step diagonally right with the right foot. palm facing out. since he or she can easily twist your fingers and get you caught’. then shift your weight to the left and inclining the body to the right to hold and collect.
the body should move from high to low. from slow to quick.陈 氏 太 极 拳 推 手 技 法 Fig. Stand rooted like a big tree. do not react or become anxious but remain confident in your prowess. Even if you sense the opponent’s intention to move. side pushing with the left palm and exhaling at one time.139 Fig. paying attention to the upper and lower body and your surroundings. from long power to short power. 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. only by this will you increase in strength. During the practice. Be patient and diligent with practice.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. 王 西 安 128 . 3.
exhale. 3.142). tighten the ribs and lower Qi to the Dantian. • Then bend both wrists inward. • Step the right foot forward. lower the shoulders and elbows. bending inward about 90o.9 Shuang Shou Wai Fen Jie Escaping by separating hands This technique is used to wrest free of a double wrist grip by separating the arms. separate the hands to the sides of the body. the hands wrest free of the opponent’s wrist grip. • In this way. roll the chest in. palms facing each other. As you do this. 3. palms facing in (Fig. 3.141).3.141 Fig. • Next. 3. eyes looking forward (Fig.142 129 . • Extend both arms forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the left hand in Ni reeling and the right in Shun reeling.9. breathing in as you do this.
then separate them to each side. finally returning them to the front of the chest to repeat the cycle (Fig.144 Notes The extent to which you separate your hands depends on the opponent’s grip. keeping both arms tightly together like pincers.陈 氏 太 极 拳 推 手 技 法 Fig. If you cannot push the opponent’s hands away. 3.143 Fig. 王 西 安 130 . Palm Inserting Down) (Fig. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling.144). You can escape from seizing by one closing and one opening. then you transform and eliminate the seizing on your wrists. 3.143). During practice. 3. 3. If you still can’t free your wrists with this technique. then raise your hands. insert both palms downward (Xia Cha Zhang.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. These movements are applied throughout the whole system of Taiji and Tuishou practices.陈 氏 太 极 拳 推 手 技 法 4. Lü. 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. Kai He Zhuang (Opening and Closing Posture) 4. . This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. unblocking the whole vessel system by enhancing Qi and blood flow through the body and helping the accumulation of Qi in the Yong Quan point (known as the ‘Bubbling Spring’ located on the sole of the foot). Ji and An. opening and closing. Chan Si Zhuang (Reeling Silk Posture) 6.1 inTrOducTiOn Taiji Yangsheng Zengqi Gong is a collection of health and Qi enhancement practices essential for the formation of robust Taiji and Tuishou techniques. As Qing Dynasty Taiji Master. Peng.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. states: “If a tree has deep and strong roots. its leaves and branches must flourish. rising and falling. Chen Xin. San Ti Shi (Three Postures) 5. each of which can be practiced individually or in sequence: 1. Wu Ji Zhuang (Wu Ji Posture) 2. Taiji Yangsheng Zengqi Gong can be divided into six postures.
eyes closed. breathing gently and slowly.4. Concentrate your intention (Yi) in the Dantian. 4.1 133 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Open your eyes gradually.2.2 wu ji zhuang (wu ji pOsTure) 4. feet parallel and shoulder width apart. keeping your mind relaxed.1 Postures a) Posture 1 • • • • Stand upright. Hang both arms at the side of the body and relax.
3 134 . Maintain the hands at shoulder height. On the other hand. 4. Try to expand your arms moderately. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. the right over the left for male practitioners. 王 西 安 Fig. 4. the reverse for females (Fig. Take care of these points and you will not lose power (Diu Jin) unnecessarily. Lower the hands onto the abdomen. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body.3). when it should actually be solid.2 Fig. do not do it so gently that Qi becomes too soft and weak to reach every part of the body.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. 4. 4. the right hand rotating in Shun reeling and the left in Ni reeling. palms facing downward and slanted diagonally (Fig.2).
The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. the mind and facial muscles naturally relaxed. lower it when exhaling. The neck should be firm and straight. inhale and then swallow saliva down into the stomach. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. Your shoulders should be loose and slightly lowered.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. so that the waist descends naturally. 2. 3. Your elbow joints should be lowered. until they reach the lower Dantian.2. bend the knees slightly and grasp the ground gently with the toes. 4. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. 4. guiding the Qi and saliva through to the middle Dantian. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. Pay attention to the following points when practicing the Zhuang posture: 1. The whole body will be steady if you gather the internal organs consistently.2. Lift the buttocks and anus up a little. Gather the chest and ribs inward.2 The requirements for every part of the body 1.4. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 .
so that they all have the same rhythm. Practice also enhances your ability to guide Qi with Yi (intention). up along the spine. leading to Qi filling and blocking the chest. roll the chest slightly inward. By practising the above key points. 3.陈 氏 太 极 拳 推 手 技 法 2. which will help with the distribution of Qi around the body. including the internal organs. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. through the Wei Lü Guan point. While exhaling Lower every part of the body. Raise your Yi (intention) from the Hui Yin point (perineum). you will enlarge your vital capacity and exercise the diaphragm muscles. keeping your body upright and lifting your back slightly. Maintain your vertical axis. until it reaches the Bai Hui point. While inhaling Gather your chest and abdomen inward while breathing in Qi. While lowering the internal Qi. lower the waist and gather the Qi in the Dantian. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). 王 西 安 136 . skin and fine hairs opening as the Qi rises. Feel the sensation of all the body joints. 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.
and emotions. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). external movements) follows Qi.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. Practitioners should modify the scope of their practice according to their level and progress. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. However. these can be accomplished only by hard learning. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . thinking. Qi cannot be separated from Yi (intention). Beginners generally find it difficult to remember the postures and key points.4. and achieve the smooth Zhoutian circulation and help with body combat. patients and the correct mastery of key points. consciousness.2. The key requirements for practice are relaxation. Qi follows Yi. During Wu Ji Zhuang. quietude and concentration. Only through mastering your mental activities such as intention. just as Xing (posture. Only these can guarantee normal and healthy internal Qi circulation.
4. 4. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills. is an important basic skill in Chinese Martial Arts.5 138 .3.4 Fig. 4.” Hence.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.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.陈 氏 太 极 拳 推 手 技 法 4. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation.1 Postures 王 西 安 Fig.
focus on a static object at the same level as your eyes. then move them back to the middle. 4. waist and crotch. Bend the knees so that the body is squatting a little. 陈 氏 太 极 拳 推 手 技 法 4. Stand with your feet parallel. Keep the head naturally erect. 4.5). The upper body should be kept upright. The palms face each other. with practice duration increasing gradually from short to long.4). fingers pointing at their counterparts about 30 cm apart.3. b) Posture 2 • • • Separate the hands when the left foot reaches ground. mid-level and low.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. the neck. then lower the waist (Fig. Lower the elbows and shoulders slightly. shift your weight to the right and lift the left foot and take half a step to the left. focus your attention on the Dantian (Fig. Execute the posture as if embracing a big tree. if closed. Relax the shoulders. waist and back straight.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. Next. Keep the fingers evenly open and slightly bent as if half grasping a sphere. If your eyes are open. a little more than shoulder-width apart. 王 西 安 139 . The old and weak may practice using a high body stance. Leave your eyes naturally open or close them.
Should this happen. becoming gradually longer. In this case. At the same time. raise Qi from the heels up the legs. Beginners will find that the thighs may ache after two weeks of practice. you should raise your stance slightly to rest. For example. Wei Lü Guan. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). increasing to thirty or forty minutes at later stages. Practice duration can last just a few minutes in the initial stages. 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. up the spine. inhale slowly first. then a low stance. and guide the saliva down to the middle and lower Dantian. the thigh muscles and even the whole body may tremble rhythmically. when doing Standing Zhuang at a high stance. past the Yu Zhen point. although this may become more obvious with prolonged practicing at mid or low stances. At this point. Que Qiao. swallowing your breath with saliva. through the Ren Mai. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. Du Mai. This relieves or may even stop the trembling for a period. graduating to midlevel. then lower your body again. then bend the knees to lower the body until the buttocks are at the same level as the knees. and slight trembling may occur. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. touch the palate with the tip of the tongue. Inhale again as the body rises. The trembling may only be detected by touch or by close observation of the leg muscles. 王 西 安 140 .陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. until it reaches the Baihui point. Now lower the tongue and inhale.
This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. Practice this process repeatedly. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. like a wild goose flies off and falls. It rises and falls like a boat in the ocean. but the apparent non-activity is misleading. 4. the body quivers in a relaxed and peaceful state of mind. breathing motions and digesting processes. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 .3. as it responds to the circulating blood.3 Breathing Breathing is an important element of Zhuang skill.As you exhale slowly. The body weight is always subtly moving in various directions. Standing on the ground steadily like a mountain. Zhuang skill is actually a practice using static strength and tension. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs.
7 142 . At the same time. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 4.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. 4. The only difference is that in this posture. the middle fingers connect. 4. The navel and Ming Men are in the same rhythm. The distance between both arms starts short then grows longer. extend your breath slowly through the practice process.6 Fig.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. Gather the chest and abdomen. 4. the palms face inward and the eyes are slightly closed (see Fig. 4. the breath is usually short. as are the requirements and key points for the body parts. the body rises slightly with the inhalation. In the initial stages of practice.4. relax and open the internal organs.8).
you will detect a current of energy released from both palms which seems to be difficult to gather at this point. Drop the wrists and hold the palms facing inwards in a concave shape. Qi appears between finger tips of both hands like a magnetic force. All internal organs are filled with strength. Relax the body. At the same time. Roll the chest slightly inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Acting slowly. Focusing on your intention (Yi). Do this practice slowly.Note: when you inhale and open up. crouch down and lower the elbows. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. b) Posture 2 • • • • • • Exhale and gather the organs. the navel and the Ming Men Mai swell out.8 143 . use your intention to guide the current outward. 4. using your intention (Yi). lower the waist and gather the rib muscles.
as well as the internal Qi moving in the body with the guidance of your intention.4. the ebb and flow of Qi and strength (or power) are in synch with each other. For thought (or attention) to combine with intention. Qi here refers to the fresh air exchanged between the lungs and the outside. and also helps the practitioner build skills in relaxation and quietness.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. it also helps increase internal strength and distributes Qi around the whole body. Lastly. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. “the internal Qi moves inside”. then your strength must be soft. when extending the hands. This practice also strengthens the practitioner’s ‘root’. 4. . gentle and even. and when Qi rises – the body and internal organs gather slightly. For example. For example. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. if you require the breath to be slow.2 The relationship between Thought. Qi and strength. one’s thoughts need to implement intention consistently. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. In this way. as well as breath control. intention and Qi. This is called.
abdomen and back. In particular.The relaxing and gathering of the internal organs mentioned here refers to the activities of the internal organs and the muscles around the midriff area – under the ribs. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. the chest. Its purpose is to stimulate the nerve system by muscle movement. this movement becomes a conditioned reflex and helps move muscles which are normally static. and are one of the main requirements in Zhuang skill. With practice. Guided by intention.
then breathe it out slowly as you move forward (Fig. Purify this saliva with your intention.10). 4. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. When the weight shifts completely to the left leg. Swallow the fresh air inhaled. raise both hands above the right leg. Expand the crotch like a circle. inhale and move your weight backward. The fingers are poised as if grasping the air. Gather the Lao Gong points of both hands inward. The length of inhalation should match the speed of the weight shift. When inhaling. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. then shift your weight forward from the left foot to the right knee.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. focusing your intention in the Dantian. Start the posture with your eyes closed. 4. Next. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. This posture could also be called a sideways Bow Step (Fig. suffusing it with saliva and Qi and lower it to the middle and lower Dantian.9). then open your eyes and look into the distance.陈 氏 太 极 拳 推 手 技 法 4. . the right hand in front of the left. At the same time. make sure your eyes are drawn inward to looking internally.
4.11). lower the waist.10 Fig. As you exhale and shift your weight forward.Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.11 147 . then push both hands forward slowly (Fig. 4.9 b) Posture 2 • • As Qi is lowered into the Dantian. close and fold your strength into your chest and waist. 4. You need to have the feeling of closing before opening. Repeat this process alternating the left and right sides. 4.
and hold firm to these attributes throughout path of practice and study. leading to progress and experience of the benefits. Through serious dedication. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. practioners will make the expected progress. In sum. and great determination. and persistence. then your progress will be poor. Indeed. on the contrary. persistence may be engendered. confidence is a critical prerequisite. You can persevere only if you firmly believe in the benefits of Zhuang skills. With confidence comes determination. your belief is half-hearted. determination. Only after prolonged practice can confidence be nurtured. practitioners are required to cultivate their Three Spirits when they begin practice. So where does confidence come from? From practice. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. with confidence and determination. 王 西 安 148 . Confidence in Zhuang skills grows with practice as difficulties are overcome. confident and diligent practice. your practice hesitant and inconsistent. If.
inhaling all the while (Fig. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill.12). both palms facing forward.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. 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. 4.6. Peng force is maintained while the foundation of the body is reinforced as well.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. • At the same time.4. • The fingers of the both hands point to each other. extend both hands forward with the right hand before the left. As you step forward. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). 王 西 安 149 . In this way.
4. 4. 4.14 .12 王 西 安 150 Fig.13 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.
As the weight shifts. keeping the left hand inside and the right outside (Fig.13). 4. relax the left crotch and shift your weight to the left Move the left hand down in Ni (contrary) reeling and the right hand down in Shun (conforming) reeling. When this happens. At the same time. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. you start to repeat the sequence. inhale and crouch the body slightly.b) Posture 2 • • • • • • • Next. 王 西 安 151 . Both hands make a half fist when reeling. you will lose your weight and axis). rotate the left hand in Shun reeling in front of the lowered abdomen. step the right foot on the ground. lower the shoulders. 4. gather and close the whole body so it forms a posture prepared for opening activities. relax both arms. otherwize. the right hand in front of the left. As you shift your weight. When the left hand executes Lü (roll back) to the middle of the body. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. drop the elbows. Inhale and swallow saliva. As this happens. suffusing it with Qi before lowering it down to the middle and then lower Dantian.14). relax the right crotch and shift your weight gradually to the right. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. open both fists into palms facing inward. turn the waist and twist the crotch. withdraw the right hand so it intersects the left.
Inhalations and exhalations should be of proper length. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. Dual practice with Yi (intention) and Qi connects the whole body. 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”). veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. Ren Mai starts 王 西 安 152 .6. inhalation/exhalation being one breath. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. After mastering the key principle of natural breath. The normal breath frequency of adults is six to twenty times per minute. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. you will feel your key joints and your arteries and veins become unblocked and re-connected. your breath should be natural and of the proper duration so that it enhances body combat and health. and even to one or two times per minute. This helps in the exchange of carbon dioxide and promotes metabolism in the body. This phenomena of “connected arteries. This is a primary sign of beneficial Zhuang practice. Only by this can you avoid errors and side effects. the breath can become slower and longer. When you practise Zhuang skills to a certain level. After practicing Zhuang skills for a period. decreasing to seven or ten breaths per minute.陈 氏 太 极 拳 推 手 技 法 4. and comes only after accumulated practice. you should focus on increasing the duration and depth of your breath. then to five times per minute.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). Therefore.
Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . Du Mai starts at the perineum. In Da Zhou Tian. the difference being that Da Zhou Tian extends Qi to the lower limbs. Jia Gu Guan. and Yi and Qi should move in the required routes.from the tip of the tongue. the body should be relaxed. the five sense organs internally gathered. even and quiet. reaches the Bai Hui point through Wei Lü Guan. reaches the perineum through the Dantian and then connects to Du Mai. The Qi of Da Zhou Tian originates from the Yong Quan point. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. deeper. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. and Yu Zhen Guan. For both. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. The whole process of moving Qi through Ren Mai and Du Mai. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. then infusing Qi into the Dantian. all channels extended and unfolded. more gentle. except that the breathing in the former is longer.
4.陈 氏 太 极 拳 推 手 技 法 4. At the same time. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang.15). Swallow Qi down with saliva and guide it down to the middle Dantian. bring in the arms and place both palms in front of the abdomen (Fig. 王 西 安 Fig. 4. a) Posture 1 • • • Shift your weight gradually to the left leg. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. then bring in the right foot so that both feet are a shoulder-width apart. then infuse it into the lower Dantian. close your eyes and inhale.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. 4.15 Fig.16 154 .
17).18 155 . Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. lift both arms upright. 4.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. palms facing in (Fig.16). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Clench both hands into fists and lower them to ear level as the body lowers.18). 4. pointing the fingertips upward. finally placing them in front of the shoulders. fingertips pointing obliquely down. separate the arms to the sides. 4. As the body lowers. 4. palms facing each other. 4. swallow Qi and saliva and infuse them into the lower Dantian (Fig.17 Fig. Then using the little fingers to guide the energy.
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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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anus contraction should only be slight and done in a natural way. the weight distribution is 3:7. In ancient times. rectocele.The Anus In the same way that the positioning of Dang is very precise. To help you master correct Dang postures in routine and Tuishou practice. Jian Dang and Tang Dang. and it became difficult for vena blood to flow to heart. A brief introduction is provided below. 王 西 安 161 . For example. In Taiji practice. This realization caused the ancients to suggest that “the ground door should be always closed”. Yuan Dang.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. a short introduction of key Dang movements. womb prolapse and so on. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. the left knee and ankle vertically aligned to each other and the ground. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. the positioning of the anus also needs careful attention. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. Ding Dang. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. After humans evolved to the upright posture and started to walk.2. are described below: 陈 氏 太 极 拳 推 手 技 法 5. advocating contraction of the anus during physical exercise as a remedy. Doing so over an extended period can have a positive effect in curing hemorrhoids. womb 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. This requires the left leg to be solid with the lower leg standing upright.
teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. the right knee should incline outward. energy in the legs is strengthened and the body is well supported. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. there are many opportunities and responsibilities.2. which means there will not be opening-closing power if he or she crouches in the Horse Stance. “It is easy to teach but hard to change what is learnt. it is very difficult to correct bad practice habits solidified with prolonged practice. and at this moment Dang should open in a circle so that both legs can support all parts of the body. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. In traditional teaching methods. If a practitioner is advised to relax. 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. at the end of the Dan Bian (Single Whip) posture.陈 氏 太 极 拳 推 手 技 法 In this way. 王 西 安 162 . Hence. This should be corrected at the earliest stages of learning.” Indeed. That is. innate talents. 5. These traditional teaching methods should be changed as implied by the adage. the body crouches as the right knee moves outward. As for practitioners. when the right leg moves to the side. Some perform better than others due to learning abilities. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. For example. “closing in opening” and that “Dang should open in a full circle”. the root of Dang should be relaxed.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. practitioners may master its secrets and principles with serious study. you can defend using An (pressing). if the opponent attacks using Jian Kao (Kao with shoulder). In this chapter. For example. we will describe how to apply these eight Tuishou techniques in sparring practice.陈 氏 太 极 拳 推 手 技 法 6. your opponent may respond defensively with Xiong Kao (Kao by chest). 王 西 安 168 . Tuishou is commonly divided into eight categories. For example. While the combinations of Tuishou moves are infinite. with attackers changing to defensive roles in an instant and back again without warning.1 Overview Within the Chen style Taiji routine. the attack-defense stances change dynamically. if you advance using Ying Men Kao (Kao diagonally to the front). then strike back with Jian Kao. Indeed.
Luan Cai Hua (Picking Flower. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Da Lü (larger scale movements) 7. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5.6. where the the practitioners are no longer oblidged to the sequences or fixed routines. while Tuishou) 8. normally a forward step then a backward step) 6. Jin San Tui San (both parities advance and then retreat for 3 steps.1. silk reeling in the shape of a flower) 2. i. Dan Wan Hua (Coiling Flower with Single Hand. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. Shun Bu Tuishou (Tuishou with movable footwork.e. and any movements can be exerted by intention. which is regarded as the highest level of Tuishou. 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 . He Bu Tuishou with static footwork.
1. these consist of the Cai. novices should start by learning one set at a time. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. Ding Bu (static footwork) 2. Si Yu Shou hand techniques are always used. Xuan Wan (rotating wrists) 4.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. Qie Zhang (palm chop) In static footwork. Ji. Bie. Zou. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. However. Dian Bu (stepping on toe-tips) . Lü. Si Zheng Shou (Peng.陈 氏 太 极 拳 推 手 技 法 6. Dan Tuishou (Tuishou with single hand) 2. including: 1. An) is usually applied. There are many categories of footwork techniques. i. Shuang Tuishou (Tuishou with double hands) 3. or Kao hand techniques. as follows: 1.e. Huo Bu (moving footwork) 3. and not be limited to one or the other. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. Cha Bu (inserting steps) 6. During sparring. Duli Bu (standing on a single foot) 8. feet placed together ) 7. Bing Bu (step touch.
with the wrist lowered and fingers relaxed. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. you need to place the body in a crouching position.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. The roots of the fingers are relaxed. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2 TuishOu handwOrk Techniques 6. with the forearm bent toward the upper arm at an angle of 450. Da (meet) and Sao (sweep) movements. Shuan (bind). 6. In this posture. it is also applied to Gun (roll).6. 6. when both players retreat after being mutually warded off. the four fingers extended and joined together to form a slightly concave palm (Fig. one arm is extended horizontally sideways.2 171 . When cutting downward.2. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. palm facing in. The elbow must be dropped. 6.2). 6. 6.2. In single practice.1 Fig. roll the chest slightly inward and lower the waist and shoulders.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction.1).
4 172 . For example.2. 6.3 Fig. then reverse to the Ni direction when the hands arrive at his or her body.2. 6.4 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. where the raised hand lies above the middle of the upper arm. 王 西 安 Fig. when hands are rotating horizontally in a circle. As you rotate the hand downward or outward. During sparring.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. Xie Tuo Zhang is also applied in the process of Big Lü.3). In this instance. one player may guide the other to reel first in the Shun direction. 6. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). the power lies in the root of the palm. the little finger is used to guide energy and draw inward toward the thumb.4). 6. if the opponent executes Lü on you. 6. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. The palm posture during this direction change is called Xie Tuo Zhang.陈 氏 太 极 拳 推 手 技 法 6. the hand is stretched upward to the sides (Fig.
fingers slightly parted (Fig. 6. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above).5 Cha Zhang … Slanting Palm In this technique. and gradually press your hands toward the opponent. as the hands insert downward. see above). This technique is called Diagonally Upward Cha. for example: • When you rotate both hands in vertical circles. insert your hand downward and rotate it in the Shun direction. the hand is inserted upward or vertically/diagonally downward. separate them and switch to Cha Zhang. • In Luan Cai Hua (palms reel in non-predictable angles. Cha Zhang is widely used in Tuishou.5). then lower your shoulders and drop the elbows.2. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork.6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. see above).5 173 . 6.
you can rotate your arm with the middle finger. 6. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. and your partner exerts An to your hand. 6. Fig. This way. while the thumb and the index finger form a “ 八” shape.6 王 西 安 174 . When you guide your partner via Shun reeling to the front of your chest. and the little finger bending inward. the ring finger.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape.6).2. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation.陈 氏 太 极 拳 推 手 技 法 6.
toe tips bent slightly inward.7). the Yong Quan point should be empty while the Dang is open with the intention to close. 陈 氏 太 极 拳 推 手 技 法 Fig. the thigh nearly parallel to the ground. following the principle of ‘straightening in bending’. following the principle of ‘closing in opening’. One knee is bent so that the body is in a half crouch.3 TuishOu fOOTwOrk Techniques 6. the sole fully touching the ground. the knee positioned approximately above the tip of the foot (Fig. In this posture.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. 6. The other leg bends with the intention to straighten. The toe tips point slightly inward.6. 6. This knee is turned slightly outward to provide a frame for all parts of the body.7 王 西 安 175 .3.
knee bent slightly over the toe tips. 6. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles). Fig. toes grasping the ground. Position both feet fully on the ground.3.9). It is applied widely in Tuishou. 6. you can move your the weight back to transform their power by raising your toe tip and hence causing the heel to touch the ground naturally.陈 氏 太 极 拳 推 手 技 法 6. big Lü and Luan Cai Hua.2 Hou Zuo Bu … Back Seat Step In this posture.3 Qian Dian Bu … Forward Tipping Step In this step. Keep the Yong Quan point empty so the straightened leg can be lifted later if the body weight is kept on the Bow leg (Fig. When the weight is completely transferred.8). body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. 6. • This step is always used in Shun step. if the opponent presses on any part of your body with his or her hands or arms.3. 王 西 安 176 . the heel touches the ground with the toes pointing up at about 450 (Fig. straighten the front leg so that the back leg becomes the Bow leg.8 6.
followed by the sole then heel (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. move your weight back and withdraw the front leg backward by stepping the toe tip back first. and Luan Cai Hua For example.Fig. 6. if an opponent applies Lü on you.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü.3.10 177 . 6. 6.10).9 6.
c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground.12 . For example. 王 西 安 178 Fig. 12). Hence the name ‘Falling Step’. and is widely used in forward or backward movements (Fig.11). When the opponent applies Big Lü on you.e. 6. which now lies close to the ground. This posture is applied to Shun step. in the ‘Dragon sweeps ground’ form. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. 6. 6.陈 氏 太 极 拳 推 手 技 法 Fig. Lü applied through large-scale movements) (Fig. Big Lü and Luan Cai Hua. 6.
you draw the opponent inward into your territory. in Bei Zhe Kao (Lean with back). The principle of Shun Chan is that with the elbows guiding the hands. spirals around the waist and shoulders.e. exerting Ji and Na in confronting reelings). the shoulders guiding the elbows and the waist guiding the shoulders. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. with the other fingers slightly turned outward.1 Shun Chan … Conforming reeling In Taijiquan. In Silk Reeling technique. 6. For example. when the opponent executes Lü on you.6. where it returns to its original position of circulation. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. you can use Shun Chan to gather energy and edge into the opponent’s territory. the term ‘reeling’ means to spiral energy.4. power rises from the heels up the legs. enters the bone marrow through gaps in the scapula and travels down the arms. This move is called Shun Ji Shun Fa (i.4 hand Techniques in TuishOu reeling 6. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. In addition.13 179 . while simultaneously executing Kao on the opponent. with the little finger guiding energy as it points to the thumb when it is drawn inward. Shun Chan means to spiral energy from the outside to the inside.
4.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. In horizontal circle rotations with single hand.3 Shun Ni Zuo Wan Wrist descending in Shun and Ni directions This technique consists of lowering the wrist gradually during the transition from Shun to Ni Chan. Here. concentrate you energy in the wrist. Zuo Wan (descending wrist) technique is adopted (Fig. 6. Note: to apply this technique precisely. the shoulders to urge on the elbows and the elbows guiding the hands. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. the thumb gathers inward and guides the little finger. Ni Chan is used to open outward. shoulders and elbows.15 180 . In Ni Chan.14 Fig. 6. 王 西 安 Fig.15).陈 氏 太 极 拳 推 手 技 法 6. by using the waist to urge the shoulder. roll your chest slightly inward and lower your waist. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent. 6.14). while the other fingers turn out slightly (Fig.4. 6. 6.
which is formed by pointing the little. Lü. and adhere to him or her. At this point. Diao Wan is also widely applied in response to a Lü attack.16 181 .4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan.4. Zhou. The wrist is drawn inward to form a Diao Wan (Hooked Wrist). Kao). ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). the Shun hand changes to Diao Shou (Hooked Hand). • For example. by holding on to the opponent by the hand. your right hand rotates at 90o towards the right side of body in Ni reeling. Ji.16). then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. Cai. 6. in case of single hand rotation in the horizontal circle. Lie. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. while trying to ‘listen’. to provide a closing and opposing force with the three fingers (Fig.6. 6.
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
then slowly roll down the rest of the foot to the ground. Relax the arms and hang them at the sides.1). Your step should be light. eyes looking forward (Fig.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. empty the Yong Quan point.2. 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.2.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. As your weight shifts.2. 7. 陈 氏 太 极 拳 推 手 技 法 7. precise and full of intention of listening.e. heel first with toes pointed up. stepping without thought) (Fig. 7. Shift your weight slowly to the left leg. straightening the neck and lifting the top of the head. Continue relaxing the crotch. so as to avoid empty stepping (i.2).3). 王 西 安 187 .7. Maintain the vertical axis. 7. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. Step the right foot forward. relax the crotch and lift the right knee. palms lightly touching the sides of the legs. in preparation for the right leg step forward lightly.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. the left toes grasping the ground.
1 Fig. right elbow and wrist. thumb behind the fingers (Fig.4). . 7. 7. While the right arm moves. As the weight shifts. 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. 7.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step.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.2. 7.2 Fig.3 7. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. 王 西 安 188 Note: in later movements.
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. 7.5 7.Fig.2. 王 西 安 189 . As you reel. 7. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.4 Fig.5). 7.5 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. the elbow in a slightly warding off (Peng) position in coordination with the little finger. The right forearm now moves transversely in front of the abdomen. 7. . change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs. At this point.2. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. the weight shifts completely to the left.6).7 7. 7.7). The other fingers reel outwards in coordination with the elbow (Fig. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left.6 Fig. 7.陈 氏 太 极 拳 推 手 技 法 Fig. Step the right foot either flatly on the ground or with toe tips pointing up. right palm facing down and wrist bending 450 inward using the little finger as a guide. When the right arm moves downward.
7.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape.9 Part 9 • • Now using Ni reeling. Ni.7. Return the bent arm and the bow leg to their original positions (Fig. While the right arm reels.7 Part 7 • • • • Using the little finger to guide the energy. pointing the right knee slightly outward and moving it in a helix. bend the knees slightly to place the body in a squatting position. extend the right hand slightly forward. shift your weight to the right. power is most concentrated and exerted on the external side of the thumb and index finger. Shun. 7. At this point. that is.2.2. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. draw the chest slightly inward and relax the right side of the crotch. Rotate the waist to the right. Shun. 王 西 安 191 . Ni. three Shun reelings and two Ni reelings. followed by the hand. As the arm changes to Ni reeling.9). 7. a 900 arc to the right side of body.2. The 3600 rotation of the arm follows this sequence of changes: Shun.8). until it reaches the front of the right ribs. 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. using it as a pivot to rotate the right shoulder rightward. Then place the palm downward (Fig. 7. changing into Ni reeling.
all parts moving together collectively. Ni. 7. practice on the left by switching to the left leg and the left hand. The middle body moves in coordination with the upper and lower bodies. Notes In these horizontal-circle rotations. that is. the reeling sequence being Ni. Practice alternating rotations with both arms so that there is a feeling of balance. Relax the waist and shoulders. Ni. when one body part moves then all other body part follow. Shun. 王 西 安 192 .8 Fig. rotate the wrist. the upper body guides the lower body’s movement. When you feel tired practicing on the right.陈 氏 太 极 拳 推 手 技 法 Fig. Practice until you reach a level where when one body part keeps still then all other body parts keep still. 7. the arms rotate with the waist and the axis while the hand guides the energy.9 • The left arm rotates from the left. the lower body follows. and ensure your body weight moves back and forth in synch with the body movements. Shun. The movement of every part of the body should be continuous and synchronised – when the upper body moves. that is. three Ni reelings and two Shun reelings.
palm slanting upward with intention to gently guide and draw in. with the rest of the foot gradually fully touching the ground. 7. 7. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. with eyes looking forward (Fig. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. switch to Ni reeling. Next. Focus the eyes on the right palm (Fig.7. Next. lower your Qi. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. Finally. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . relax the left side of the crotch. • • • • • Keep your body weight on the left leg and step forward. Bend the left leg so that you squat slightly. It only requires vertial hand revolution and very small shifts in weight. drawing an arc of about 180o which goes downward and then up to the right. 7. The whole movement is mainly guided by the rotating waist and relaxed shoulders. drawing an arc of about 90o to the left. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig.11). then switching to 90o Shun reeling.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. then turn the body to the left and raise the right hand in Shun reeling.10). heel first with the right foot. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo.12).
Vertical arm rotation is guided by spiraling movements of the waist and back.12 • • When rotating in the opposite direction.11 Fig. 7.陈 氏 太 极 拳 推 手 技 法 Fig. reel in Ni to the right at 90o. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward. 王 西 安 194 . 7. then reel in Shun. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling.10 Fig. Finally. Practice rotating both arms in turn. 7. 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.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. pushing both palms forward (Tui Palm) at the same time. Shift your weight gradually to the left leg.7. This body posture is now one of holding and collecting. 7. Raise the forearms 90o upward. otherwise the shape of the posture will be lost (Fig. 7. in preparation for action (Fig.16). Note: when applying Tui Palm. Relax the left crotch and while focussing on the right crotch. Also. Bend the left knee to put the body in a crouching stance. 7.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. shift your the weight gradually forward. 7. palms facing to each other. 7. eyes facing the front (Fig.15).13 Fig. 7. the forward shift of the body should stop once the palms reach their natural end position.14). toes relaxed and pointing downward (Fig. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. then raise the right foot. the palms should move forward at an inclined angle (see picture).14 Fig.15 195 . 7.13).
15) by drawing a circle by the sides of the body. shift your weight backward and separate both hands to the sides of the body. 7.17).17 • • • Next. 王 西 安 196 .陈 氏 太 极 拳 推 手 技 法 Fig. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. then lowering to the front of the abdomen. 7. 7.16 Fig. Repeat the Tui Palm movement again. 7. imagining the hands seizing the opponent’s wrists by Diao (Fig. Practice this cycle. then pushing both hands forward. this time relaxing the right crotch and focussing on the left crotch. palms vertical.
then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.7. Raise the forearms 90o upward. 7. 7. This body posture is now one of holding and collecting.18 Fig. Bend the left knee to put the body in a crouching stance. Shift your weight gradually to the left leg.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. 7. draw the chest inward. stated as follows: Stand at attention with the body upright and relaxed. lower the waist and shoulders.14). 7. Grasp the ground lightly with the toes and face the eyes forward (Fig. While raising the hands. drop the elbows and sink the Qi downward. toes relaxed and pointing downward (see Fig.19 197 . • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. in preparation for action (Fig.18). eyes facing the front. 7. then raise the right foot. palms facing to each other.19).
push the crossed palms over the head in Ni reeling. step the left foot on the ground and shift your weight forward (Fig. 7. 7. the palms descend to the sides. During this process. continue to draw your chest inward. Next.20 Fig. Extend both hands forward in an ‘offering’ stance. 7. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. finish the weight shift to your right leg. Then. palms facing forward. 7. both palms facing inward.21). after another small Ni reeling upward.21 • • • • 王 西 安 198 • Next. stopping at shoulder level (Fig. At the same time.20). . extending the hands forward so that the left hand crosses over the inner side of the right wrist. cross both hands slowly in Shun reeling. with the intention of supporting something upward.陈 氏 太 极 拳 推 手 技 法 Fig. As both hands separate upwards.
the chest. so as to start a new cycle. then hands. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. finger-tips pointing down. • • Now the left hand reels in Ni while the right hand reels in Shun. Both hands then draw a downward arc to fall to each side of the abdomen. strike out in succession to the sides so that the arms become a pulled bow. palms cross together. You will feel the power after long practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . that is. upper arm. only that palms in the latter move horizontally. forearm. With body gathering. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. Closing form: palms continue to Shun reel. while weight totally switches to the left. shoulders. palms facing each other.Note: as both hands separate outward.
• Stand at attention. • As the weight shifts.22 Fig. then bend it inward 45o. heel first. 王 西 安 Fig.23 200 . Note that one should practice with intention rather than by force. Coordinate the movements of your hands. and An. body and steps. The key points are the same as those of solo Tuishou. eyes. 7. palm facing in.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. thumb pointing down and the little finger pointing upward. Open every body part to make your rotations natural and flexible. When practicing. palm facing forward. Extend the left hand transversely and place it on the middle of the right upper arm. extend the right hand diagonally forward to the right. with the foot gradually stepping fully on the ground. act as if sparring with a partner. Ji. • Shift your weight to the left leg and lift the right foot to step forward.陈 氏 太 极 拳 推 手 技 法 7. Lü. 7.
focus your intention on meeting and holding the opponent’s hand. the wrist bent slightly inward and palm facing inward. Relax the right crotch and turn the body to the right. and so continue to Peng upward before executing Lü. 7. raise both hands in Ni reeling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. as the left hand moves inward in Ni reelings. shift your weight left and focus your eyes on the front of the right hand (Fig. the arm opens like a circle.22). Next. relax the left crotch.23).24).25 201 . Meanwhile. Shift your weight to the left slightly then to right.24 Fig.• • • • • The left arm intends to Peng outward. and the eyes look forward to the right (Fig. the left hand ahead of the right. During this process. lower the right shoulder and drop the right elbow. Move the right hand in Shun reeling. 7. As the left hand rises. 7. 7. 7. visualize placing the outer edge of the right hand on the outside of the opponent’s elbow joint Then execute Lü with both hands slowly to the left side of the body until the right hand reaches the front of the right breast. At the same time. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig.
This is the same as the starting posture of Da Shou posture. 7. pushing it outward.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. 7. At this point. shift your weight forward to the right leg. and the left hand helps the right to execute Lü. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. The edges of the hands become power-exerting points.22). Repeat the process. an instant. You will also need to use your left shoulder to push and use the right hand to help press forward.25). If the left leg is in the front. Peng and An are transitional actions executed in 王 西 安 202 . The right hand reels in Ni direction also with the intention to push outward (Fig. As this happens. visualize your left hand pressing down on the hand of the opponent. alternating left and right sides. the right hand executes Peng. Execute An forward with both hands the palms facing each other about 33 cm apart. Note: In this movement. eyes looking forward.
raise both hands to attack by pushing them to the front right of the body. Hand movements consist of four Zheng hands: Peng. Face the outer hand edges. • • • • Step forward with the right foot then shift your weight forward.27 203 .26). In practice. 7. These actions drive two the hands forward. Lower the waist. Step the left foot on the ground with the inner side of the foot touching the ground. 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. sink the shoulder downward and drop the elbows. Ji and An. 7. moving backward uses Peng and Lü hand movements.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.7. outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. draw the chest inward.26 Fig. 7. As the weight moves forward. Lü.
turning the right elbow out and upward. As this happens. The body moves forward following the shift in weight.27).29 • • • • • 王 西 安 204 • • • After the pushing attack. 7. At the same time. shift your weight to the left and lift the right foot. Eyes look to the front right (Fig. Relax the left crotch after pushing and shift the weight to the left.29). withdraw the left hand gradually and place it on the middle of the right upper arm. and in preparation for moving. Push the shoulder forward.28). tiptoe first. with the intention to close before opening. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body. 7. toes pointing down (Fig. rotate the right hand slightly downward in Ni reeling. thumb pointing down and palm facing down. At the same time. Note that Qi should not be allowed to float upward. 7. move the left hand downward then draw a forward arc to form a Lü posture with the right hand.陈 氏 太 极 拳 推 手 技 法 Fig. Raise the right hand in Shun reeling. 7.28 Fig. 7. followed by the arm and the hand (Fig. As the arm moves. Bend the left leg to squat further and extend the right foot forward. .
Eyes look to the left (Fig. then in Shun direction downward to the left. Eyes look to the front left (Fig. the upper and lower body form a balanced block of strength with the waist as the boundary.33). thumb pointing down and palm facing forward. While the right hand switches to Lü.30 Fig. Both hands are about 33 cm apart (Fig. 7.30). Eyes look to the front left (Fig. The front push of the right hand provides an instant defense. raise the left hand in a spiral to form a Lü movement with the right hand. raise the right hand quickly to push forward together with the left hand toward the left side of the body. then shift your weight to the right. Reel the left hand first in Ni direction. 7. gradually squat the body. Raise the right foot and take a step backwards to the right. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. 7. The outer edges of the hands are power-exerting points. 7. Next. Then the right hand switches to Lü. Next.31).32).which takes place in an instant. As the weight shifts. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . Visualize sending the opponent’s right hand out to the left side of your body.31 • • • • • • Relax the left crotch and shift your weight to the left. 7.Fig. then draw a circle downward.
the right arm then bends to 450 inward. At the same time. Eyes look to the front left (Fig.35 206 . 7. Raise the body gradually and slowly shift your weight to the left leg. 7.34 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 7. take a step forward with the right foot. 7. As the weight shifts. 7.33 • • • Both hands execute Lü from left to right following the body.32 Fig.34). 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. 王 西 安 Fig.
7.35). 7.36). 7. 7. 7. Eyes look to the front right (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7.39 207 .38 Fig.36 Fig.Fig. thumb pointing down. Then shift your weight slightly rightward. place the left hand on the right upper arm. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. Eyes look to the front right (Fig.37 • • Simultaneously. Note that the waist power descends to the left first then the right.
move the right hand in front of the left hand quickly. visualizing that you are pushing the opponent’s hand outward to the right. Eyes look to the front right (Fig.38).39).37). 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. execute Lü downward with the left hand. Relax the right crotch and shift your weight to the right. Next. At the same time. 7. Start a new cycle (Fig. 7. As soon as both arms finish pressing forward.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. 7. Eyes look to the right (Fig. raise the right hand quickly and exert An forward with power. 王 西 安 208 . then move it out to the right.
whereby Player B executes Lü on Player A. we will only refer to two main Da Lü postures as shown in the pictures which follow. literally meaning “big falling step”.40 Fig.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. beginners should first practise the routines. and Kao. Furthermore. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.7. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. It uses the combat techniques of the four hand techniques in corner directions – Cai. then the fives methods of solo Tuishou practice. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. In this chapter. and Kao. Zou. If not. The other picture demonstrates the big Frontward Bow Step. One is Da Pu Bu.41 209 . 7. Zhou. The circulating of steps in Da Lü when practicing Peng. Lü. It is not easy to practice Cai. Kao with large-scaled body movements. Bie Zou. The other movements are the same as the movements in Shun Step (forward or backward step). Lie. the only difference being that the extent of the steps in Da Lü is bigger. Bie. Ji and An is the same to those in Shun Step (forward or backwards Step). a major weakness with which you cannot even hope to attack the opponent. As such. Lü Ji and An. the whole body will become stiff when you try to squat down in the big body movements.
precise rotation. Luan Cai Hua is also built on the foundation of Peng. 王 西 安 Fig.42 210 . The body movement and gait should be neat and swift. you should pay attention to the following points.42. You should adjust your direction and position by applying small Gen steps so that you can stick to the partner tightly and prevent their escape. See how to execute Dian step in Figure 7. Lü. It’s features include free movement with no fixed direction. In the Luan Cai Hua Tuishou practice. Ji. and flexible. and also uses the Si Zheng Shou. You need to rotate neatly when executing a step forward as the partner changes his or her direction. 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).陈 氏 太 极 拳 推 手 技 法 7. and An. This way you will not lose energy unnecessarily nor become stiff.
陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . An). When you apply Luan Cai Hua in Tuishou sparring. you feel the partner’s energy as you rotate. getting close to their upper body while causing them to raise their lower body or slant it. the steps are small but the speed is fast. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. and entice the partner to advance and show his or her weak points. Ji. the only difference being in the stances of the body. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. It is not easy to apply Die Fa. heavy but not stiff.In this technique. When circulating the four Zheng hand techniques (Peng. light but not empty and floating. You should practice listening repeatedly. Do not just practice at fast speeds or you will lose your energy or get stiff. Lü. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. and thus impede any progress in Tuishou. looking for the attacking opportunity. Your movements should be quick but not chaotic. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps.
陈 氏 太 极 拳 推 手 技 法 王 西 安 212 .
CHAPTER 8 paiR pRaCTiCe in Tuishou 陈 氏 太 极 拳 推 手 技 法 王 西 安 213 .
similarly. flexible and without weaknesses. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. movements in pair practice should start simply before gaining in complexity. An introduction to Tuishou pair practices has been provided in the following pages. then pair Tuishou may be described as “acting as if there is no partner although you have one”. Pair Tuishou embodies the essence of Taiji Tuishou. moving as the partner moves. 王 西 安 214 . like a flowing river: smooth. If both partners have Taiji proficiency. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. the practice stance should start high. I hope that the reader will use this to practice diligently and master the key points. so you must strive to concentrate. Lian (connecting) and finally Sui (following). try to choose a partner of similar level for pair practice. pair practice should start slowly. In addition. whereby your actions should be precise. lowering to mid-height then low stance.陈 氏 太 极 拳 推 手 技 法 8. Nian (sticking). Lastly. flexible and rapid. agile. If possible. gathering speed in the later stages. Like solo practice. pair practice becomes beautiful to watch. development should follow the stages of San Shou to Zhan (coherence). Faster progress may be made if your partner is proficient in Taiji.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. Pair practice Tuishou improves combat skills.
8. toes pointing slightly outward to form a 八 shape. arms hanging relaxed by the sides.1 Posture 1 Both players stand at attention facing each other.2.1 Both players take a step forward with their right feet. 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. The distance between both right feet should be about 10 cm. Their bodies are upright. Player B refers to the female practitioner dressed in red. gradually forming a front Bow Step.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. 王 西 安 215 .8. These may be shortened to ‘A’ and ‘B’. 8.
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. Alternatively. B’s weight continues to move forward to form a single-hand An (pushing) power. Both players watch their hands throughout this step. A’s weight shifts backward. The back of the palms touch each other. As both players draw this arc. using the middle line of the nose as the boundary. with the middle fingers at nose level. .2 8. Fig. corresponding with the rotation of the waist. eyes focussed on the right hands. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. the left hand can also be placed naturally along side the body. and his body crouches slightly to form a closing power.2. 8. both players raise their right palm and extend it forward.
8. then she guides A’s hand to the front of his abdomen. B shifts her weight gradually backward while her hand draws an arc following Player A.2. At the same time. Repeat this cycle.Fig.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. then Ni reels 90o to the front of Player B’s abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4 217 .3 8. 8.
3. . then then draws a 90o arc to the left. Player A guides Player B to move first in Shun reeling.陈 氏 太 极 拳 推 手 技 法 8. Both players then rise. both hands perpendicular to each other and eyes looking forward.5 8. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. 8.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation. the only difference being that here the Da Shou (meet partner with hand) position is higher. Fig.3 single-hand verTical circle wan hua in pair pracTice 8.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).3.
For example. turning to the right (B’s left side). During the above process.7 219 . Partner B relaxes the left crotch. 8. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. 8. with eyes looking at the same direction.3 Posture 3 Player A relaxes his right crotch and turns his body to the right.6 8. guiding Player B to Ni reel 900 to his right side. B always adheres to A.Fig.3. when A draws an arc to the right side. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
8 220 . eyes looking forward. Both right feet start to uncurl to the ground. 王 西 安 Fig. ready to move and attack if hands touch. Both players step forward simultaneously with their right foot. Then Player B extends her hands forward. having first shifted their weight onto the left leg. heel first. with aim to form a front Bow Step.1 Posture 1 Both players stand at attention facing each other. Now both players wait in a defensive mode. While waiting.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8.4. toes turned up (optional). Player A raises two hands in front of his chest. they lower their waists. 8. draw their chests inward and gather their ribs. lower the shoulders and drop the elbows. placing them outside A’s hands.陈 氏 太 极 拳 推 手 技 法 8.
陈 氏 太 极 拳 推 手 技 法 Fig.4. 8.8. As Player A pushes his hands forward. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. B’s little fingers “stick” to A throughout the process. As B’s weight moves backward. In other words. her hands reel in Shun. Here. A’s weight shift to the right foot has been fully completed.9 王 西 安 221 . with her little finger lightly hanging on A’s wrists to guard against any sudden attacks. He stops pushing when his hands are 20 cm away from Player B’s chest.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling.
B 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. She relaxes her chest as her hands separate.4.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. Fig. 8. Then both players return to the original position. B moves her weight forward to form a Bow Step.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. While A draws arcs. using the outer edges of his palms. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs.10 8.4. then separates Player B’s hands to the sides of her body at shoulderlevel. He shifts his weight backward.陈 氏 太 极 拳 推 手 技 法 8. While Player A separates. 王 西 安 222 .
8.Fig.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .
and separate hands to the sides of the body at shoulder level. .陈 氏 太 极 拳 推 手 技 法 8.5.12 王 西 安 224 8.5. 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. 8.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. the weight for both parties starts to shift to the right. Now. The positions of all hands are higher than the eyes. all eyes look forward. The two parties’ eyes always follow their movements. draw a vertical circle outward. then step their right feet forward simultaneously. with the inner sides of both feet facing each other and 10 cm apart. Now. guiding Partner B to raise her hands. A’s weight is all at the right foot.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward.1 Posture 1 Player A and B stand facing each other. B has been shifting her weight to the left. Fig.
8.3 Posture 3 Player A switches to Shun reeling. Both players’ eyes face forward.14 225 . she shifts her weight forward to form a front Bow Step. his little fingers slightly catching Player B’s wrists. While Player B rotates her arms downward following Player A. Player A draws outwards while Partner B draws inwards. while he shifts his weight backward. and draw arcs to the lower abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.13 8.Fig.5. 8.
Both players face forward. 王 西 安 226 . the body squats to prepare for openning. Both players can practice this in turn.陈 氏 太 极 拳 推 手 技 法 8. Repeat this cycle. Note: The steps are the same. Player B follows Player A closely and feels his change. Then Player A returns to the original position by Ni reeling and separating his arms outward.4 Posture 4 Player A continues Shun reeling. his hands crossing before the chest with both palms facing in. and continues to move her weight forward.5. whether Player A separates B or vice versa.
8. backs of the hands touching.6. Now. 8. Player A and B stand facing each other.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. Both players then shift a little more weight to the right.15 王 西 安 227 . and then extend their right hands forward so they cross each other. with the inner sides of both feet facing each other and 10 cm apart.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. eyes looking forward. 陈 氏 太 极 拳 推 手 技 法 Fig. the weight for both parties are both in the left. yet start to shift to the right. then step their right feet forward simultaneously.
6. .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. While the right arm turns. 8. During this process. then turns his right hand left in Shun reeling following the turn of his body. he places his right hand on the middle of B’s left upper arm. Her right hand presses Player A’s right hand slightly downward. gradually switching from Peng (ward off ) to Lü leftward.16 8.陈 氏 太 极 拳 推 手 技 法 8. both of B’s arms form an An (Pushing) power.6. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture.2 Posture 2 Player A shifts his weight forward. Player B places her left hand on the right upper arm of Player A as he moves. then extends forward to press against A’s left forearm. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. Fig. In this way. At the same time. Player A relaxes his left crotch and moves his weight slightly leftward.
18 229 . Partner A withdraws his pressing hand and places it on his own right upper arm. thus returning to the original position. Player A executes Lü on B’s hand and presses it downward. In response.17 8. In response. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and executes Lü (roll back) again.Fig. 8.4 Posture 4 Player B executes Ji (press) on Player A. Then Player B wards off Player A’s left hand upward. shifting his weight forward to add more pressure. Player B switches from An (push) to Peng (ward off ). Repeat this cycle. 8.6.
7. palm facing outward.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. Player B steps her right foot forward at the same time. Player A raises his right arm as his right leg moves. then places his left hand on the middle of his right upper arm. bending it 450 inward.陈 氏 太 极 拳 推 手 技 法 8. so that both knees touch (A’s inner knee and B’s outer knee). 8. A’s left hand then crosses with B’s left hand. and places her left hand on the middle of A’s right upper arm.19 230 .1 Posture 1 Both players stand at attention. placing it on the outside of A’s right leg. Both players look at each other from the side. Player A steps his right foot forward to form a front Bow Step. Player B’s right hand crosses the outside of A’s right hand. 王 西 安 Fig.
and then wards off Player B’s left hand upwards. 王 西 安 231 .2 Posture 2 Player A then relaxes his right crotch. 8. Both players look to the front and gather themselves to prepare for futher movements. At the same time.7. 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.3 Posture 3 Player A relaxes his left crotch first. shifts his weight slightly to the right. As Player A’s body turns right. executing Lü (roll back) with his right hand. Simultaneously.8. he places his right hand on the middle of B’s left upper arm. Player B shifts her weight forward to double her pressing power. raises his left hand. and moves his weight leftward. Both players look to the front. turns his body to the right.7. Player B continues to move her weight forward when Player A applies Lü. and switches both hands to double-hand Shun reeling to ward off outward gradually. he lowers his left shoulder and left elbow. This switch from Peng to Lü happens in an instant. 陈 氏 太 极 拳 推 手 技 法 Fig.20 8.
At the same time. When Player A presses downward. 8. with the aim of getting her to fall to his right side. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. 8. he presses Player B’s left hand downward to the front of her lower abdomen. forming an An force.7. 王 西 安 Fig.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.22 232 . with the coordination of his right hand. then pushes her left hand rightward. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand.
7. 8. At the same time.5 Posture 5 Player B’s left foot steps on the ground.7.23 8. her right crotch relaxes and she shifts her weight to the right. As Player B executes Lü. tiptoe first. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. At the same time.8. his right hand switches to Ni reeling to force Player B to step backward. A’s upper and lower body move as one. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. 陈 氏 太 极 拳 推 手 技 法 Fig. In this move. both her hands follow the body and turn right to execute Lü (roll back) on the right side of Player A’s right arm until her left hand reaches the mid-line of her body. 王 西 安 233 . Player A moves his weight first to the left and lifts his right foot quickly to step forward.6 Posture 6 Player A shifts his weight back to the left leg after pushing. then her foot gradually steps on the ground fully.
7. While this happens. then takes a step forward with her right foot. Both players look to the side at each other. palm out. B steps forward in synch with A’s guiding hand.24 8. turns his body slightly left and shifts his weight slightly leftward. then pushes Player B’s right hand first down then left using the pressing power of his left hand. shifting her weight gradually rightward. Player B wards off slowly outwards with both hands in Shun reeling. so as to form Peng and Lü with both of his hands. Player B relaxes her left crotch. Simultaneously. B also places her left hand on the middle of her right upper arm.7 Posture 7 王 西 安 234 Player A relaxes his left crotch.陈 氏 太 极 拳 推 手 技 法 At the same time. to form Ji (press) power with her right arm. 8. Both players look diagonally to the front. Fig. Player A places his left hand on B’s right upper arm. shifts her weight leftward. . and steps within A’s left leg so that their two knees connect. In response.
then raises her left hand in an upward Peng on A’s left hand. then switches her left hand instantly from Peng to Lü.26 235 . At the same time.7.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left.Fig. B also places her right hand on the middle of A’s right upper arm.25 8. Simultaneously. 8. Player B lowers her left shoulder and left elbow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8.
In this instance. she presses Player A’s left hand first down to the front of his lower abdomen. Player A continues to shift his weight forward.27 236 . she presses forward on the middle of A’s right lower arm.陈 氏 太 极 拳 推 手 技 法 As this happens. Both players look diagonally to the front.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. His right hand then comes into contact with B’s right hand. Both B’s hands work together to form an upward pressure pose. 8. both A’s arms form an outward Peng power. then to her left.7. A responds first by flowing downward. then quickly forms a pushing power towards B. Both players look to the sides. then raising his left hand upward onto B’s right upper arm to warding off (Peng). 王 西 安 Fig. At the same time. 8. 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. Then with her left hand.
Player A steps his left foot on the ground. following A’s Lü power. 王 西 安 237 . 陈 氏 太 极 拳 推 手 技 法 Fig. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. In response to 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. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest.10 Posture 10 Both players keep moving and rotating. He moves in Lü until his left hand reaches the mid-line of his body. 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.8. Player B shifts her weight first to the left.28 Notes: Player B’s upper and lower body should follow each other when pushing forward.7. Both players should defend and stick to defend their own territory. 8. relaxes his left crotch.
as well as an accomplishment of one cycle of Peng. her two hands forming a Lü posture. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. one full cycle consists of one step forward and one step backward. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg.7.陈 氏 太 极 拳 推 手 技 法 8. 王 西 安 238 . 8. Simultaneously. Both their knees connect. The rotating methods are the same as those on Figures 8.28. foot gradually steps fully on the ground. As B shifts her weight backward.11 Posture 11 After pushing forward. Finally.27. and 8. Lü. B places her left hand on the middle of A’s right upper arm. At the same time. her right hand changes to Ni reeling to force Player A to step back. both players return to their original positions. A relaxes his left crotch.26. shifts his weight leftward. for both of the two players. Ji and An. Player B shifts her weight backward to her left leg. and are ready to start a new cycle. tiptoe first. 8. At the same time. Player A places his left hand on the middle of his right upper arm. palm out. Both playesr look diagonally to the front. You may have found that.25. to form a Ji power with his right arm.
8 pair pracTice in da lü TuishOu (large scale lü TuishOu) Da Lü Tuishou pair practice is the fourth technique of of Chen-style Taiji Tuishou. which is aimed at reinforcing your lower body stance and leg power in this technique. Bie. In this low body movement. which is Cai. you should combine Si Zheng Shou practice with Si Yu Shou.8. The practice of Da Lü movements is very important in learning how to apply low body movements in combat without impacting on other combat movements or losing agility and flexibility. Zhou and Kao.29 王 西 安 239 . 陈 氏 太 极 拳 推 手 技 法 Fig. and is based on Shun Bu Tuishou. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. 8. This technique consists of larger scale body movement.
Shuan means to put an arm across the chest like a locked door bolt to protect against attack. nor the location of your body weight. With this method. In Da Sao.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. Bi Ya (push and press) and so on. push and press against the opponent to force them into a defensive mode. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. can you win consistently. left and right. Only this way. If you choose not to attack under some circumstances. or power direction. try to feel the Gongfu level gap between you and your opponent by listening. use your elbow or Kao (shoulder strike) to attack when you find a weak point. During combat. Sao means to sweep or clear away. From this position.陈 氏 太 极 拳 推 手 技 法 8. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. the opponent cannot discern your target. reel them in Shun and Ni directions. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). up and down. so as to transform the opponent’s power. Gun Shuan (roll and seize). Instead of sweeping the arms horizontally. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). 王 西 安 240 . depending on the circumstances. Gun Shuan is an extension of Da Sao.
For example. there are no restrictions in the application during practical body combat. This is an example of the Die Fa. Actually. Your Dian Bu should be light. Apply Ti (lift) and Long (holding close) unpredictably and precisely.30 陈 氏 太 极 拳 推 手 技 法 Fig. if the opponent retreats one step. 8. agile and swift. Fig. Your footwork should be based on the speed.31 王 西 安 241 . direction and angle of changes.Your footwork should be coordinated with your handwork. 8. flexible. you can advance two or three steps to gain a territorial advantage. Combine the power of both your hands so that they become one indivisible power. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. which you think harmful to your opponent. These are the main methods and purpose of Luan Cai Hua pair practice.32 Fig. 8. coordinated with Shang Long Xia Ti. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward).
through Taiji forms and postures. Yang. . and offered new ways of understanding humans as a microcosmic blueprint of the Universe.Other books by INBI World: OLEG TCHERNE philosophy of Taiji The philosophy of Taiji was developed in China at the height of the Daoist era between 700 bc to 200 ad. Taiji Philosophy is most easily expressed and understood through the use of body language. For this reason. our world and the human body through the interactions. According to this philosophy. Earth or Human realms. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. of two fundamental forces: Yin and Yang. Sun and Wu Styles. At its foundation. much of the theory in this book is based on the guidelines written by Yang Chengfu. the philosophy of Taiji attempts to explain the workings of the universe. one of the pre-eminent representatives of Yang Taiji family. opposing and complementary. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. that is. While the Taiji form has undergone many changes through the ages. culminating in the modern-day Chen. 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.
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. including his meticulous inscriptions for over 400 illustrations. 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.com .inbiworld. this tome was intended by its author to be both the first ever written repository of Taiji lore. and a referential resource for Taiji instructors and practitioners for generations to follow.
Q. www. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. founder of the Yang style. Q. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. How is the project being funded? A. Henan Province. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. Who was Chen Changxing? A. Q. What is the Chen Changxing - Chen Village Restoration Project? A. How do I purchase calligraphy or make a contribution A. Wenxian.chenxiaowang. 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.com .Chen Village Restoration Project • Q. China. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village.
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