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王 西 安
Chen Family Taijiquan Tuishou
Chenjiagou Wenxian County Henan, China
陈 氏 太 极 拳 推 手 技 法
Published by INBI Matrix Pty Ltd po box 775, Maroubra 2035 NSW Australia English Edition © 2009 INBI Matrix Pty Ltd Copyright © 1998 Wang Xi’an
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retreival system, without permissing in writing from the publisher.
First edition, 2009 Printed in China
王 西 安
Project management & design: Roman Mukhortikov Editors: Juliana Ngiam, Tom Watson Translation: Zhang Yanping
ISBN-13: 978-1-87693-500-6 ISBN-10: 1-87693-500-6
Thoughts on Taiji
Ever since it came into being, Taiji has been passed down from generation to generation. Foremost among many historic figures, was Chen Zhaopi (1893-1972), who stands out for his determination to train young successors. Thus, today we witness a substantial and energetic development of Taiji in the Chen Village, from where its reputation has spread worldwide, inspiring both young and old in the practice of Taiji. Chen Zhaopi was passionate in sharing his heritage and knowledge. My only regret is that I failed to be more focused and to practice more diligently. As a successor of the Chen family heritage, I have undertaken to continue his legacy by writing this book, but despite all best attempts, I struggle to reveal all the subtleties in this vast body of knowledge. I sit with a lonely lamp, recalling the past and sigh to the sky.
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法 王 西 安 vi .
I look forward to Master Wang’s future works with great enthusiasm. Indeed. newly written by Master Wang Xian. belongs not only to China but to the rest of the world. indubitably a result of the efforts of Taiji followers in both countries. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. In the spirit of Taiji’s original meaning. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. Atsuko Noguchi January 1998. an impressive feat of concentration and energy considering Master Wang’s teaching workload. as an expression of the profound spirit inherent in all human beings. we believe that Taiji. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. ‘to exist everywhere. Tokyo. 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. One of the finished manuscripts resulted in this book. to consist of everything’. is to be published. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii .Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. More than ever.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
................................... Step by Step .....................................................72 6.......................................40 3................................................................................................................................................................ 2....... Misleading and Transforming Techniques ................................................................ Elbow Practice .........................34 10....63 5................... Leg Practice ..............................................................................................4 The Core of Tuishou ........16 2...........................................29 8................................................................................. The Relationship Between Three Stages of Taijiquan Practice and Tuishou ............ Feet Practice .35 Chapter Three: Single Form Practice 1..........................................................31 9..................... Na (Seizing) Techniques .................................. Zhan Nian Techniques...21 4... Fist Practice ............................................97 8............................................23 5..................................................................................................10 5... Ti (Raising) Energy .....................................................25 6............. Reeling Silk ...................Table of Contents Chapter One: Introduction 1.... Tuishou: the Only Criterion to Judge the Gongfu of Taiji................................................................................... Dongjin – Realization of Energy ...................... Introduction ........................................................................................................................ Opening and Closing ...........13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1.......................26 7............. Jietuo (Escape) Practices..................................... Energy Explosion ....117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix .....................55 4..............................18 3.................. Na (Seizing) Practices .............................................................................. 3................................................................................................... 4...................... Kao (Push) Practices......................... The Origin of Taijiquan Tuishou ..........................................................38 2.........................................105 9.............. Palm Practice ..................................................3 Tuishou Practice – Going Inward............................................................. Listening to Energy ....................................... Lian Sui Energies .............84 7..............
......................................................................................................................... Pair Practice in Shun Bu Tuishou................................................................154 Chapter Five: Practice for the Buttocks and Crotch .......................................................................................... Hand Techniques in Tuishou Reeling............................................................................................................................................142 5......197 6..........................146 6..............179 5.200 7............................................................................................218 4. Chan Si Zhuang (Reeling Silk Posture) ........... He Bu-Tuishou . Single-hand Horizontal Wan Hua in Pair Practice ................................................. Solo Wan Hua ............... Hunyuan Zhuang (Circle Posture) .........................................................230 8.......................................................................................................................239 9........................................... Solo Danren Da Lü Tuishou .......................................... Tuishou Steps ........................................224 6...... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ......................227 7........................... San Ti Shi (Three Postures).175 4........................ Wu Ji Zhuang (Wu Ji Posture)................................................................................................... Classifications of Tuishou ........................................ Shuang Shou Ping Yuanwan Hua ....................220 5.......................................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1......187 3..................... Solo Double-hand Wan Hua in a Vertical Circle ............ Introduction ........................214 2.................... Solo Ping Yuanwan Hua ................ Solo Luan Cai Hua Tuishou .. Shun Bu Tuishou ...168 2................................................................................ 157 Chapter Six: Chen Style Taiji Tuishou Categories 1......... 215 3.............. 183 Chapter Seven: Solo Practice in Tuishou 1......................................209 9...................... Introduction ..................................... Shuang Shou Li Yuan Wan Hua.......................203 8.................... 138 4........... Tuishou Footwork Techniques............ Pair Practice in Luan Cai Hua Tuishou..............210 Chapter Eight: Pair Practice in Tuisho 1... Introduction ............. Solo Tuishou With Static Footwork ..................................... Pair Practice in Da Lü Tuishou ......................................171 3.............132 2..240 王 西 安 x ..............................193 4................................... Kai He Zhuang (Opening and Closing Zhuang) ........................195 5............................. Tuishou Handwork Techniques ..186 2............................ Solo Double-hand Flat Circle Wan Hua ..149 7...... Single-hand Vertical Circle Wan Hua in Pair Practice ........................................... 133 3...........................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. China. originally known as Jieshou or Dashou. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . it helps maintain fitness. and will continue to do so in years to come. was the creator of Taijiquan and 9th generation head of the Chen Family. Wenxian County. Chen Wangting. As a combat techniqiue.1. Henan Province. as well as the principles of Yin and Yang. location or access to equipment. catching. the ‘Book of Changes’). Chen Wangting. agility and flexibility. According to the book. As it is not stressful to the body. Its creator. With the accelerated pace of modern life. reducing illness and prolonging a healthy life.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. (also known as Zouting) was a famous martial arts master. transforming. he drew on the theories of the Yijing (I Ching. In doing so. it helps build health and defence as well as to develop a sensitivity to movement. ‘The Family Tree of Chen’. and he was recognized as the creator of Chen Family boxing. sword and stick routines. in the period between the Ming and Qing Dynasty. gender. Tuishou. Taiji Tuishou practice is not restricted by a practitioner’s age. is a practical combat technique based on grabbing. throwing and striking.
your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. throwing. 王 西 安 4 . be relaxed. and what it consists of. or appreciate the interplay of the slow/quick. transformation is the basis. and striking. sTep-by-sTep To practice Tuishou. pacing your learning step-bystep. Become familiar with the single hand horizontal and vertical practice. and do not disconnect or oppose your partner’s energy. from the realization of Jin. A Taijiquan proverb pertains also to Tuishou. Less well known is Tuishou’s other application as a technique for internal transformation. You will not realize inner transformation. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. you will be able to release explosive energy to both small and large targets. enabling you to throw opponents meters away without hurting them.2 TuishOu pracTice – gOing inward. Follow the circling movements with the whole body. intuitive and subconscious. Initially. so much that you will be able to apply combat techniques. such as grasping. to the Deity’. listen to each other’s energy flow. Literally. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. Tuishou practice should be soft and modest. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. As you reach the level of adept. you must know its significance. Tuishou translates as ‘push hands’. With sustained practice over a period of time.陈 氏 太 极 拳 推 手 技 法 1. ‘From the familiarity of forms. nor will you be able to intuit your opponent’s energetic intention. to the realization of Jin. principles. Relaxation is fundamental. that is. followed by the double hand horizontal and vertical practice. hard/ soft. an athletic activity based on mutual pushing. with greater efficacy and subtlety. catching.
mind and spirit with determination. force and speed in your actions. combining your heart. To cultivate ‘inner listening’. you will ultimately enhance your health and combat techniques. In solo practice. Practice makes perfect. imagine a partner practicing or competing with you. be calm and concentrated in your demeanour.Remember that ‘inner listening’ is the one essential skill required to improve your technique. As long as you practice persistently and make progress. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . Skill arises from consistent and accumulated practice. your intention and commitment must be deeply held. but never practice just in order to practice.
attacks or retreats. adhere. You will learn to follow your partner’s intention and forget your own. speed. it will enable you to feel. Movements alternate freely between Gang (hard) and Rou (soft). opening or closing. while its theoretical basis builds on the philosophies of Yin and Yang. with the lightest of touches. which are also the essential elements of Taiji. At a more advanced stage. Kuai (quick) and Man (slow). you will develop the capacity to subconsciously anticipate quick or slow changes. When you can control these energies within yourself. actions to the left or right. gathering or exploding. Nian.陈 氏 太 极 拳 推 手 技 法 1. Tuishou practice is based on thirteen ‘forms’ or energies. Qing (light) and Zhong (heavy).3 The cOre Of TuishOu The core of Tuishou consists of Zhan. your partner’s weight. and so on. upward or downward movements. Sui (stick. . distance and direction of energy. follow) and Chansi Jin (Reeling Silk). The thirteen forms are: • Ward off • Roll back • Press • Push • Pull down • Split • Elbow strike • Shoulder strike • Advance forward • Retreate back • Look backward • Gaze forward • Central equilibrium Peng Lü Ji An Cai Lie Zhou Kao Jin Tui Gu Pan Ding 王 西 安 6 Tuishou flows seamlessly between the application and combination of opposites. continue. Lian.
concentrate on one direction at a time. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. ‘if the opponent does not move. Like a balloon whose air has been exhausted. 王 西 安 7 . Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. 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’. When releasing explosive energy. it is the force of friction that enables you to hold and seize their arms etc. expansion. be calm and relaxed To release bursts of energy effectively. this energy refills automatically to its original ‘full’ state. or other deformation. don’t move’. ‘if the opponent moves slightly. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. ‘follow slow attacks unhurriedly’. Attack the opponent’s centre of gravity Use techniques such as ‘control a stronger opponent with weak force’ and ‘defeat weak points with a stronger force’. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. move before they do’ etc. stretching.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy).
I follow my partner. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. no matter how hard they press. results in the shaking off of the opponent’s upper body and lifting of their lower body. I perform strictly to the principles so as to make me unassailable. also states: “No one knows when I gather or stretch. push or strike. utilizing the techniques of Kao. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. The canon of Taiji teachings is rich with such sayings. I always follow their intention. Even if attacked by a monster.” This technique.” Chen Changxing. I can conquer a force of a thousand jin with a tiny force of four Liang. push or strike your opponent you do so without alerting them in order to capture their energy. Using this. the 14th generation master.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. 王 西 安 8 . Similarly. whether ascending or descending. 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). and is worth remembering. none of your opponents can defeat you. whether they strike or twist.
One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. requiring us to further our exploration and improve our practice of it. Only one with five Yin and five Yang is called adept. One with four Yin and six Yang is among the group of the adepts.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. As a science. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . In order to inherit and develop this Chinese cultural heritage. Here. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. 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.
Zhong Quan (medium circle) At this stage. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. The three stages of Taijiquan are: 1. 2. with fuller details available in Chapter Two of my book. 2. still regarded hard’ turns into ‘fouryin six-yang.4 The relaTiOnship beTween The Three sTages Of Taijiquan pracTice and TuishOu A brief description of the three stages of Taijiquan practice will be provided here. one comes into the group of the adepts’. ‘three-yin seven-yang. as stiff as a stick’ evolves to ‘two-yin eight-yang. . Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang.陈 氏 太 极 拳 推 手 技 法 1. ‘Chen Style Taiji Laojia’ (Old Routine). 3. Zhao Shu (familiarity with the forms) Outer form drives Qi. is San Shou’. Correspondingly. Dong Jin (realizing the inner energy) Qi drives outer form. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1.
we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). an adept may say. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). along with the Tuishou practice of Zhong Quan (medium circle). random alternations between states of energy gathering and releasing within a relaxed and elastic body. enjoy a feeling of lightness. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. that is. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . and be able to achieve constant internal changes between Xu and Shi (void and solid). the complete fusion of external form and internal spirit. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. at the first stage. Note that ‘no circle’ denotes a state of subtlety and skilfulness. that is. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. and does not mean total stillness. At the third stage of Shenming (deity). students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. medium and small circles. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). That is to say. one is regarded as a Deity’. along with the Tuishou practice of Da Quan (big circle).3. as well as the combination of the respective techniques applied in the big. possess abundant internal energy. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). all parts of the body become as highly sensitized as finger tips so that when competing. At the second stage of Dong Jin (realization of energy). We must pay attention to different methods during different stages of practice. By this stage. Following a correct program of practice as outlined above. in addition to a diligent assimilation of knowledge.
Also known as ‘Five-Yin Five-Yang’. if you don’t make efforts to go forward. even though I don’t know how I do it’. as our ancestors tell us.” 王 西 安 12 . This is not unattainable. you surely go backwards. “Taiji practice is like rowing in the river. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void).陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent.
In other words.1. Ding meaning ‘stiff resistance’). 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. It is this dynamic that we need to explore during practice. meaning ‘loss of energy’. These reflexes are faster than thought and only come with constant practice. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. Without the latter.e. Hence. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured.5 TuishOu. Skilled practitioners rely on a highly developed sense of touch. However. Remember too where your weight is placed to maintain control of your centre of gravity. Nevertheless. no techniques can be executed. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . When forces are equally matched during competition. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. 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. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. nor is it just a matter of pitting one’s physical force against others. Tuishou develops one’s sensitivity to others. hence it is essentially a competitive activity. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. the stronger force) also can defeat the weaker force. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. softness can break through hard. ‘thousands of Jin’ (i. This is called. The Only criTeriOn TO judge The gOngfu Of Taiji Not only is Tuishou a reliable test of one’s level in any martial art form. tough energy. ‘Weak side strikes strong side. It simply requires practitioners to have sufficient physical force for competition. While appearing deceptively easy. four Liang defeats thousands of Jin’.
陈 氏 太 极 拳 推 手 技 法 王 西 安 14 .
CHAPTER TWO: inTeRpReTaTions on The Ten FoRCes oF Taiji 陈 氏 太 极 拳 推 手 技 法 王 西 安 15 .
the skin. her body light and flexible. Listening can be divided into three areas: listening with the bones. her changes in rotation. Hence the saying.’ 王 西 安 16 . feel your partner’s movements. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin.1 lisTening TO energy In the context of Taiji and Tuishou. and a highly-tuned awareness of sensations in the heart and nerves as well. ‘Without being known. follow) as fundamentals. alluding not only to listening with the ears. During Tuishou sparring. allowing both body and mind to enter into the level of deity and transformation. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. squeeze and press. One’s skin is the key weapon. with the skin and with the fine hairs on the body surface. With your skin. a rise or fall in height or changes in weight. Similarly. a practioner’s body can react instantly with great accuracy and flexibility. What is listening with the bones? It is the ability to anticipate an attack by listening through the skin and responding swiftly to an opponent’s attempt to seize. when an opponent touches one’s fine body hairs. At this stage. but also with the eyes. the act of ‘listening’ has profound resonances. and taking Zhan Nian Lian Sui (stick. I know others and sweep all enemies aside. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). no matter if the changes are in the opponent’s rotation. The entire body surface of a high level practioner is highly sensitive. filled with abundant internal Qi. position and magnitude. continue. sensing through the skin enables reaction in any manner within the rules. one’s force is injected into the marrow. What is listening with the skin? It means following the command of the heart and mind. On receiving these signals. adhere.陈 氏 太 极 拳 推 手 技 法 2.
Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. While the majority of practitioners are able to listen with the bones. rising to the upper body. that is why it destroys the strongest of enemies”. defending and attacking blindly. Just as a deaf person is unable to comprehend a conversation as he cannot hear. Your reactions will become slow. In all this. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. leading only to failure. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. blood and breath. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . emptiness. Only through accumulated practice can one’s sensations detect the smallest changes. where every knot of one’s body opens and stretches without crude force. listen without hearing. Without this preparation.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. very few achieve the ability to listen with the skin. which is essential for constant adjustments to frequently changing circumstances. “The most super-human strategy is formless and soundless. special attention should be paid to ‘the intervals of fastness and slowness’. opening and closing (快、慢、沉、稳、虚、实、 开、合). until it is too late to repel danger. your judgement confused. You will look without seeing. let alone the attainment of energy for combat. calm. ‘descending Qi and steady steps’. listening would be impossible. your listening untrue. ‘clear manifestation of emptiness and solidness’. solidity. so a practioner cannot generate energy for sparring if he or she is unable to listen. How good it would be to attain this level. you fight back. Failure to do so will cause one’s energy to remain stuck in the chest. Listening is essential to Tuishou. As Sunzi Bingfa says. descending. Nervously. making all one’s muscles stiff. slow.
Fa (引yin – lead. Without ‘hearing’ the energy of one’s partner. Na. Even for those who achieve this skill. Shi (tight). While beginners may find this difficult to achieve. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Meng (sudden). Peng. transform. Ling (pressing). Shan (dodge or flash). 王 西 安 18 . Ke (knock). length. Di (resist) and Gun (roll). Zhi (straight). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). 发fa – explode) at the appropriate opportunity. Ting (stick out). new challenges such as ‘being too fond of competing’. 拿na – capture. An (press). Hun (mix up). Dang (block off ). Tui (push). magnitude and hitting point. Lou (hold). Realizing energy is based on listening. “faulty palms” or “faulty body”. Pai (squeeze out). hardness and softness. you cannot realize it. that is. It is the ability to note present or potential changes in emptiness and solidity. We call such shortcomings. Ying (stiff ). Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. Ba (seize by force). direction. Zhe (hide). Be warned that mistakes will occur on this learning path. Qi (insult). Li (leave). await them. Zhuan (cheat). Teng (jump). Gua (hang on). Qin (intrude).陈 氏 太 极 拳 推 手 技 法 2. this skill may eventually be attained with diligent practice and a good teacher. Failure to overcome these shortcomings would be to fail to realize energy. Gou (hook). speed. vertical axis and flexibility. You may find yourself being too stiff (Jiang). Zhan (chop). Jia (stiff ). Bo (move with hand). Ba (pull out). you cannot note any of the above changes in the oponent. the ability to circle and the principles of Zhan Nian Lian Sui. your posture too straight (Zhi). Ya (push down). Hua. 化hua – change. Duo (escape). your energy too resistant (Ding) or being lost unnecessarily (Diu). Cuo (rub). straightness and curvature. Ji (hit).
The practice for ‘realizing energy’ also tests one’s position. As Chen Changxing. angle. with Taijiquan. striking. Hence. the Tuishou practitioner must aim to apply these techniques (seizing. rather than use them as disparate forces to enhance one’s attacking prowess. transforming. Sanda can simply be taken as a higher evolution of Tuishou. falling. Lü. Ultimately. Lie. utilizing the techniques of Kao in spiralling. Ji. In fact. but also in the combat arts and and Sanda (free sparring). Zhou and Kao). Cai. 14th generation Taiji master from the Chen family. grasping. Whilst all Chinese martial arts possess unique characteristics. and also in one’s facilitiy with the eight energies or techniques (Peng. Sanda complies with basic Tuishou principles. When attacking. An. Tuishou is the combat application of Zhan Nian Lian Sui. these eight techniques form the method for Tuishou. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . dodging. I always keep remembering to follow their intention. no matter if they use the technique of Kao or twist. look around and maintain an upright axis during Tuishou practice. In effect. says in a verse from his book. twisting. they share the common practice of ‘realizing energy’. I follow my partner. 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. the poplular stereotype of Taijiquan as a non-combat. which is used not only in Tuishou. ultimately. Concordant with the adage that ‘external forms are the method and the pathway’. hence its continuing ties with Tuishou and. Whilst acknowledged as a combat technique in its own right. and shares many common principles with Sanda (free sparring). changing one’s centre of gravity and flexibility) in synchronous movements. ‘The Taijiquan Formula’: No one knows when I gather or stretch. developed from further transformations of Tuishou routines. relaxation and health practice for the old and infirm. is misleading and does not take into account its fundamental role across the Chinese martial arts. jumping. form and quality of Tuishou.
The author stressed the importance of ‘follow’. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. ‘listening and realizing energy’. The attacks from me by twisting. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . strike. that is. As mentioned. to the realization of energy. leading to a wider understanding of the profound benefits and applications of Taijiquan. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. Again. fourth and fifth sentences refer to the application of Taiji Sanshou. With the development of modern weapons. The second sentence of the verse means to follow the other partner’s intention while circling them. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. press and hold back. that is. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. step by step. the Chinese martial arts have evolved into health and fitness promoting practices. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. we can clearly see that in all movements. Everyone knows how to hook.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. push or press. and horizontal Cai are also irresistible. until I come to the level of Deity”. to act naturally and follow one’s intention. adaptable to both Tuishou and Sanshou. this verse confirms Taijiquan as a profoundly practical Martial Art. ward off. “From the familiarity of forms. Chen Xin once said. Li. Hence. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. The third. In addition to applying Master Chen Changxing’s advice. Indeed. to forget about one’s own intentions and follow the opponent’s.
“Form practice is the essence of Zhan Nian training. At this point. Only with the awareness of both oneself and others can others be conquered. and come to realize the laws of movement and force. so that he finds it hard to escape. magnitude.” Zhan literally means ‘stickiness’. Nian means to chase and follow one’s opponent. Zhan Nian energies work as a pair. Tuishou practice cultivates the capacity to know others. this results in a deeper and more precise understanding of energy. with which one’s opponent will find difficult to escape. This is why it is said. extent. direction and the position of a partner’s energy flow. This ability comes through great patients and a life-long perseverance of effort through the three stages.3 zhan nian Techniques Zhan & Nian are forces directed forward.effectively. the adhesive force that allows a practitioner to become strongly attached. on reaching the final stage of ‘deity’. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. A practitioner. will be able to instantly sense the delicate changes in the movement. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . Through reeling-silk practice. and its natural and intuitive use. capturing and transforming his energy and using it to attack at the first opportunity. the first being ‘familiarity with form’ and the last being ‘realizing deity’. It is commonly used in attacking strategies. Conversely. while Tuishou exposes the quality of Zhan Nian techniques. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. Whilst it is said that form practice cultivates a capacity to know oneself. that is. Ultimately. to one’s opponent. 2. in this way maintaining the upper hand at all times. like glue. Zhan Nian techniques develop one’s capacity for high precision. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice.
the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. especially those who. Once the whole body is enveloped. Zhan Nian energies can be detected by sensations that start at the palms. as indicated by these teachings: ‘Follow my partner’s intention.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). ‘I win by striking after the enemy has struck (My fist starts late. It is Zhan energy that envelops the body. Simultaneously. 王 西 安 22 . Not an easy task for ordinary practitioners. beginners find Zhan Nian energy difficult to comprehend let alone detect. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. When Zhan Nian techniques are applied. and forget my own’. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. one can never accomplish quality ‘chasing’ (Nian). an internal energy manifesting externally. but even many long-term practitioners find total understanding or realization elusive. the practitioner can exert Zhan Nian forces towards the opponent. have failed to attain high proficiency in the art. 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. slow reactions to slow attacks’. Ultimately. and then through the entire body. flow up the arms to the shoulders and back. ‘Fast reactions to fast attacks. yet arrives at the hitting point earlier than the opponent)’. but certainly achievable for diligent practitioners with good teachers. Understandably. ‘I move before them on feeling their slightest motion’. victory or defeat is decided in an instant. During Tuishou. these techniques will lead the opponent into faulty moves. continuous and diligent practice. as reflected in their stiff bodies and tense. despite prolonged practice. and so on. This is why it is said that at this relatively high level. ‘I don’t move if they don’t move’. inflexible muscles and joints.
Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. Lian is dependent on one’s use of Zhan. In so doing. Sui. including consistency. how can Sui be achieved? Sui technique means to react. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. no resistance). adhesiveness. non-forcing. the opponent cannot escape because if one follows closely using Zhan Nian. that is.2. so that ‘as one falls. emerges from the application of Lian. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. another rises’. Lian has a rich amalgam of meanings. fast reactions to fast attacks. follow and move in the same direction as one’s opponent. slow reactions to slow attacks. Unless one follow’s the opponent with Lian (co-relation). Used in concert with Zhan Nian energies. and no chance to escape. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. Once palms come in contact. one observes and reacts to the opponent’s Zhan Nian techniques. ‘Bu Diu Bu Ding’ (no loss of energy. non-pressing. taking any opportunity to attack. Without Zhan’s adhesive force over the partner preventing escape.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. moving effortlessly between quick/slow and forward/ backward movements. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. there can be no Lian. It can be summarized as ‘co-relating to the opponent’. ‘to react while following’. can we execute Yin Jin Luo Kong efficiently. continuity. and can only exist in the presence of the latter.
Beginners may attain the preliminary stage of Lian Sui. Adepts. upper and lower coordinate any motion in the middle. 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. the basic ability to follow the opponent’s movements.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. following their energy flow without interruption. on the other hand. whether through form practice or Tuishou”.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. so that they can ascertain if their energy levels match the purpose and intention of their actions. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. successfully use Lian and Sui to attack and prevent escape. 王 西 安 24 . without any break in flexibility or continuity. It is vital that beginners are able to feel the movement of internal energy inside their bodies. Lian and Sui can never function without the other. therefore it is advisable to practice the combined application of both. As the teaching says. “The lower body automatically follows any motions of the upper body.
As Chen Xin explains. When we feel the changes in our opponent’s energy flow. Use these principles whether you are going backward or forward. using our arms. knees. the adept draws the opponent into his or her domain. Yin is the ability to draw the opponent’s energy into one’s control.2.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. then gradually upwards. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). turning left or right. Hua is the transformative force. we then use our shoulders. neutralizing any opportunity for attack. hands. A particularly effective combination is Luo Kong. Note that while applying Yin and Hua forces. I lower my body then stretch my right foot toward his or her crotch. or feet to upset their centre of gravity. reeling my back inward before suddenly striking outward. When applying Yin. While moving. legs and so on”. we should apply She Ji Cong Ren without being detected. going up or down. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . elbows. palms. Using these complementary techniques. 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. Once neutralized. hence ‘misleading’ and transforming the opponent’s energy. so as to mislead my partner’s energy and upset their centre of gravity. if my partner presses my right arm with their palms. For instance. and in this way mislead and neutralize your opponent’s energy. using Lian Sui to follow their energy flow. one should avoid Diu and Ding (losing energy and resistance). hips. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). I apply Shun reeling downwards. and cannot exist without Yin first being applied. Literally meaning ‘to draw’ or ‘to lead’.
sweep. It is important to remember that one must gather energy well before misleading one’s opponent. Opponents will feel as if their tendons and bones are about to break. they are conquered. shock. explode energy as if releasing the arrow”. When I attack.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. look one way and go another”.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. That is to say. I know my partner without being known. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. depending on circumstances. one must cultivate the forces of Yin. elbows. Any hard fan guanjie (joint twisting. Hua and Xu (gathering). destabilizing their centre of gravity and transforming their energy in order to conquer them. using all these techniques to mislead my opponent. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. my Taiji harmony within emerges so that even ghosts fail to predict my next move. touch. I “roll over.e. Instead. In Tuishou and San Shou. However. tie up. that of Taijiquan is accepted as the most refined. 2. and hence the harder the opponent falls. i. the further one’s arrow flies. so as to accumulate and release energy effectively. In this way. “gather energy as if pulling on the bow. rotate an opponent’s joint towards its unnatural direction. dodge. meaning the direction which hurts the natural structure of joint. just as one should attack forcefully without hesitation. he or she can easily capture his opponent through the combined use of all . wrists or hands to inhibit their rotation or movement. As Chen Changxing advises. and their pain penetrates right to the marrow. As Chen Xin suggests. hence rendering them helpless. the more one stretches the bow.
so that I can strike them cleanly and successfully. Shuai (throw). If he or she succeeds in escaping. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . techniques such as Zhan Nian Lian Sui. transforming and striking. To apply Na effectively. With the combined application of seizing. in order to strike well. If you fail to attack lightly and skilfully and your intentions are detected. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. a Tuishou practitioner can exert the invincible might of Taiji. Indeed. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. Hua (transforming) are all preconditions for striking (Da). you still have the opportunity to move in quickly and seize them by their palms before they move away.their gathered forces. ‘is called the “best of the best”’. The seizing technique in Tuishou is very important. ‘Only this. Na (seizing). There is a saying. I utilize Na to prevent my partner from escaping or from transforming their energy. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. Zhua (grabbing). flexibility and skilfulness). you must react quickly and flexibly to any changes in your opponent. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. This is why it is said that Na is the pre-condition of Da. Tuishou accentuates Taijiquan’s martial power. applying the energy smoothly and judiciously without over-exertion. ‘Na (seize) always goes with Da (strike). In Tuishou. agile. you need to seize first’. thus reaching their goal.’ as Sun Zi Bing Fa says. throwing. agility. so that I may capture my opponent without hesitation or detection. This is called ‘dual-utilization of seizing and gathering’. These recovery measures also depend on a light. When utilizing Na. I move using the principles of Qing Ling Huo Qiao (lightness.
and your ribs. the targets for both being the arms. making sure your hitting points are clearly defined.’ 王 西 安 28 . both palms covering his right wrist.陈 氏 太 极 拳 推 手 技 法 When applying Na. chest. During practice. Next. especially amongst beginners. seize him then guide his pressing force into your territory using Lü energy. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. whether you exert Na by the co-ordination of your hand and chest or with your ribs. stomach and the protruding and concaved parts of the shoulders. you have no option but to relax your joints. your centre of gravity destabilized and you will find it difficult to protect yourself. If Qi ascends. twist his right arm inward with your left hand. When relaxed. By relaxing. Using this will overcome the opponent without fail. Miscalculations often result in injuries. Exert your energy first lightly then with force. In peace every part of my body moves at the time of movement’. include controlling one’s speed and magnitude of attack. Na technique works together with Cai technique. your chest rolls inward naturally. your root will become unsteady. If you fail to Peng (ward off ) your opponent adequately. and all parts in a gathering motion. if you want to seize your opponent. Then strike directly forward in a spiral and hit your target accurately. stomach and legs. remember to maintain a relaxed state by lowering your whole body. in which case. with no part tense. use the Na technique carefully to avoid hurting your sparring partner. ‘Never be rude and rash when you begin to practice Na. How then can you hope to seize another? Indeed. just as it is stated. he will be able to press forward. hence it is advisable to heed the teaching. and sensing the amount of force the partner’s joints can withstand. application of appropriate angles and techniques. Common problems. ‘No part of my body is not peaceful. Na is the synchronous manifestation of the internal and external. shoulders and crotch all gather downward in concert. Never let Qi float upward and never let your feet lose their roots. releasing your force like bullets rushing out of a gun. every part of your body works in harmonious cooperation.
every part of the body is engaged in the action of opening and closing. In all Tuishou and Taiji movements. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. Sanda and form practice. This is an important concept which bears deeper contemplation. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. Mengzi. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . As Chen Xin says. Remember – to attack your target with agility and flexibility requires long accumulated practice. Closing (He) means to draw in. are widely used in Tuishou. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. OpeningClosing techniques. transform. preserve. opening and closing illustrate the subtlety of Taijiquan. Even masters of Chinese philosophy – Kungfuzi. gathering versus exploding. one cannot ‘open’ without first being ‘closed’ and vice-versa. relax the shoulders. Inhale from the stomach so that it remains solid. Opening (Kai) means to stretch and reach. Keep every joint relaxed before you exert Na. making sure all movements are steered by the waist.Work on your technique step-by-step: develop a closed crotch.7 Opening and clOsing In the martial arts. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. Gather the ribs. bend and gather. often meaning to ‘guide and attack’ in the martial arts. just as Chen Xin mentioned in his works. As complementary opposites. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. solid stomach and slightly concave chest. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). 2. Indeed.
your intention (Yi). 王 西 安 30 . since Yi (intention) follows wherever Xin (heart) goes. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. muscle energy (Qi). The quality of the effort you put in to closing determines your ability to open with power and effect.’ Only diligent practitioners have the opportunity to experience this phenomenon. that is. swift and powerful. filling you with great vigor. Kai (opening) energy originates in the root of your body. your ‘opening’ explosion will be natural. the rebounding force exerted by the ground can be used to energise any upward movement. In practice.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. sometimes appear before our eyes. The Opening-Closing technique starts from the closed state. every part of your body follows suit. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. pressing the ground with your heels to empty the Yong Quan points. the louder the explosion. Thus positioned. if your energy is gathered and conserved well. Likewise. so that your targets become accurately defined and attacks successful. ‘Opening-Closing. you will find your opening powerless. forceful. these changing motions. As the saying attests. Yi moulds changes in external shape while Jin (force) rises with Qi. grasp the floor with the toes and soles. While standing. Closing not only means to bend and withdraw your upper body. from the soles of the feet. this means that one needs to be closed first before one can open. external shape (Xing) and spirit (Shen). Your heart acts as the guide and leader during energy explosion – when your heart opens. but also to coordinate the heart (Xin). In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. with the qualities of both solidity and emptiness. Without closing well. and sometimes they disappear. you will find that Qi penetrates your whole body more smoothly and powerfully. crude and slow. so that all parts of the body work together.
Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. while being mindful of the adage. your centre of gravity may be lost. then to every corner of the body. roll your chest slightly inward. which then distributes it to the other extremities. then spiral your internal energy up the legs to the waist. After exploding energy.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). Exploding energy at close-range is best as Kai energy. you need to train your muscles in relaxation and gathering.33 cm. flexible and compact enough to mislead and upset your opponent’s centre of gravity. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. and to develop high sensitivity and rapid responses to external stimuli. is limited by its short duration and small coverage which extends only as far as your body. This energy originates from the soles of the feet. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . presenting your partner with opportunities to attack. the whole body returns to a state of softness and relaxation. The explosion should be short. albeit swift and powerful. To master this elastic force. keep your elbows down.As you explode energy. To gather energy of this quality. 2. Beyond this range. spirals up the legs to the waist control-center. or worse still. the energy released unhindered. strikes may not find their mark. or you may find your Kai technique lacking in power and precision. you will need to drop and relax the shoulders. land on the ground on your in-steps. The solution is to make your energy round. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. Practitioners also need to build-up a reasonable level of muscular strength. lower your waist and let Qi flow along the spine.
all these are prerequisites to “destroy something already in a state of ruin”. it is necessary to distinguish clearly the respective functions of internal force and external force. your opponent is vanquished. Gathering. frictional forces. transforming and attacking are closely related. skilfully. in effect. not relying on rigid or crude force. horizontal forces and so on. flexibly and harmoniously. not strength”. To combine the power of the three. but also that of your internal energy and combat strategy. and to explore the interactive relationship between them. However. Without these. counter forces. straight forces. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. one must explode energy smoothly. dissipate or absorb her external force. that you are unable to neutralize. there are also a myriad of other forces which influence our bodies – supporting forces.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. Transforming and gathering are complementary and cannot function without each other. internal forces. and with that outburst. and exploding energy with elastic vibrations. Failure to counter your partner’s force means. The main external force that we humans experience is gravitational force from the earth. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. Your performance in competition depends not only on the quality of your sensitivity. spiral forces. 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. When doing Tuishou exercises. which manifests as our weight. To do this. consistent good performances will not be achievable. you must practice Changjin 王 西 安 32 . abundant internal energy and intense physical and energetic concentration. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. The force that you and your partner exert on each other in Tuishou is external force. utilize. Constant diligence. The external force of both parties affects each’s internal energy flow. though random wins may happen.
陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . “Without striking the partner from a distance of three metres. At the transitional stage between ‘Three-Yin Seven-Yang. despite its ferocity. below which energy flows downward and above which energy flows upward. it is not advisable to exert Changjin (long energy). For example. especially exhaling-inhaling and opening-closing motions. you will find it easier to hit targets more accurately and swiftly. the medium circle practice. Close-range attacks require a high-level of competence. As it is said. instantaneous. elastic or vibrating variations. Good Hands’. and the small or no circle practice. Continue developing these techniques step-by-step until the level of deity is reached. An attack. At this level of Gongfu. and even when elastic cunjin (hitting a target at very close range) is executed. easy conquest of the opponent does not necessarily follow. will find the opponent flung far and wide. Upward energy and downward energy exist in opposition to each other. Only very high-level practitioners may achieve this. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. By mastering the key points of energy explosion. Still Tough’ and ‘Four-Yin Six-Yang. one should not attack at close target. beginners need to do the following: do the big circle practice. imagine a line between the navel and Mingmen. the whole body moves as a synchronized force to follow the slightest movement of intention. as their attacks flow naturally from their heart and intention. To reach this level. quick. even with the slightest touch. leading to very smooth and swift responses. there would be no striking the partner from one inch”. This means that if one finds it difficult to attack from a distance. while downward flowing energy helps maintain a firm and stable root. during Tiaozhou practice (upward strike with elbow). Alternate between these three with slow.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation.
you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. The rising force is difficult to use if forced. and may lead to loss of control. combine your rising force with your elastic force. Remember to maintain full concentration. keeping your axis upright and combine your eyes. When applying Ti. while you keep your intentions and energy flow undetected.陈 氏 太 极 拳 推 手 技 法 2.9 Ti (raising) fOrce Ti means to ‘rise spirally’. never let your partner know your intention before you act. 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. To lift your opponent up with Ti requires the combined effort of legs. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. shadow your opponent with agile steps. powered by upward spiralling energy. The arms and legs work together. Instead. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. and intention into one entity. your opponent’s upper body will shift out of their control. As Qi flows up the spine. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . heart. waist and arms. rotate your Dantian so that your body lifts with greater speed and accuracy. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. 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. This means that no matter what Tuishou techniques you use. Using Zhan Nian Lian Sui. Even if not thrown completely off balance. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. To apply Ti successfully requires the whole body to work in coordination. First. At the same time. then your instant and precise attack can never fail”. Remember to maintain your centre of gravity with the coordination of the other leg. To conquer your opponent. while you maintain a state of relaxation.
tie. their root and they will certainly fall. on the verge of losing their centre of gravity. When this happens. 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. revolving energy which originates internally in the body. Do not try to strike others before you have attained a reasonable level of competence.and power. your attacks will never fail. you will find it easier to follow. you will lose awareness of your physical body and location. reeling outward. The Reeling Silk consists of great varieties: reeling inward. 2. and not even know from whence your power emanates. For beginners. transform and defeat your opponent’s attacking energy. touch or sweep in response to the circumstances and you remain always observant and alert. Adequate practice will naturally lead to success. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . You roll. you will be able to transform energy while striking. go forward or backward. so you feel able to “protect your descendents and kill the rebels”. as it emerges from the feet. until it reaches the fine hairs of the skin. follow the primary principles and develop your skills stepby-step. you will come to sense it with practice. passes through the legs up the spine and arms. reeling to the left or reeling to the right. reeling upward. Though undiscernible initially. your force will reach its target just with intention. Mastering this energy requires much effort and practice. but once attained. Attaining high-level skills will make you braver. You will attack like a flying dragon. mislead. whether you rise or descend. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. walk with such assurance as to shock evil spirits. and manifests externally as it permeates through to the fine hairs on the skin.
Yin (guiding. misleading) always comes with Jin (approaching forward or attacking) and vice versa. and apply opening and closing techniques. reeling horizontally or reeling vertically. Shun reeling (conforming) and Ni reeling (contrary). When being utlilized. all these reeling movements are always comprehensively combined together and closely connected. reeling forward and backward. 王 西 安 36 . collapse the waist and establish a stable centre of gravity in the legs. As for posture. one must avoid being too soft or too tough. The solution lies in the middle path: keep a balance between softness and toughness. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. and thus renders you unable to react properly and to be easily manipulated by the opponent. remember to keep your Zhongqi (energy to keep your axis upright). When using Reeling Silk energy. Be humble and respectful during form practice. excessive toughness makes you get too rigid. While reeling. focusing your energy internally and guiding the flow of your responses from Yin to Yang. remain balanced. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. Keep a firm root. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. quiet and calm.陈 氏 太 极 拳 推 手 技 法 small circles. maintain the interplay between solidness and emptiness. reeling to the front or reeling aside. and so on.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
Kao. Tui (go backward). Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. Erlu explodes In this technique.1. Lie. full relaxation of the joints. Da. if practice is diligent. Faji (attack) effectively under any conditions. Hua (transform) and Na. Cai.1 inTrOducTiOn This is a practical lesson in combat practice. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. It also demands a period of diligent practice to ascend gradually through the primary. To win. and exerting energy too forcefully (Ding) while exploding energy. who is then inevitably conquered. 王 西 安 38 . An. This practice requires a solid foundation in preparatory exercises. goes through the Sanguan (Three Gates). as well as techniques focussing on various target areas of the body. Lü. As we know. so the Single Form Practice and Erlu help to compensate for this disadvantage. This means that Yilu fosters Zhongqi so that. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. you need to execute Jin (go forward). for example. Because Yilu lacks speed and Gang (tough) energy. keeping your energy tracks undetected by the opponent. Shan (dodge). A wide variety of single movements must be practiced repeatedly. Ji. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. Shuai (fall). movements gradually become agile and flexible. relaxed and soft.陈 氏 太 极 拳 推 手 技 法 3. Single Form practice is vital for hand-to-hand Gongfu combat. Ti. Erlu and Single Form practice help to accumulate and strengthen Gang. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. 3. Zhan (battle).1 Yilu cultivates Qi.’ In this way. where ‘Qi spreads to the whole body. Zhou. medium and high-level stages. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Qi will flow around the body to the extremities and skin.
inner meanings of the mysterious art rather than a competition. resulting in loss of vigor and effectiveness. Chen Zhaopi was the undisputed master of 滚Gun (rolling). If prolonged. you don’t. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. hands. the seizing techniques of Eagle Claw King. Single Form practice is of vital importance. back. 搭Da (touch) and 扫Sao (sweep). legs and hips using relevant principles. each have their own unique combat style drawn from continuous tempering in their practice. be they exponents in internal Gongfu or external Gongfu. elbows. Well known examples include the foot techniques of Li Bantian. Though widely differing in style. These clearly advise diligent practice of the shoulders. neglectful practice becomes increasingly difficult to rectify. so that the path to deeper understanding and realization may be paved. ‘You practice. more like a relaxing stretch to enjoy the subtle. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. they always got hit and thrown to the ground. ‘Skills come naturally when you are familiar with forms’. you harvest. He was known to say that he found throwing partners too easy. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. after you practice the form ten thousand times’.Gongfu masters. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). you fail’ and so on. To do otherwise would be to ‘attend to trifles and neglect the essentials’. No matter how steady his partners stood in the beginning of a fight. Hence. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. Lastly. sober movements and his relaxed yet vigorous energy explosions. Significant gains may be attained by practicing the single forms step-by-step. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. 拴Shuan (tie). we have Master Feng Zhiqiang who is venerated for his steady. such as: ‘Profound principles emerge by themselves.
1 . chest rolled slightly inward. horizontally. alternating between both legs: kicking forward. stomach gathered and head suspended from above. With one hip relaxed and the opposite foot slightly touching the ground. trampling. 3.1 Exercise One • • Squat slightly. 王 西 安 40 Fig. face to the front.2. swinging up and down and so on. 3. pedalling forward.2 feeT pracTice Feet practice includes the following movements. upwards and sideways. bend and raise your knee slightly.陈 氏 太 极 拳 推 手 技 法 3.
3.3. • Roll the chest inward and aggregate energy with the whole body. up and down. Descriptions of some of these exercises are provided below. • Kicking smoothly. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. upward and downward swing. pedaling. horizontal.2 41 . sideways. make sure your in-step is stretched moderately tightly. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. feet hanging backward and so on. bend the other leg with toes grasping the ground to maintain a firm centre of gravity.2.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. stepping. collecting the energy at the abdomen. • Relax the feet so energy can reach the toes where it is required.
3. On landing with either foot. they will be able to direct energy explosions to targets with precision and ferocity. 3.3). if you kick with the right leg. 3. for example. use the rebounding force of the earth to bounce up and propel your kick (Fig.4. It should be practiced with both feet so that. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. 3. Beginners should practice slowly.陈 氏 太 极 拳 推 手 技 法 Fig.5). your left foot prepares to kick with the toes or instep as the right foot lands.3 • This technique is applicable to the toes. . At this point. edges of the foot plate and the sole (Fig.
6 43 .4 Fig. 3. 3.Fig. 3.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
usually the opponent’s chin.7 The Upward Kick is used for high targets. . • Switch your centre of gravity to the left foot. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. 3.陈 氏 太 极 拳 推 手 技 法 Fig. The kick should be light. The whole body must be kept balanced and straight when kicking upwards. The Upward Kick should match the rhythm of the hands’ movements. a principle also applicable to the Double Kick (Er Qi Jiao). Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. There is no jumping in the Upward Kick. practice kicking with each foot sequentially. instead. flexible and quick.
3.• Bend the left knee. As your right foot explodes energy stamping downward. feet firmly grasping the ground. exploding energy as quickly and fiercely as you can. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground.8 • • • Then stamp your right foot on the ground. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. 3. all the while rolling the chest slightly inward. but try to keep some weight in the un-weighted side as well. raise the right knee gradually (Fig. cup your right fist and left wrist together in front of the chest. Then empty the Yong Quan point.8). keeping the right foot at the same distance from the left foot as before. 陈 氏 太 极 拳 推 手 技 法 Fig. grasp the ground with the left toes and. standing with left leg. 王 西 安 45 .
The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. 王 西 安 46 . 3.10). In Single Form exercise. The key points here are the same as those for the previous segments. remember to follow instantly and quickly with the other leg. and then withdraws elastically like a rubber band springing back into shape. 3. Kick as high as your opponent’s stomach and chest. practice with the left leg) (Fig. you can practice with the alternation of legs (after praciticing with the right leg for a while. including the alternating use of the legs (Fig.9).陈 氏 太 极 拳 推 手 技 法 Fig.9 Regardless of which leg steps forward first. 3. e) Forward Kick This consists of a straight kick forward with the sole of the foot.
• 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front.12) and the Outward Kick (Fig. Before kicking. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig.13).11). sometimes with the soles. fierce and perfectly targeted.10 Fig. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity. with hitting points mainly on the inside of the foot (with the occasional use of the outside). 3.Fig. 王 西 安 47 . prepare well by relaxing the chest and stomach to ensure your kick is fast.11 Kick mainly with the heels. 3. As you reach a higher level of skill. 3. 3. 3.
12 Fig.13 • The Outward Kick is executed outward and upwardly. the whole body gathers together then opens up with an explosion of energy. while the body becomes straightened when kick is streched). with the hitting points mainly on the outside of the foot (occasionally inside). In the Sideways Kick. 3. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. explode energy like releasing the arrow”. 王 西 安 48 • . this reflects the relationship between Yin and Yang’. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking.陈 氏 太 极 拳 推 手 技 法 Fig. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). 3. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow.
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. 3. which allows you to use quick and continous forward steps. smack the foot with your hand to ensure the integrity of the energy. Kick upward with the back foot. Before kicking. 3.14 49 . Eye your target and prepare for the kick by gathering your internal energy and lowering it. Always coordinate the kick with your hands. use the Gen Bu (follow-on Steps).14). Your swinging foot is targeted at the back of the opponent’s head.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other.15). Squat slightly. If kicking with the right foot. then bring it backward (Fig. While swinging outward to the level of the shoulder. be it with the right or left foot. while your hands are targeted at the face. toes grasping the ground and all muscles of the body relaxed. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
And kick upward along with palms coordinated with Lü. 3.15 With openings and closings. 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility. I smack in the air by switching into the track of a swing arc. I take the back of the opponent’s head as target.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. And smash enemies to pieces. .
keep your footwork flexible and neat. Gua (hanging) and Gai (covering) in a second. • Hold the body in a squatting position for the next few movements. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. coordinating both with Tou Bu (sneaking steps). You should finish Lü. rotating it slightly so that it slants to one side.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). palms facing outward. During solo practice. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. • Swing both hands backward to the side of the back hanging Foot. • The action must be quick and powerful. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. • Use both hands to execute Lü on one arm of opponent behind the body. • The foot hangs to the calf suddenly to make the opponent lose his balance. • Hang one foot backward. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. The powers of hand and foot combine together. No matter which you use. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . depending on the distance between you. • Pay attention to that you finish this action with the guiding of the waist and back. remember to balance upward Long (close) movements with downward Ti (raise).
16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. And enemies fall to the ground with face to the air. your face looking upward. 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. Move forward with Tou Bu (Sneaking Steps). Hold your position and collect yourself enough to kick upward then swing downward. .陈 氏 太 极 拳 推 手 技 法 Fig. As a Tuishou poem states: With Yin and then Jin techniques. And kick upward along with palms smashing downward. I explode my energy with the rotation of my waist. Then lower your foot to the ground. twisting the waist and rotating the back to exert more power (Fig. 3. I take the opponent’s upper body and chest as target. 3.16).
3. Practice this transfer of weight by alternating the legs. The attacking leg must be flexible enough to swing to the left or right.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. since these are in a constant state of flux depending on the circumstances. mindful that while one is in the air.Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 . 40:60.17). 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. 30:70. these may not provide an accurate picture of weight changes required in practice or combat.18. 20:80). Note that while weight distribution ratios may be used as a guide (e.19). Use Front Bow Steps to practice this movement (Fig.. 3. 3.g.
so that the strikes are as rapid and powerful as possible. shock their lower limbs and unbalance their upper body with my feet. waist and hands.19 Using Short Energy: Short energy should be used in both inward and outward kicks. I explode and shock the ghosts. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. Short energy attacks are often used to ‘give a shock to the lower limbs’. 3. 3. making your intention easily anticipated.18 Fig. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. . As one master said: 王 西 安 54 I move my centre of gravity.陈 氏 太 极 拳 推 手 技 法 Fig. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles.
repeating the movements while keeping reeling from the left to right. toward the target. Nichan Tui (Legs Reeling in Ni Circles). Lower the tip of the toes of your unweighted right foot to the ground. just as in form practice. Begin with slow practice. Practice continuously alternating both legs. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). Change your weight to the left. step your right foot 40 cm forward to the right.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. When the right foot lands fully on the ground. Lihe Tui (Inward Knee Strike). then squat and step out with your right foot. Keep your legs reeling from left to right. a shoulder width apart from the left foot. making sure your leg is no higher than 15 cm above the ground. Move the left foot half a step to the left.3. change the weight to the right and step out with the left foot. Xiacai Tui (Downward Cai energy). 3. Waibai Tui (Legs Swinging Outward). As the toes touch the ground. Use intention (Yi) rather than physical force (Li). look in the direction of the moving leg. ‘Yong Yi Bu Yong Li’.3. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). working up your speed in gradual stages. 王 西 安 55 . that is.
Raise the left foot. Next. transferring all your weight to the right. 3.20).3. transferring all your weight to the left. and then rotate 360o left stepping on the toes (Fig. rotate to the left forward at an angle of 360o.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. You also need to practice Nichan and Shunchan with both legs. remembering that the inner side of the heel is the striking point. then step forward 40 cm to the left. Step the right foot forward. step forward 40 cm with the right foot.陈 氏 太 极 拳 推 手 技 法 3. Inner knowledge can only develop with concerted. striking to both sides with each leg. continuous practice.20 56 . Practice these steps in continuous alternating cycles. 3. 王 西 安 Fig.
• Combine Lihe Tui with the rotation of the waist and spine.21 Fig. 3. • Stand at attention. 3.22 57 .21).3.3. In Huobu Tuishou (Tuishou while walking). • While practicing. attack with Lihe and then move 90% of your weight to the back leg (Fig. change your weight to the front foot. we usually attack with Lihe Tui using the right leg. 3.22). 3.3 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). whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then transfer your weight to the left before moving the right foot forward (Fig. practice with both legs and with change of directions. As such.
and requires a sudden outward swing of the leg as weight is transferred.3. 3. Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. During practicing Waibai Tui.23 Fig. 3.24 58 . 3.陈 氏 太 极 拳 推 手 技 法 3.23). regardless of whether you practice day and night (Fig.24). 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. 王 西 安 Fig. step forward with one leg and swing the other outward and then closing inward.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). 3. Being content with a superficial understanding is fruitless. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. Through diligent solo Tuishou practice. practitioners will come to realize the deep significance of their efforts.
Cai to the right. • Start with your centre of gravity at the back leg.3.3. The outer side can also be targeted once your ability improves. 3. Shun Cai and Ni Cai are based on Front Bow Steps. 3.26 59 . then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. Xiacai Tui consists of Cai to the left. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles).5 Xiacai Tui … Downward Cai Energy Cai means to pull down. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent.25 Fig. • To do Ni Cai: move the back leg forward. placing your toes slightly outward. placing your toes slightly inward. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
3. 3.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right.26). Practice with alternating legs during Single Form practice. With a spiralling move forward. you can enter the opponent’s territory (Fig. keep ankles relaxed and Qi descending (Fig. striking inward and striking outward.28 60 . 王 西 安 Fig. Deepen your understanding of Jin Li (energy and force distribution). Bend your knees about 40o – more than this and you will lose your centre of gravity. 3. striking to the front. 3.3.27 Fig.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). 3.25). Train your body to understand the meaning of ‘stretching consists in bending. bending consists of stretching’.
• • •
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
there are three main distinctions: the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used.37). 3. fist centre facing inward.陈 氏 太 极 拳 推 手 技 法 3.4.4 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. 王 西 安 66 Fig. Rotate the body to the right then strike downward with the back of the right fist.37 . Next. However. at the same time hooking the left fist upward. Rest the left fist beside the left leg (Fig. 3. change your weight to the right leg and step your left foot forward. Hold the right fist close to the left side of the chest. • • • • • • Take a half step to the right with the right foot. Rotate the right toes slightly outward as the foot lands.
the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. 3. involve your whole body in the attack. 3.38). as the left foot steps forward (weight on the right). downwards on the right and upward on the left. (Fig. the right fist is raised above the left side of the chest for more power and then smashes down to the right. 陈 氏 太 极 拳 推 手 技 法 In summary. Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. For each step. stepping the right foot forward and exploding the fists before landing.Fig.38 Fig. when the right foot steps forward (weight on the left). Likewise.39) 王 西 安 67 . the left fist rises above the right side of the chest and smashes down to the left. After striking. 3. Practice these steps. 3. Then repeat with the other foot. step the left foot horizontally over the right one.39 • • • • • Again. For example. and lower the left fist from its upward strike position back to the left side of the body). both left and right fists rise and descend at the same time. alternating both sides continuously (Fig.
Practice this technique on both sides. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. fingers vertical.41). 王 西 安 Fig. 3. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power.陈 氏 太 极 拳 推 手 技 法 3.4. • Gather the right fist under the right rib (Fig. 3. the left arm gathers inward and strikes backward to the left with the elbow. avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig. • Sink your weight into the right foot and rotate the waist to the right to gather energy. This counter-balancing movement helps to accelerate the punch of the right fist. • Then fling the right fist forward in Ni reeling. • Step the left foot forward.40 Fig. 3.40).41 68 . • Sychronise both arms so that while the right fist flings forward. stretching the left hand upward. concentrating your power in the Quanding (the front of the fist).5 Dan Bi Zhi Chong Quan … Single Fling Fist Single Fling Fist is a forward punch unique to Taijiquan in that its power is generated by rotating spiral energy at the waist and back. 3.
Instead.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.42). 3. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.43).42 Fig.3. 3. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). energy does not manifest externally. bringing the left palm to the front of the body (Fig. only about 40% of the jin force generated is exerted as short rather than long energy.4. and practice alternating both sides. simultaneously gathering the right fist beside the right ribs.43 69 . 3. the main difference being that in the former. Then step the left foot forward. • • • • Step the right foot forward. The power of this technique depends very much on the practitioner’s physical condition. Repeat with the other side. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig.
3. • Attack to the left or right. 王 西 安 70 Fig. up or down.44). This forms the ‘peak’ of the fist. • Clench your fist so the middle joint of the middle finger protrudes. This makes the fist ‘peak’ stable and solid.4.陈 氏 太 极 拳 推 手 技 法 3. • Brace the middle finger with the index and ring fingers. 3. using small agile steps (Fig.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. like hammering a nail. • Strike with force and ferocity with this fist using short energy.44 . and press the tip of the thumb against the middle fingernail.
46 71 . hence creating a dual attack with both fists and knee (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.46). Roll the chest and shoulders slightly inward. 3. Bend the other leg then strike both fists upward together. Bring the fists together in the middle about 25 cm apart.4. 3. 3.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. Guanyang means to hit the temples with two nails. gather the ribs and lower your energy to the Dantian (Fig. Form two nail-shaped fists and strike from both sides using short energy.45 Fig. 3.3. Place your weight on one leg.45). Practice both methods using both legs. Method 1 • • Method 2 • • • Step forward with either leg.
3. 王 西 安 Fig. • Place your hands in front of the chest.48 72 . • Strike forward with both palms. 3. the ribs gathered. practice using long energy first. 3.47 Fig. while making sure the chest is relaxed.陈 氏 太 极 拳 推 手 技 法 3.47).5. though in the initial stages. fingers pointing up (Fig. transferring your weight to the front.5 palM pracTice 3. • Prepare for the strike by ensuring your axis is upright. • Step forward with either leg.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy.48). • Step forward with the other leg. thrusting them forward with explosive force. 3. the chest rolled slightly inward and the spine slightly lifted. and lower the energy to the abdomen (Fig. palms facing forward.
As the energy reaches the wrists. • Thrust the right palm forward or diagonally to the side. gather the chest and stomach like a cat stalking a rat. 3. 3. using long or short energy (Fig. To be effective. • Repeat using the left palm. thrust your arms out about 50% (Fig.50. 3.49 When practicing with short energy. 陈 氏 太 极 拳 推 手 技 法 3.49). speed. elbows and wrists are lowered.5. a Double Palm Push needs to be sudden and exerted directly forward.52). • At the same time step forward with the left leg. The power. 3.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). 3. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. Make sure your shoulder.51. lower your energy abruptly and push forward with short energy using small steps. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. Just before the explosive strike. 王 西 安 73 .Fig.
and hence conquer your opponents without effort. 3.52 .50 王 西 安 74 Fig. Fig. With continuous practice.51 Fig. abruptness and power of the push. gradually increasing the speed. 3.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. 3. you will be able to explode energy with natural ease by combining both external form and internal spirit.
陈 氏 太 极 拳 推 手 技 法 Fig. enabling you to hit your target with more precision and power (Fig.53 Fig.54 王 西 安 75 . This creates an energy balance that stabilizes your centre of gravity. Direct energy above the waist upward and energy below the waist downward. 3. whilst using the other palm to push at the opponent’s chest or strike at their stomach. • • Step one foot forward and ward off an arm attack with one hand. while gathering the other hand beside the ribs (Fig.3 Bi Peng Qiantui Zhang … Push with Ward-Off This technique is used to fend off an arm strike from the opponent with an upward hand strike.53). 3.5. 3.54). 3.3.
Explode this energy through the right side of body out through the right palm. • Keep the hips relaxed. and then straighten it while pushing the right palm upward. open the right side of the chest and stomach. the stomach gathered and the chest rolled inward (Fig. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line).55). 3. while gathering energy on the left side. first at an angle then vertically upward.陈 氏 太 极 拳 推 手 技 法 3. • At the same time. 3. • To push with the right palm: bend the right knee. • As you push upward.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. 王 西 安 Fig.55 76 .5.
3.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing.57 77 . • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. • Then swiftly draw the opponent into your domain by touching their back with your left hand.5. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. then quickly striking their chest with your right palm (Fig.’ Apply this technique during Single Palm practice. Shun means ‘sequence’) (Fig. 3. Keep your body and energy lowered while doing this.58). • At the same time. 3. rotate your body to the right. 3.56).57). stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’.56 Fig. 3.
if the opponent seizes your right hand and twists it outwards with Shun reeling. 王 西 安 78 . moving the body quickly forward. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. and gather the ribs and dantian. This helps to concentrate energy in the palms. lower the shoulders.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. left and right. 3. • As you lower the body.5. 3. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. Coordinate the movements of your body with those of the palms.陈 氏 太 极 拳 推 手 技 法 Fig.58 • • Also apply the usual principles: roll the chest inward. For example.
• Key points are the same as with the left hand push above. respond in this way: • Step forward with the left foot. • Again. 3.Fig. 王 西 安 79 . Next. this time at the left side with your right hand. inclining outward and exploding with the left palm (Fig. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. 3. Unify the three actions of stepping forward.60 • • • As you do this.59). 3. 3.60). 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. lower your body then extend it forward with Shun reeling. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. thrust forcefully at the opponent’s ribs. extending the thumb and fingers (Fig.59 Fig.
Relax your joints to enhance energy application. regardless of the technique or force used. roll your chest slightly inward and bend your right arm inward.” 3. dominates the waist and penetrates to every part of body.陈 氏 太 极 拳 推 手 技 法 Fig.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind.61). especially when stepping forward and exploding energy (Fig. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles. 3. 3.7 Danzhang Shunni Chan Fa Shun or Ni Reeling with Single Palm 王 西 安 80 This technique consists of using either hand to seize the opponent using Shun or Ni short spiralling energy. so that energy flows to the very tips of the body. Also.5. goes through legs. “Energy comes from heels. . as advised in an essay. coordinate the waist and legs when exploding energy. change your centre of gravity from the left to the right. • As you seize.
change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (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. practice alternating the seizing between right and left hands. To speed up your response. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended.63). 3. 王 西 安 81  ‘Dai’ means to lead.5. guide or bring along .Fig. listening closely to your partner as you do so. reach under your opponent’s front arm. • At the same time. If the opponent escapes.63 • • • With your right arm. 陈 氏 太 极 拳 推 手 技 法 3. you are able to use both palms to seize the opponent (Fig. 3. palm open. 3. Change your right hand to Shun reeling and your left to Ni reeling.62 Fig. Thus.62). 3.
fingers pointing to the front (Fig. palm up. Transfer your centre of gravity to the front. gather the right hand beside the ribs. Bend your right arm 90o inward and form a fist with your right hand. 3.66). 3.65 • • • • • Extend your right arm forward. 3. As your step forward.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. 王 西 安 82 3. Clench the left hand into a loose fist and push it forward. Practice on both sides. fingers up. Then hit the opponent with the right arm (Fig. fingers to the front (Fig. moving your arms to stabilize this rotation.5.64). face the left palm outward. 3.65). Change your weight to the back and turn to the right. .陈 氏 太 极 拳 推 手 技 法 Fig. 3.64 Fig.
left under right and right under left (Fig. and then explode both palms forward with a piercing thrust.67). 3.66 Fig. Also. place the left thumb and little finger in opposition while the remaining fingers face forward. 3. Return the hands to their original positions before the next energy explosion. As the right foot lands on the ground. Next. coordinate the waist and spine when shaking the right palm forward in Shun reeling. reel the right hand in Shun reeling to the right and step the right foot forward.Fig. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. move the left hand and foot quickly forward together. 王 西 安 83 .67 • • • • • • Lift the left palm over the right. to increase the speed and power of the explosion. 3. To increase the precision and power of the fingers.
3. At the same time.6. 王 西 安 Fig. palms facing in (Fig.68 Fig. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. 3.69). strike forward with the right elbow while hitting backward with the left elbow.69).陈 氏 太 极 拳 推 手 技 法 3.6 elbOw pracTice 3. 3. As you change your weight to the front.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot.69 84 . Practice striking with both elbows with corresponding weight changes to either side. Remember to apply long energy before you apply short energy (Fig. 3. In this case. the left arm counter-balances the movement of the right.
and clench the right hand into a fist. 3. As the right elbow descends. step the right foot forward again and extend the left arm forward. slap the right shoulder with the left palm. 3. Then strike the right elbow down for the second time (Fig.2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. gather it close to the right ribs. At the same time. wrist turned inward and the palm facing backward.3. bend the right elbow inward.70). palm up. 3.71 85 . take a small step forward with the left foot. return the elbow to the right side. Alternatively.70 Fig. 3. Step the right foot forward and strike the right elbow down forcefully as the foot lands. After the strike. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Lift the left hand when the right elbow completes 90o of its descent.6. At the same.71).
then turn right with the right toes facing slightly out.74 86 .3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward.72 王 西 安 Fig. Fig. 3. 3. 3.6.陈 氏 太 极 拳 推 手 技 法 3.73 Fig. Rotate slightly to the left.
3. raise the right hand across the front of the chest to the left in an upward arc.73). clench the right hand into a fist. 3.72). Gather the body to prepare for attack by lowering the body slightly (Fig. Step the left foot forward. Turn to the left and strike out explosively with the right elbow.75). so that both feet are approximately 50 cm apart. 王 西 安 87 . transferring your centre of gravity to the left. gather the ribs and lower your Qi. 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.74). palm facing in. • • • Practice with the other arm. then step forward with the right foot.4 Shun Lan Zhou … Smooth Elbow Block • • • • • 陈 氏 太 极 拳 推 手 技 法 Roll the chest slightly inward so that it is concave. clasping the right forearm with the left palm.6. clasping the right forearm with the left palm. 3. as if warding off (Fig. Step the right foot to the left and bend the right arm. toe tips slightly touching the ground. 3. As you do this. Move the body to the left and transfer your centre of gravity to the right and back. 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. Gather the body by bending it slightly. 3. Remember that the right leg moves forward with the right arm and vice-versa.• At the same time.
balancing this movement with the left hand. Once familiar with the practice. 王 西 安 88 3. step right with the right foot. strike the right elbow to the right. practice with long and slow energy.76 • Spiral the right arm forward with Ni reeling. with the following differences: . Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block).75 Fig. Practice with both sides (Fig.76). palm down.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. Next. 3. • In the initial stages.陈 氏 太 极 拳 推 手 技 法 Fig. turning the body to the right. Simultaneously. 3. use short and fast energy.6. gathering it horizontally in front of the chest. the right fist lowered to front of the left armpit. 3.
78). palm facing right. 3. extend your left palm forward. • Simultaneously. 3. • Jump the left foot half a step to the left.6. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. landing approximately 50 cm apart from the left foot.• • Shun Lan Zhou is aimed slightly to the back.77 Fig. palm down.77). fingers pointing up. while Xin Zhou is targeted to the front (Fig. • Stand at attention with the arms relaxed at the sides. 3. jump slightly with the right foot. 王 西 安 89 . 3. 陈 氏 太 极 拳 推 手 技 法 Fig.78 3. Touch the right knee with the right palm.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. toe tips on the ground. • Turn the body to the right and reel the right palm across the chest to the right. Before the foot lands.
step the left foot to the left.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. 3.79 Fig. then transfer your centre of gravity to the right. taking the waist as the dividing line. bending the wrist before striking upward quickly with the back of the right fist. then gradually using short and fast energy.陈 氏 太 极 拳 推 手 技 法 Fig. starting with slow movements initially until the steps become familiar. Return the left fist beside the right ribs (Fig. balance the energy between the upper and lower body. . As you change weight.80). While striking on the right. Next. Also. toe tips touching the ground (Fig. Look to the right side of body while striking upward. Move the right fist toward the right shoulder using Shun reeling. step the right foot forward.81). placing the left fist below the right. 3. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). Instead. 3.80 Fig. After the strike. clench both palms into fists. 3.79). avoid letting all your energy flow upward as this will destabilize your root. 3. Practice on both sides. 3. toe-tips on the ground. followed by the right foot.
3. Practice alternating both sides.6. If you stepped to the left.7 Shuang Kai Zhou … Double Open Elbows This technique consists of striking simultaneously with both elbows by holding the arms in front of the chest. place the left arm inside the right. • • • • Step to one side with either leg. looking to the left and concentrating energy in the elbow tips (Fig. then exploding both elbows horizontally.82). 3. then strike with the right elbow. 陈 氏 太 极 拳 推 手 技 法 Fig.82 Fig. while the left the supplementary strike.83 王 西 安 91 . In this position. the right elbow executes the dominant attack.3. Gather the fists close to the chest (Fig. Change your weight to the left.83). 3. 3.
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.85 . looking to the front and rolling the chest and shoulders inward. prepare for the stike by gathering the wrists inward.84 Fig.85). 王 西 安 92 Fig. As your weight transfers to the front.6. 3. This increases the force of your attack. 3.84). holding fists on either side of the ribs (Fig. 3. 3.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows.
As your centre of gravity shifts to the left. Simultaneously. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. then lift it so that the right elbow is positioned over the right knee (Fig. 3.87). 3. palm to the front.86). At the same time. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. palm facing inward and inclining backward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.3. Practice alternating both sides.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. clench the left palm into a half fist and place it beside the left leg.6. rotate the body to the right.87 93 . take a big step forward with the right foot in front of the left. As the weight shifts to the left. clench the right hand into a fist.86 Fig. 3.
the legs should be parallel to each other. • Extend the right hand outward. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). • At the same time. As one of the Eight Forces. 王 西 安 Fig.88).6. Make sure both hands move and arrive at their destinations simultaneously. • All movements are guided by the rotation of the waist and spine. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb.88 94 .陈 氏 太 极 拳 推 手 技 法 3. • Shift your weight abruptly to the right and form a half fist with the left palm. • After exerting Pie force. shifting your centre of gravity to the front. strike forward explosively with the right forearm using a short-energy (Fig. • Change your weight to the left. moving it beside the left ribs. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. In this way. then lower it over the right knee. palm up. • Step the right foot forward. 3. 3.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin).
• Then. The thumb and index finger form the character Ba ‘八’.89 95 . and extend the left hand forward to the right. Shift your weight more to the left as you do this (Fig. closing it slightly. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. bending the elbow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. both internal and external movements are integrated with the movements of the body and limbs. • Keep the left hand open so the thumb is separated from the fingers.3. ring and middle fingers.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. 3. using downward Ni reeling. Form a hook (Diao Shou) with the right hand with the little. • Step backward with the left foot shifting your weight to the left.6. using guiding energy from the little finger. palm up. use Cai technique to strike out explosively with the outside of the right forearm and elbow. • Raise the right hand from the right side. 3.89). • While lowering the left hand. In this way. lower the left hand from the front of the chest to the left ribs.
the right thumb guides energy flow. 王 西 安 96 Fig. and extend the right leg backward. While transferring weight.90 Fig. • • • • Bend the left knee. moving your weight to the right (Fig.90). At the same time. strike the right elbow backward at an upward angle (Shang Chuan Zhou). you raise the right hand in Ni reeling to descend the elbow (Fig. especially useful as a defensive move when being attacked while in a passive situation. 3. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. make sure power is gathered properly through the whole body and that your timing is correct before you strike.6. toes grasping the ground.91). Note: For maximum effectiveness.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. 3.陈 氏 太 极 拳 推 手 技 法 3. and then.91 . 3. 3.
The right foot and right arm should reach their positions at the same time (Fig.7.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. 3.3. 3. Ying Men Kao. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm.93 97 .92 Fig.92). As you shift your weight to the right. Shuang Bei Kao and Qi Cun Kao. Xiong Kao. Ce Jian Kao. 3. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. 3.
3. 3. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. After executing the above. As the body inclines forward significantly during this move.93). On completion of the shoulder push. step forward with the left foot and place it next to the right foot. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). As the heel touches the ground.94). The left hand follows the right hand in support and comes to a rest in front of the right shoulder. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. Then take another big step forward with the right foot. Then step the right foot forward again to execute Zai Kao for a second time. pushing it forward and down.陈 氏 太 极 拳 推 手 技 法 • • • Then. 3. if you find you get into an appropriate space for attacking. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. use the outside of the right shoulder to execute Qian Zai Kao. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. Note: Only push when you are in the correct position.7. take care to maintain your centre of gravity by not stretching too far forward (Fig. . Repeat these steps for both sides.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs.
conversely if one is able to ‘open’ the doors of the opponent. light but not floating” .7. 3. lowering down but not stiff. 3. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. arms are a defense against attacks. 王 西 安 99 . Dai (lead and pull) and Ji (attack) energies together. then techniques such as Ying Men Kao can be used to penetrate defences and attack.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. When firmly closed. This only comes with closely combining the Yin (guide).3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors.Fig.
. 3. 3. Separate the hands of the opponent to expose his chest (Fig. 3. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. At the same time. 3. cross the hands in front of the chest. move the left foot forward parallel to the right foot and repeat the sequence for another attack.96). move both arms to each side of the body and push the right shoulder forward in attack (Fig. It is easier to hurt the partner using a narrower attacking surface.95 Fig. the right hand above the left. 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.95). • You can use more of the shoulder surface in the attack. fingers pointing up and palms facing the sides of the body.陈 氏 太 极 拳 推 手 技 法 Fig. Once the attack is completed.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. Next.
can you execute it in actual combat (because you may easily hurt yourself ).7. • After this move is completed. A good sense of timing is essential for defeating the opponent. shifting your weight to the front. • Step the right foot forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.97).98). • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. using this shift to deliver a sudden push with the chest (Fig.98 101 . move the left foot parallel to the right. • Extend both arms from the sides to the front in an embracing gesture.97 Fig. 3. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. 3. the chest and waist are in a collapsed position.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. • Then roll the chest inward and shift your weight quickly from left to right. Note: Focus on sharpening your sense of timing during practice. 3. 3. • To begin.3. Only with a thorough mastery of this technique.
Note: As mentioned in previous techniques. rebounding and shaking power). as the shoulders deliver Bei Kao backwards (Fig.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. 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.99). • Gently rotate backwards with both palms facing backwards. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short.99 Fig.陈 氏 太 极 拳 推 手 技 法 3.100 102 . This technique also uses Duan Jing (short power). • When the whole body holds and collects to a moderate extent. You may lead with either leg. 3.7.100). remember to gather and withhold energy before delivering the strike. • Stand with feet parallel. 3. 3. 3. and the shoulders execute Bei Kao to the right . 王 西 安 Fig. • When the weight moves forward the chest rolls inwards.
6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. • Practice pushing from both the right and left sides.7. Find a stable centre of gravity with the body and gather your body in this position. 3. • Turn the body slightly to the left as the right hand rises. • Gradually move the right arm downward toward to the inside of the right leg. use short power in your push. Note: If the opponent is at close-range. 3. fingers pointing down. continue to transfer your weight to the right. extend the distance of your Kao slightly.101 103 .101). • Start doing Shun reeling with your right hand as you move your weight slightly to the front. • Once your root is stabilized. • Extend the right foot and arm forward. if further away. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3.
This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice.102 104 .7 Qi Cun Kao … Seven Cun Kao The name of this technique indicates that the body should be seven cun (approximately 23 cm) above the ground. • • • • Take a large step diagonally forward with the left or right leg. 3.102). Practice this sequence in rounds from left to right. Place the elbow below the knee (Fig. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). Note: Power applied in the initial stages should be slow rather than quick.7. 王 西 安 Fig. Incline the body forward in the same direction. 3.陈 氏 太 极 拳 推 手 技 法 3.
Tui Na. • Rest the right hand near the right ribs.103).104 105 . • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. 3. and Shuang He Na.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Relax the left side of the crotch and shift your weight forward to the left. Xiong Na. palm up (Fig. • Extend the left foot and left hand forward. 3. Chan Rao Na.8. • At same time.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. Diao gai Na. Shuang He Fu Cai Na.103 Fig.104). 3.3. Fu Na. palm facing in. 3.
i. even though you deliver the power later than the partner. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. When seizing. Note: Shun and Ni reeling are interdependent and cannot be separated. Repeat the above sequence. Seizing techniques are quite difficult to practice. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. this time reeling in Shun direction with the left hand and Ni direction with the right. Try to relax at every step while applying the seizing action firmly. Shun reel with the right hand and Ni reel with the left. but she evades your attack by ducking down. you will be able to execute these changes quickly and smoothly. lower the shoulders. in order to block the opponent’s energy path.e. then you must respond promptly by swapping the reelings to the opposite hands. tighten the ribs. 王 西 安 106 Closing with the left while seizing with the right and vice versa. roll the chest in. drop the elbow. After seizing. Your moves will become more effective as your internal Qi integrates more closely with the external movements. 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. move the weight slightly backward then move forward again. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. . With practice. changing the weight from left to right.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. and lower your waist and Qi.
and clench the right hand into a fist. roll the chest in. 陈 氏 太 极 拳 推 手 技 法 Fig.107). placing it in front of the chest. Again. 3.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. Relax the left side of the crotch. Then lower the right hand to the right ribs.106 Fig. 3. Then rotate the right hand and body to the right. and shift your weight to the right side. The shift to the left enables you to hit the target clearly (Fig. At the same time. 3.107 王 西 安 107 .105). 3. palm out.3. relax the left side of the crotch and shift your weight to the left. tighten the ribs. lower the Qi. extend the left hand forward to rest in front of the body (Fig.106).8.105 Fig. 3. As you do this. • • • • • Step forward with the left foot and move the right hand in front of chest to fend the opponent off upwards to the right at head level (Fig. 3.
while the two hands serve as supports. Match the speed of your movements to that of your partner. roll the chest slightly inward and gather the ribs.8. 王 西 安 108 . • Step the left foot forward and extend the left hand to the front. palm facing left (Fig. Move quickly and follow your partner but do not lose power. • At the same time. lower Qi to the abdomen in preparation for the inward roll and seizing.109). The left hand leads by closing the power causing the right hand to follow. palm facing right (Fig. 3. • As the weight shifts to the left.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. The strike is actually applied by the left side of the chest.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. the palm forming a “八” (Ba) shape. Make sure to keep your own axis when seizing the opponent.108). • Step the right foot forward and pass the right hand across the left side of the body. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. reel with both hands in a Shun direction. the force of upward suspension maintains the axis. Shift your weight forward and accumulate power well. Draw the arc with the intention of meeting the opponent’s hand. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen.” 3. • Close the crotch. and gather energy in the ribs. Relax the crotch. rotate the body. Move the whole body in a natural and relaxed state. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. 3.
108 • • As the Qi descends. 3. 3. clench the left hand. The eyes look forward and to the left. The abdomen provides the main supporting element.110).Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.109 Fig. seize with the right and roll the abdomen – these three actions combine to become one power. 3.110 109 . whose movement is heavier (Fig. 3. the left hand moves lightly and assists the right.
push the abdomen out suddenly (Fig.112).8. and gather them towards you (Fig. 3. At the same time. capture and immobilize the opponent.陈 氏 太 极 拳 推 手 技 法 In summary. and commence shifting your weight forward. As you seize. followed by the left. whereby the abdomen gathers power to support the hands. roll the chest slightly inward. 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. palms about 10 cm from the lower abdomen.111). Move swiftly without hesitation. Continue to shift your weight forward. As your weight shifts. 3. the right hand moving down while the left moves up. and both feet standing steadily as the hands move. 3. bending them at the elbows.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. keep your intention firm for victory or failure will be decided in a second. move the palms up to chest level and seize the opponent’s elbows using Na power. Direct the eyes to the front. while the hands use Na (seizing) power to collect inward. the right foot steps forward. • • • • 王 西 安 110 • • Take a half step forward with the right foot. immobilizes their wrists by bending them outwards. Concentrate your energies then pounce on your opponent like an agile cat. extend both arms to the front. do not be kind to the foe for the opportunity to attack comes just once. . Both hands extend forward in sequence. facing in so that the fingers are directed towards each other.
• • • • Step the right foot forward and pass the right hand across the chest. 3.113).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. Lower the right hand then cover it with the left. 3. 3. 陈 氏 太 极 拳 推 手 技 法 3. Step the left foot forward and shift your weight to the left. Reel the left hand forward. and lower Qi in your abdomen before protruding it forward. fending the opponent off upward to the right (Fig. so that you respond by moving your weight 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. 王 西 安 111 .Fig.8. supported by the warding right hand.111 Fig.
114 • • • • Put your body in a squatting position by bending the knees slightly.114). . gathering the ribs and lowering the waist and Qi. Alternate practice on both right and left sides. 3.陈 氏 太 极 拳 推 手 技 法 Fig. But remember: practice like an adept. bones. 王 西 安 112 Note: If Qi descends smoothly. Step the right foot forward again and repeat the above steps. 3. Collect the hands inward to about 15 cm in front of the chest. this technique can be used effectively to break wrists. Combine them with the power of chest to become one power (Fig. tendons and veins.113 Fig. 3. by taking a step forward (Shang Bu) each time. not like a thug. Collect the body by rolling the chest slightly inward.
In this way. 3. • As the knee swings inward. • As you step. 3. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. • Step forward with the left foot and extend the left arm to the front. • As soon as the right hand reaches the level of the left 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. • Bend the left arm inward to gather both palms. Lower your Qi.8. The powers of the left arm and right hand unify as one. and move both hands to assist the left leg.115 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. roll the chest in and gather the ribs (Fig. fingers pointing forward. the Three Powers (Jing Qi Shen) combine to seize the opponent.116 113 . • As the weight moves forward.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg.3.115). shift your weight forward and bend the knees slightly so that the body squats like a bent bow. 3. relax the crotch.
3. 3. The changing of the legs happens quickly.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. shift your weight to the front and extend the left arm again to repeat the steps and seize once more.8. Then step forward with the left foot. • Step forward with the right foot. 3. • At the same time.118 114 .117 Fig. 3. guiding it to the right ribs for support (Fig. As you step forward. • Then lower the right arm by executing Lü downward in Ni reeling. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig. 王 西 安 Fig. shift your weight quickly to the left and step forward with the right foot.117).116). 3.7 Diao Gai Na … Seizing with Both Hands This technique uses both hands to seize: the right hand moves up from the right to grasp the opponent’s arm from the bottom while the left presses down from the top. gradually guiding it inward to rest in front of the right ribs. spiral the right hand up from the right side into an arc.
3. shift your weight to the right and move the left foot and hand forward (Fig.118). As the hands move.119 • • • • • • As soon as the right foot touches on the ground. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 .119). lower the shoulders. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. As the right foot touches the ground. When the right hand moves up. 3. Continue to move the right hand and foot forward.Fig. 3. the left palm moves down in Shun reeling to cover the the arm of the opponent so that the forces of both arms work as one. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. The intention is to have the whole body collecting and seizing together with the hands. shift your weight to the right and step forward with the left foot. roll the chest slightly inward and bend the knees slightly into a squatting position.
Bend your knees so your body squats like a bending bow. step forward with the left foot and shift your weight to the front. 王 西 安 Fig. 3.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize. 3. Prepare for the seizing by lowering Qi to the Dantian.8.121 116 . At the same time. rolling the chest inward and tightening the ribs. strengthed by whole body coordination.陈 氏 太 极 拳 推 手 技 法 3. Combine this with the power gathered in both hands and seize with one force. 3.120). then gather both hands and grasp the opponent’s wrist firmly downwards. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig.121).120 Fig. 3. Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. This step marks the transformation of Peng (ward off ) to Na (seizing).
Guan Gong. then the ring finger. eyes looking forward. 3. Guan Gong Jie Dai 2. Chuan Zhang Jie 5. Fan Na Cu Bu Jie 9. • Hang the hands naturally at the sides. Qu Wan Fan Na Jie 6.9. Shuang Wan Zhi Jie 4. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. ‘Wars Among Three Countries’ by Guan Yu. 王 西 安 117 . This technique enables a practitioner to avoid capture or break a hold.122). • Move Qi in from the outside and lower it to the Dantian. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. Diao Wan Qu Zhi Jie Tuo 3. middle finger.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. • Stand with both feet in parallel. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. • Inhale. Shan Jing Zhen Zhang Jie 8. Shan Jing Ce Jian Jie 7.3. such as a waist grasp from the rear to throw you down. and finally the index finger. • Next. the Guan Gong Jie Dai technique is said to be named after its creator. shoulder-width apart.
123 • Synchronise the speed of this movement with that of the body. 王 西 安 118 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. . If the fingers are being held. and also with the speed of Qi descending. otherwise it is not easy to unfold (Fig. hook the wrist and bend the fingers to escape. This technique becomes effective only after extended practice. 3. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip).9. 3. In this way. the squatting of the body.122 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 3. the gathering of the ribs and the hooking of fingers should combine to become one unit.123).
you relax and elongate your encaptured arm. 3.Fig.125). slowly bend the wrist and fingers. As you move. Practice these steps with both hands in turn.125 • • • • • If the fingers of one hand are seized by the opponent.124). By doing this. your conjoined fingertips and knuckles should be able to escape with ease (Fig.124 Fig. By the end of your movement. join the fingers of your hand together and point them diagonally upward to the right (Fig. lowering the elbows. 3. Move your body to transform the attacking power. 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. and lowering your Qi as you do so. 3. relaxing the shoulders. rolling the chest inward. 王 西 安 119 . unblocking the arm area being attacked. so that Tuo (escaping) power can reach the fingers effectively. 3.
and lower the Qi so that power can flow smoothly to the inner side of the wrists. At the same time. then move your arms forward and upward as your weight shifts forward (Fig. It is not necessary to use large movements in this technique.9. While doing this. Just focus on relaxing and lower the Qi. 3. bend the arms. clench both hands into fists. 3. • • • Step one foot forward and shift your weight to the other leg (Fig.126 Fig. roll the chest inward. 王 西 安 Fig.127 120 .127).126). 3. 3.陈 氏 太 极 拳 推 手 技 法 3. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. closing your hands while opening the opponent’s. lower the shoulders and elbows. tighten the ribs.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold.
two eyes look forward horizontally.3. • Bend the knees slightly to place the body in a squatting position.128). tighten the ribs. and roll the chest inward.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. It is most often used in the transition between the Jin Gang Dao Zhui posture (Buddha’s Warrior Attendant Pounds Mortar) and the Lan Zha Yi posture (Lazily Tying Coat). and Qi. • Bend both arms 90o inward and cross them in front of the chest. • Two feet stand flatly and the body stands straight. and lower the shoulders. placing the right hand on the left (Fig. 3.128 Fig. elbows.9. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.129 121 . 3.
If you choose to turn to the right: rotate the body to the right then left. 3.陈 氏 太 极 拳 推 手 技 法 • • • If you choose to turn to the left: rotate the body to the left then right. 3.130 Fig. and lock the palms of the opponent. swapping the Shun and Ni reeling to the opposite hands. 3. 王 西 安 Fig.129). 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. Then ward off (Peng) by pushing both palms outward.9. then rotate forward again. Do not rush forward but defend you territory in straight postures (Fig. It requires you to twist the captured fingers outward in Shun reeling.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. and move the right hand in Shun reeling while the left does Ni reeling. 3.
3. 3. 3. raise the elbows.131). palm facing left (Fig. Your movements should be relaxed and executed with power at all times.132). As you do this. Apply the principle of constant change and flexibility in Taiji circles.130). then bend it about 450. 3. While rotating the arm. 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. wrist bent inward in readiness to seize and fend off danger (Fig. open the joints throughout the body and stretch the muscles so that power can flow through to the wrist and move to its end point more smoothly.132 Fig. As the right toes touch the ground.Fig.133 • • • • • Extend your right arm forward. 3. step the right foot forward (Fig. Rotate the arm about 1800 outward in Ni reeling. it will be difficult for opponents to overcome your attacks.133). extend the left hand forward to support the right hand as it seizes downward (Fig. 王 西 安 123 . relax the shoulders. 3. If you practice diligently.
this sequence of movements make up the Shan Jing Ce Shen Jie technique. In response. the palm gradually guided by Ni reeling to slant externally to the right.9. you should rotate externally and upward in Ni reeling. palm facing right. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). move the left hand rightward to the front of the chest. roll the chest inward. Together. 3.陈 氏 太 极 拳 推 手 技 法 3. coordinating it with the lifting of the back and the descending Qi. then move swiftly to the right to destabilize the opponent.135 124 . 王 西 安 Fig. 3. • As the right palm reels outward.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. • Extend the right arm horizontally and bend it 900 inward. so that the power of the left hand combines with the right to become one. • The right wrist bends inward with the arm to rotate the hand in Ni reeling. Next. right fingertips initially pointing downward. • Simultaneously.134 Fig.
make a big step forward with the right foot. then quickly step the right foot forward (Shang Bu).135). Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. because with these. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. 3. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push).9. 王 西 安 125 . 3. Note: Move in Ni reeling while the opponent moves in Shun reeling.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. shift your weight to the left . So Shan and Jing serve as the pre-condition of escaping. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. giving him a sense of losing of Qi. 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. 陈 氏 太 极 拳 推 手 技 法 3. All the above movements of the hands. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. and thus enabling one to evade capture. Almost at the same time.134).• • • As your left hand moves. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. The above movements of both arms and the right foot should occur in one very smooth and swift motion. touching the ground with the toe tips (Fig. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig.
then Shang Bu (take a step forward). slowly raise both hands and bend them inward about 1800. palms facing up and the two little fingers placed on the middle of each arm. then the whole body sends a Dou in a circle in Shun reeling (short power). and the extending palm reaches the right position at the same time.138).137). 3. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. palms facing up and eyes looking forward. As soon as you surprise and destabilize them with your moves. 3. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. 3. This power should be quick and strong. 王 西 安 Fig. the body squats. step forward quickly and attack with the palm (Fig. clench the hands into fists and place them at the sides of the body (Fig. Next.138 126 .136). Simultaneously. 3. 3. 3. When the body and two hands send the Dou power. open both fists and shift them away from the sides of the body.136 Fig. and both palms draw inward. At the same time.137 Fig.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time.
the partner cannot reach you though his attacking power is strong. and attacking by the Cu Bu or Dun Bu technique (stomping). first bending it inward then moving it outward to the right.9. 3. you find escaping easy. since he or she can easily twist your fingers and get you caught’.It is just like the poem reads: ‘It is not a failure if you retreat your pace. 王 西 安 127 .139). extend the right hand diagonally forward to the side. 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. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. thumb separated from the fingers (Fig. Step diagonally right with the right foot. At the same time. fingertips slanting up (Fig. Two elbows draw inward and hands move outwards. Bend the knees slightly to place the body in a squatting position. which is against principle. It is not wise to grasp the opponent’s elbow with your fingers. palm facing out. extend the left hand from left to right. because sometimes appropriate retreating gives one a closing power. Then push the left palm to the right. then shift your weight to the left and inclining the body to the right to hold and collect. 3. With Shan and Jing. 3. holding and collecting a quicker speed.140).
paying attention to the upper and lower body and your surroundings. Be patient and diligent with practice. 王 西 安 128 .140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. only by this will you increase in strength. side pushing with the left palm and exhaling at one time. This power can only be gathered with greatly unified power. During the practice.139 Fig. Even if you sense the opponent’s intention to move. do not react or become anxious but remain confident in your prowess. Then you will free yourself from capture.陈 氏 太 极 拳 推 手 技 法 Fig. from long power to short power. 3. from slow to quick. 3. the body should move from high to low. Incline your body and explode the energy with great unity by stomping with the right foot. Stand rooted like a big tree.
• Next. 3. roll the chest in. separate the hands to the sides of the body.142).3. breathing in as you do this. lower the shoulders and elbows. the left hand in Ni reeling and the right in Shun reeling. • Step the right foot forward. tighten the ribs and lower Qi to the Dantian. palms facing in (Fig. 3.9 Shuang Shou Wai Fen Jie Escaping by separating hands This technique is used to wrest free of a double wrist grip by separating the arms. 3. As you do this.141). • Extend both arms forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.142 129 . exhale. • In this way. bending inward about 90o. eyes looking forward (Fig. • Then bend both wrists inward. the hands wrest free of the opponent’s wrist grip.9. palms facing each other. 3.141 Fig.
3. If you cannot push the opponent’s hands away. 3.143 Fig. 王 西 安 130 . During practice. finally returning them to the front of the chest to repeat the cycle (Fig. 3.143). keeping both arms tightly together like pincers. then you transform and eliminate the seizing on your wrists. If you still can’t free your wrists with this technique. then separate them to each side.陈 氏 太 极 拳 推 手 技 法 Fig. then raise your hands.144 Notes The extent to which you separate your hands depends on the opponent’s grip. Palm Inserting Down) (Fig. You can escape from seizing by one closing and one opening. 3. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. insert both palms downward (Xia Cha Zhang.144).
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
These movements are applied throughout the whole system of Taiji and Tuishou practices. each of which can be practiced individually or in sequence: 1. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. 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.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. its leaves and branches must flourish. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. Lü. Wu Ji Zhuang (Wu Ji Posture) 2. Kai He Zhuang (Opening and Closing Posture) 4. rising and falling. San Ti Shi (Three Postures) 5. unblocking the whole vessel system by enhancing Qi and blood flow through the body and helping the accumulation of Qi in the Yong Quan point (known as the ‘Bubbling Spring’ located on the sole of the foot). states: “If a tree has deep and strong roots. Peng. Chan Si Zhuang (Reeling Silk Posture) 6. Taiji Yangsheng Zengqi Gong can be divided into six postures.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). opening and closing. Chen Xin. Ji and An. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3.陈 氏 太 极 拳 推 手 技 法 4. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. . As Qing Dynasty Taiji Master.
1 133 .2 wu ji zhuang (wu ji pOsTure) 4.2. keeping your mind relaxed.1 Postures a) Posture 1 • • • • Stand upright. Open your eyes gradually. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. breathing gently and slowly. eyes closed. Concentrate your intention (Yi) in the Dantian. Hang both arms at the side of the body and relax. 4. feet parallel and shoulder width apart.4.
3). Take care of these points and you will not lose power (Diu Jin) unnecessarily. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. do not do it so gently that Qi becomes too soft and weak to reach every part of the body. 王 西 安 Fig. 4. the right hand rotating in Shun reeling and the left in Ni reeling. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. palms facing downward and slanted diagonally (Fig. 4.2). when it should actually be solid.2 Fig. 4. the reverse for females (Fig. Maintain the hands at shoulder height. 4. Lower the hands onto the abdomen. the right over the left for male practitioners. Try to expand your arms moderately.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides.3 134 . On the other hand.
guiding the Qi and saliva through to the middle Dantian. 4. so that the waist descends naturally. 2. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai.4. The whole body will be steady if you gather the internal organs consistently. inhale and then swallow saliva down into the stomach. the mind and facial muscles naturally relaxed. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. lower it when exhaling. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. Gather the chest and ribs inward. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point.2 The requirements for every part of the body 1. bend the knees slightly and grasp the ground gently with the toes.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). Lift the buttocks and anus up a little. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. Your shoulders should be loose and slightly lowered. Pay attention to the following points when practicing the Zhuang posture: 1. Your elbow joints should be lowered.2. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 .2. until they reach the lower Dantian. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. 4. The neck should be firm and straight. 3. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation.
By practising the above key points. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). Practice also enhances your ability to guide Qi with Yi (intention). across the Yu Zhen point. leading to Qi filling and blocking the chest. While lowering the internal Qi. through the Wei Lü Guan point. While exhaling Lower every part of the body. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. until it reaches the Bai Hui point. roll the chest slightly inward.陈 氏 太 极 拳 推 手 技 法 2. 3. lower the waist and gather the Qi in the Dantian. including the internal organs. skin and fine hairs opening as the Qi rises. up along the spine. Feel the sensation of all the body joints. Raise your Yi (intention) from the Hui Yin point (perineum). While inhaling Gather your chest and abdomen inward while breathing in Qi. which will help with the distribution of Qi around the body. keeping your body upright and lifting your back slightly. 王 西 安 136 . Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. so that they all have the same rhythm. you will enlarge your vital capacity and exercise the diaphragm muscles. Maintain your vertical axis.
4 Additional Notes • In Taiji Yangsheng Zeng Qigong. Qi cannot be separated from Yi (intention). just as Xing (posture.2. patients and the correct mastery of key points. these can be accomplished only by hard learning. However. and achieve the smooth Zhoutian circulation and help with body combat. Practitioners should modify the scope of their practice according to their level and progress. quietude and concentration.4. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). consciousness. external movements) follows Qi. Beginners generally find it difficult to remember the postures and key points. thinking. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. Only through mastering your mental activities such as intention. Qi follows Yi. The key requirements for practice are relaxation. During Wu Ji Zhuang. and emotions. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . so it is recommended that they do not practice Yi and Qi until they become familliar with the form. Only these can guarantee normal and healthy internal Qi circulation.
3. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation. 4. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill. is an important basic skill in Chinese Martial Arts.3 hunyuan zhuang (circle pOsTure) Zhuang skill. 4.陈 氏 太 极 拳 推 手 技 法 4.5 138 . 4. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.” Hence.1 Postures 王 西 安 Fig.4 Fig.
The upper body should be kept upright. with practice duration increasing gradually from short to long. 4. 陈 氏 太 极 拳 推 手 技 法 4. then lower the waist (Fig. Leave your eyes naturally open or close them. waist and back straight. 4. Relax the shoulders.4). fingers pointing at their counterparts about 30 cm apart.3. If your eyes are open. Bend the knees so that the body is squatting a little. focus your attention on the Dantian (Fig. focus on a static object at the same level as your eyes. shift your weight to the right and lift the left foot and take half a step to the left. the neck.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. then move them back to the middle. if closed. b) Posture 2 • • • Separate the hands when the left foot reaches ground. waist and crotch. Keep the head naturally erect. 王 西 安 139 . a little more than shoulder-width apart. Next. The palms face each other. The old and weak may practice using a high body stance. Execute the posture as if embracing a big tree.5). mid-level and low. Lower the elbows and shoulders slightly.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. Stand with your feet parallel. Keep the fingers evenly open and slightly bent as if half grasping a sphere.
Should this happen. The trembling may only be detected by touch or by close observation of the leg muscles. then a low stance. up the spine. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). and guide the saliva down to the middle and lower Dantian. Wei Lü Guan. Beginners will find that the thighs may ache after two weeks of practice. Que Qiao. 王 西 安 140 . graduating to midlevel. until it reaches the Baihui point. increasing to thirty or forty minutes at later stages. At the same time. the thigh muscles and even the whole body may tremble rhythmically. For example. then lower your body again. Now lower the tongue and inhale. then bend the knees to lower the body until the buttocks are at the same level as the knees. and slight trembling may occur. touch the palate with the tip of the tongue. although this may become more obvious with prolonged practicing at mid or low stances. becoming gradually longer. you should raise your stance slightly to rest. In this case. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. Du Mai. raise Qi from the heels up the legs. Practice duration can last just a few minutes in the initial stages. At this point. swallowing your breath with saliva. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. 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. through the Ren Mai. when doing Standing Zhuang at a high stance. Inhale again as the body rises. This relieves or may even stop the trembling for a period.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. past the Yu Zhen point. inhale slowly first.
陈 氏 太 极 拳 推 手 技 法 王 西 安 141 .3 Breathing Breathing is an important element of Zhuang skill. It rises and falls like a boat in the ocean. Practice this process repeatedly. as it responds to the circulating blood. but the apparent non-activity is misleading. Standing on the ground steadily like a mountain. the body quivers in a relaxed and peaceful state of mind. The body weight is always subtly moving in various directions.As you exhale slowly. like a wild goose flies off and falls. 4. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs.3. Zhuang skill is actually a practice using static strength and tension. breathing motions and digesting processes. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground.
the body rises slightly with the inhalation. 4. 4.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. the middle fingers connect. the palms face inward and the eyes are slightly closed (see Fig. relax and open the internal organs. 4. Gather the chest and abdomen.7 142 .1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. extend your breath slowly through the practice process.陈 氏 太 极 拳 推 手 技 法 4.8). In the initial stages of practice. The navel and Ming Men are in the same rhythm. the breath is usually short. The only difference is that in this posture.4. as are the requirements and key points for the body parts. 4. The distance between both arms starts short then grows longer. At the same time.6 Fig. 王 西 安 Fig.
Acting slowly. use your intention to guide the current outward. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. lower the waist and gather the rib muscles. Drop the wrists and hold the palms facing inwards in a concave shape. b) Posture 2 • • • • • • Exhale and gather the organs. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. Focusing on your intention (Yi). Relax the body. 4. All internal organs are filled with strength. using your intention (Yi).8 143 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Qi appears between finger tips of both hands like a magnetic force. Roll the chest slightly inward.Note: when you inhale and open up. At the same time. crouch down and lower the elbows. Do this practice slowly. the navel and the Ming Men Mai swell out.
For example. one’s thoughts need to implement intention consistently. Lastly. as well as breath control.陈 氏 太 极 拳 推 手 技 法 The main aim of practising Kai He Zhuang is to enhance the strength of the lower limbs and to promote the shrinking and expanding abilities of the navel and Ming Men. For example. For thought (or attention) to combine with intention. and also helps the practitioner build skills in relaxation and quietness. Qi and strength. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. gentle and even. if you require the breath to be slow.2 The relationship between Thought. . and when Qi rises – the body and internal organs gather slightly.4. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. as well as the internal Qi moving in the body with the guidance of your intention. “the internal Qi moves inside”. intention and Qi. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. it also helps increase internal strength and distributes Qi around the whole body. In this way. This practice also strengthens the practitioner’s ‘root’. when extending the hands. Qi here refers to the fresh air exchanged between the lungs and the outside. 4. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. the ebb and flow of Qi and strength (or power) are in synch with each other. This is called. then your strength must be soft.
abdomen and back. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. In particular. With practice. this movement becomes a conditioned reflex and helps move muscles which are normally static. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. and are one of the main requirements in Zhuang skill. the chest. Guided by intention. Its purpose is to stimulate the nerve system by muscle movement. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 .The relaxing and gathering of the internal organs mentioned here refers to the activities of the internal organs and the muscles around the midriff area – under the ribs.
The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. inhale and move your weight backward. then open your eyes and look into the distance. then shift your weight forward from the left foot to the right knee. the right hand in front of the left. .陈 氏 太 极 拳 推 手 技 法 4. Swallow the fresh air inhaled.9). At the same time.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. 4. Gather the Lao Gong points of both hands inward. Start the posture with your eyes closed. focusing your intention in the Dantian. The length of inhalation should match the speed of the weight shift. then breathe it out slowly as you move forward (Fig. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. Expand the crotch like a circle. This posture could also be called a sideways Bow Step (Fig. make sure your eyes are drawn inward to looking internally.10). Purify this saliva with your intention. 4. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. Next. The fingers are poised as if grasping the air. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. When the weight shifts completely to the left leg. When inhaling. raise both hands above the right leg.
lower the waist. You need to have the feeling of closing before opening. 4.Fig. 4. close and fold your strength into your chest and waist.11). then push both hands forward slowly (Fig.11 147 .10 Fig. Repeat this process alternating the left and right sides. 4. 4.9 b) Posture 2 • • As Qi is lowered into the Dantian. As you exhale and shift your weight forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
If. determination. So where does confidence come from? From practice. your practice hesitant and inconsistent. practitioners are required to cultivate their Three Spirits when they begin practice. Confidence in Zhuang skills grows with practice as difficulties are overcome. Indeed. confident and diligent practice. confidence is a critical prerequisite. In sum. You can persevere only if you firmly believe in the benefits of Zhuang skills. and persistence. Only after prolonged practice can confidence be nurtured. with confidence and determination. 王 西 安 148 . Through serious dedication. and hold firm to these attributes throughout path of practice and study. With confidence comes determination. 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. then your progress will be poor. persistence may be engendered. and great determination. practioners will make the expected progress. your belief is half-hearted. on the contrary. leading to progress and experience of the benefits. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun.
In this way. 王 西 安 149 . As you step forward. Peng force is maintained while the foundation of the body is reinforced as well. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). • The fingers of the both hands point to each other. 4.6. 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. 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. • At the same time.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. 4. extend both hands forward with the right hand before the left.12). inhaling all the while (Fig. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill.4.
14 .13 Fig. 4.12 王 西 安 150 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 4. 4.
drop the elbows. the right hand in front of the left. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next.b) Posture 2 • • • • • • • Next. As the weight shifts. As you shift your weight. gather and close the whole body so it forms a posture prepared for opening activities. relax both arms. lower the shoulders. Inhale and swallow saliva. When the left hand executes Lü (roll back) to the middle of the body. open both fists into palms facing inward. keeping the left hand inside and the right outside (Fig.14). Both hands make a half fist when reeling. you will lose your weight and axis).13). 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. At the same time. suffusing it with Qi before lowering it down to the middle and then lower Dantian. 4. 4. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. inhale and crouch the body slightly. As this happens. 王 西 安 151 . relax the right crotch and shift your weight gradually to the right. turn the waist and twist the crotch. rotate the left hand in Shun reeling in front of the lowered abdomen. you start to repeat the sequence. withdraw the right hand so it intersects the left. otherwize. When this happens. step the right foot on the ground.
you will feel your key joints and your arteries and veins become unblocked and re-connected. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. This helps in the exchange of carbon dioxide and promotes metabolism in the body. then to five times per minute. inhalation/exhalation being one breath. Dual practice with Yi (intention) and Qi connects the whole body. and comes only after accumulated practice. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. the breath can become slower and longer. After practicing Zhuang skills for a period. After mastering the key principle of natural breath. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). Ren Mai starts 王 西 安 152 . Therefore. The normal breath frequency of adults is six to twenty times per minute. When you practise Zhuang skills to a certain level. It is incorrect to exhale with a long breath and inhale with a short breath (known as “too much Yin”) or vice-versa (“too much Yang”). the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. your breath should be natural and of the proper duration so that it enhances body combat and health. Inhalations and exhalations should be of proper length. Only by this can you avoid errors and side effects. This is a primary sign of beneficial Zhuang practice.6. you should focus on increasing the duration and depth of your breath. and even to one or two times per minute. This phenomena of “connected arteries. decreasing to seven or ten breaths per minute.陈 氏 太 极 拳 推 手 技 法 4.
The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. then infusing Qi into the Dantian. the body should be relaxed. and Yi and Qi should move in the required routes. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. The whole process of moving Qi through Ren Mai and Du Mai. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . Du Mai starts at the perineum. more gentle. even and quiet. deeper. reaches the perineum through the Dantian and then connects to Du Mai. reaches the Bai Hui point through Wei Lü Guan. the difference being that Da Zhou Tian extends Qi to the lower limbs. For both. In Da Zhou Tian. the five sense organs internally gathered. and Yu Zhen Guan. Jia Gu Guan. The Qi of Da Zhou Tian originates from the Yong Quan point. except that the breathing in the former is longer. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian.from the tip of the tongue. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. all channels extended and unfolded.
Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. close your eyes and inhale.15). bring in the arms and place both palms in front of the abdomen (Fig.陈 氏 太 极 拳 推 手 技 法 4. a) Posture 1 • • • Shift your weight gradually to the left leg. then bring in the right foot so that both feet are a shoulder-width apart. 4. 4. then infuse it into the lower Dantian. 4.16 154 . Swallow Qi down with saliva and guide it down to the middle Dantian. 王 西 安 Fig. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. At the same time.15 Fig.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”.
separate the arms to the sides. 4. Then using the little fingers to guide the energy.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow.17). 4. fingertips pointing obliquely down. pointing the fingertips upward. finally placing them in front of the shoulders.18).17 Fig. 4. palms facing each other. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. 4. As the body lowers. 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.18 155 . lift both arms upright. swallow Qi and saliva and infuse them into the lower Dantian (Fig.16). 4. palms facing in (Fig.
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c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
陈 氏 太 极 拳 推 手 技 法
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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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are described below: 陈 氏 太 极 拳 推 手 技 法 5. 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. After humans evolved to the upright posture and started to walk. 王 西 安 161 . a short introduction of key Dang movements. This requires the left leg to be solid with the lower leg standing upright. Doing so over an extended period can have a positive effect in curing hemorrhoids. the weight distribution is 3:7. In ancient times. Ding Dang. womb prolapse and so on. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. For example. and it became difficult for vena blood to flow to heart. A brief introduction is provided below. womb and so on.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. the left knee and ankle vertically aligned to each other and the ground. Jian Dang and Tang Dang. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight.2. In Taiji practice. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. advocating contraction of the anus during physical exercise as a remedy. rectocele. Yuan Dang. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. This realization caused the ancients to suggest that “the ground door should be always closed”. To help you master correct Dang postures in routine and Tuishou practice. the positioning of the anus also needs careful attention. anus contraction should only be slight and done in a natural way.The Anus In the same way that the positioning of Dang is very precise.
there are many opportunities and responsibilities.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. innate talents. 5. As for practitioners. it is very difficult to correct bad practice habits solidified with prolonged practice. “closing in opening” and that “Dang should open in a full circle”. at the end of the Dan Bian (Single Whip) posture. These traditional teaching methods should be changed as implied by the adage. If a practitioner is advised to relax. the root of Dang should be relaxed. the right knee should incline outward.” Indeed. which means there will not be opening-closing power if he or she crouches in the Horse Stance.2.陈 氏 太 极 拳 推 手 技 法 In this way. 王 西 安 162 . when the right leg moves to the side. Hence. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. Some perform better than others due to learning abilities. and at this moment Dang should open in a circle so that both legs can support all parts of the body. energy in the legs is strengthened and the body is well supported. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. In traditional teaching methods. That is. “It is easy to teach but hard to change what is learnt. For example. This should be corrected at the earliest stages of learning. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. the body crouches as the right knee moves outward. 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.
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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陈 氏 太 极 拳 推 手 技 法
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Chen sTyle Taiji Tuishou CaTegoRies
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your opponent may respond defensively with Xiong Kao (Kao by chest). In this chapter. 王 西 安 168 . if you advance using Ying Men Kao (Kao diagonally to the front).陈 氏 太 极 拳 推 手 技 法 6. with attackers changing to defensive roles in an instant and back again without warning. then strike back with Jian Kao. For example. practitioners may master its secrets and principles with serious study. Tuishou is commonly divided into eight categories. if the opponent attacks using Jian Kao (Kao with shoulder). Indeed. While the combinations of Tuishou moves are infinite. For example. you can defend using An (pressing).1 Overview Within the Chen style Taiji routine. the attack-defense stances change dynamically. since both the attacking and defensive movements are interrelated and cannot be separated. we will describe how to apply these eight Tuishou techniques in sparring practice.
1. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5.6. which is regarded as the highest level of Tuishou.e.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. and any movements can be exerted by intention. normally a forward step then a backward step) 6. He Bu Tuishou with static footwork. Luan Cai Hua (Picking Flower. Shun Bu Tuishou (Tuishou with movable footwork. i. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. Dan Wan Hua (Coiling Flower with Single Hand. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . while Tuishou) 8. silk reeling in the shape of a flower) 2. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. Da Lü (larger scale movements) 7. Jin San Tui San (both parities advance and then retreat for 3 steps. where the the practitioners are no longer oblidged to the sequences or fixed routines. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps.
Si Zheng Shou (Peng. Bie. and not be limited to one or the other. i. Huo Bu (moving footwork) 3. novices should start by learning one set at a time. Lü.陈 氏 太 极 拳 推 手 技 法 6. feet placed together ) 7. Dan Tuishou (Tuishou with single hand) 2. Cha Bu (inserting steps) 6. as follows: 1.1. There are many categories of footwork techniques. Xuan Wan (rotating wrists) 4. Qie Zhang (palm chop) In static footwork. or Kao hand techniques. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. However. Dian Bu (stepping on toe-tips) .2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. Shuang Tuishou (Tuishou with double hands) 3. Bing Bu (step touch. Duli Bu (standing on a single foot) 8. Zou. Si Yu Shou hand techniques are always used. Ding Bu (static footwork) 2. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. these consist of the Cai.e. An) is usually applied. including: 1. During sparring. Ji.
In single practice. When cutting downward. Shuan (bind). one arm is extended horizontally sideways. with the forearm bent toward the upper arm at an angle of 450. 6. palm facing in. it is also applied to Gun (roll).1 Fig. when both players retreat after being mutually warded off.2.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. roll the chest slightly inward and lower the waist and shoulders. 6.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction.2 171 . 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. with the wrist lowered and fingers relaxed. The elbow must be dropped.2 TuishOu handwOrk Techniques 6. In this posture. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. the four fingers extended and joined together to form a slightly concave palm (Fig. 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. The roots of the fingers are relaxed.2).2. Da (meet) and Sao (sweep) movements. 6. 6.6.1).
As you rotate the hand downward or outward. where the raised hand lies above the middle of the upper arm. 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.2.4 Xie Tuo Zhan In this technique.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. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. For example. then reverse to the Ni direction when the hands arrive at his or her body.3 Fig. Xie Tuo Zhang is also applied in the process of Big Lü. 6.4). During sparring. when hands are rotating horizontally in a circle. 6. if the opponent executes Lü on you.4 172 .3). 6. one player may guide the other to reel first in the Shun direction. 6. 王 西 安 Fig. the power lies in the root of the palm. 6.2. the little finger is used to guide energy and draw inward toward the thumb. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. In this instance. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory).
and gradually press your hands toward the opponent. 6. separate them and switch to Cha Zhang.6. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. • In Luan Cai Hua (palms reel in non-predictable angles.2. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. as the hands insert downward. fingers slightly parted (Fig. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). 6. see above). This technique is called Diagonally Upward Cha.5). the hand is inserted upward or vertically/diagonally downward. insert your hand downward and rotate it in the Shun direction. Cha Zhang is widely used in Tuishou.5 Cha Zhang … Slanting Palm In this technique. for example: • When you rotate both hands in vertical circles. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. see above).5 173 . then lower your shoulders and drop the elbows.
This way.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. Fig. you can rotate your arm with the middle finger. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. and the little finger bending inward. the ring finger. When you guide your partner via Shun reeling to the front of your chest.陈 氏 太 极 拳 推 手 技 法 6. and your partner exerts An to your hand. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation.6).2.6 王 西 安 174 . 6. 6. while the thumb and the index finger form a “ 八” shape.
following the principle of ‘closing in opening’.7).3 TuishOu fOOTwOrk Techniques 6. 6.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. This knee is turned slightly outward to provide a frame for all parts of the body.6. following the principle of ‘straightening in bending’.3. the knee positioned approximately above the tip of the foot (Fig.7 王 西 安 175 . The toe tips point slightly inward. the Yong Quan point should be empty while the Dang is open with the intention to close. toe tips bent slightly inward. the sole fully touching the ground. In this posture. the thigh nearly parallel to the ground. The other leg bends with the intention to straighten. 6. 陈 氏 太 极 拳 推 手 技 法 Fig. One knee is bent so that the body is in a half crouch.
陈 氏 太 极 拳 推 手 技 法 6. 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.9). It is applied widely in Tuishou. if the opponent presses on any part of your body with his or her hands or arms. big Lü and Luan Cai Hua. 王 西 安 176 . 6.2 Hou Zuo Bu … Back Seat Step In this posture. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles). you can move your the weight back to transform their power by raising your toe tip and hence causing the heel to touch the ground naturally.3. toes grasping the ground.3 Qian Dian Bu … Forward Tipping Step In this step. straighten the front leg so that the back leg becomes the Bow leg. Position both feet fully on the ground.8). • This step is always used in Shun step. 6. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. the heel touches the ground with the toes pointing up at about 450 (Fig.8 6. knee bent slightly over the toe tips. When the weight is completely transferred. Fig.3. 6.
6.Fig. move your weight back and withdraw the front leg backward by stepping the toe tip back first. if an opponent applies Lü on you.10 177 .10). 6. followed by the sole then heel (Fig. and Luan Cai Hua For example.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü.3. 6.9 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
11). which now lies close to the ground.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. When the opponent applies Big Lü on you. 12). quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg. For example. This posture is applied to Shun step.e. 6. 6. Big Lü and Luan Cai Hua. 6. 6. 王 西 安 178 Fig. Lü applied through large-scale movements) (Fig.12 . Hence the name ‘Falling Step’. in the ‘Dragon sweeps ground’ form.陈 氏 太 极 拳 推 手 技 法 Fig. and is widely used in forward or backward movements (Fig. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground.
with the little finger guiding energy as it points to the thumb when it is drawn inward. 6. while simultaneously executing Kao on the opponent. This move is called Shun Ji Shun Fa (i. the shoulders guiding the elbows and the waist guiding the shoulders. with the other fingers slightly turned outward. In Silk Reeling technique.6. when the opponent executes Lü on you. enters the bone marrow through gaps in the scapula and travels down the arms. where it returns to its original position of circulation. In addition. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. power rises from the heels up the legs.13 179 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. Shun Chan means to spiral energy from the outside to the inside.e. The principle of Shun Chan is that with the elbows guiding the hands. you draw the opponent inward into your territory.4. exerting Ji and Na in confronting reelings). For example. spirals around the waist and shoulders. the term ‘reeling’ means to spiral energy.1 Shun Chan … Conforming reeling In Taijiquan. you can use Shun Chan to gather energy and edge into the opponent’s territory. in Bei Zhe Kao (Lean with back).4 hand Techniques in TuishOu reeling 6.
by using the waist to urge the shoulder.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. Here.15).4. the thumb gathers inward and guides the little finger.15 180 . 6. 6. Note: to apply this technique precisely. while the other fingers turn out slightly (Fig. roll your chest slightly inward and lower your waist. 6. In Ni Chan. Zuo Wan (descending wrist) technique is adopted (Fig.14 Fig. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent.4. shoulders and elbows. In horizontal circle rotations with single hand.陈 氏 太 极 拳 推 手 技 法 6. 6. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. 王 西 安 Fig. 6. Ni Chan is used to open outward.14).3 Shun Ni Zuo Wan Wrist descending in Shun and Ni directions This technique consists of lowering the wrist gradually during the transition from Shun to Ni Chan. the shoulders to urge on the elbows and the elbows guiding the hands. concentrate you energy in the wrist.
in case of single hand rotation in the horizontal circle. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. your right hand rotates at 90o towards the right side of body in Ni reeling.16 181 . 6. the Shun hand changes to Diao Shou (Hooked Hand). The wrist is drawn inward to form a Diao Wan (Hooked Wrist). Kao). then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. by holding on to the opponent by the hand. 6. and adhere to him or her. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Ji. Diao Wan is also widely applied in response to a Lü attack. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). Lie. while trying to ‘listen’.16). which is formed by pointing the little. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. to provide a closing and opposing force with the three fingers (Fig. • For example. Zhou.6. Lü.4. Cai. At this point. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi).
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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.
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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.
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Fig. 6.18 Fig. 6.19
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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.”
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solo pRaCTiCe in Tuishou
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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
Step the right foot forward. Relax the arms and hang them at the sides. 陈 氏 太 极 拳 推 手 技 法 7. so as to avoid empty stepping (i. palms lightly touching the sides of the legs. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. empty the Yong Quan point. straightening the neck and lifting the top of the head.2. relax the crotch and lift the right knee. 王 西 安 187 .2. then slowly roll down the rest of the foot to the ground. 7. Shift your weight slowly to the left leg. 7.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. Your step should be light.3). the left toes grasping the ground.7. heel first with toes pointed up. precise and full of intention of listening.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. stepping without thought) (Fig. in preparation for the right leg step forward lightly.e. Maintain the vertical axis.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. 7.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. As your weight shifts. eyes looking forward (Fig.2).1).2. 7. Continue relaxing the crotch. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg.
3 7. the left elbow and the right hand should move coherently in collaboration with each other.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. 7. 7.1 Fig. . relax the left arm so that the left hand hangs down.陈 氏 太 极 拳 推 手 技 法 Fig.4). While the right arm moves. 王 西 安 188 Note: in later movements. As the weight shifts. 7. Complete the movement by raising the right fingers to form the Li (erect) palm. right elbow and wrist.2 Fig. thumb behind the fingers (Fig.2. 7. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders.
2.4 Fig. 7.5). 7.5 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. 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. As you reel. 王 西 安 189 . 7.Fig. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.
The right forearm now moves transversely in front of the abdomen. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs.6 Fig. 7. When the right arm moves downward.6).7 7. 7.7).6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left.2. Step the right foot either flatly on the ground or with toe tips pointing up.陈 氏 太 极 拳 推 手 技 法 Fig. 7. At this point. 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. . The other fingers reel outwards in coordination with the elbow (Fig. 7. right palm facing down and wrist bending 450 inward using the little finger as a guide. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. the elbow in a slightly warding off (Peng) position in coordination with the little finger.
Then place the palm downward (Fig.2. Rotate the waist to the right. extend the right hand slightly forward. three Shun reelings and two Ni reelings. 王 西 安 191 . changing into Ni reeling. At this point. Shun. The 3600 rotation of the arm follows this sequence of changes: Shun. until it reaches the front of the right ribs.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. draw the chest slightly inward and relax the right side of the crotch. As the arm changes to Ni reeling. shift your weight to the right.9). then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. 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. 7.8). Ni. pointing the right knee slightly outward and moving it in a helix. Ni. power is most concentrated and exerted on the external side of the thumb and index finger. 7. followed by the hand. Shun.7 Part 7 • • • • Using the little finger to guide the energy. that is.2. bend the knees slightly to place the body in a squatting position.2. While the right arm reels. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. a 900 arc to the right side of body.7. Return the bent arm and the bow leg to their original positions (Fig. using it as a pivot to rotate the right shoulder rightward. 7.9 Part 9 • • Now using Ni reeling. 7.
three Ni reelings and two Shun reelings. the lower body follows. that is. when one body part moves then all other body part follow. Shun. Ni. that is. the reeling sequence being Ni. Ni. the arms rotate with the waist and the axis while the hand guides the energy.8 Fig. When you feel tired practicing on the right.9 • The left arm rotates from the left.陈 氏 太 极 拳 推 手 技 法 Fig. the upper body guides the lower body’s movement. 7. The movement of every part of the body should be continuous and synchronised – when the upper body moves. Practice alternating rotations with both arms so that there is a feeling of balance. The middle body moves in coordination with the upper and lower bodies. Practice until you reach a level where when one body part keeps still then all other body parts keep still. 王 西 安 192 . and ensure your body weight moves back and forth in synch with the body movements. practice on the left by switching to the left leg and the left hand. Notes In these horizontal-circle rotations. rotate the wrist. Relax the waist and shoulders. Shun. 7. all parts moving together collectively.
heel first with the right foot. lower your Qi. 7. with eyes looking forward (Fig. 7. with the rest of the foot gradually fully touching the ground. The whole movement is mainly guided by the rotating waist and relaxed shoulders. 7. It only requires vertial hand revolution and very small shifts in weight. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. palm slanting upward with intention to gently guide and draw in. then switching to 90o Shun reeling. Bend the left leg so that you squat slightly. Focus the eyes on the right palm (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 .10). • • • • • Keep your body weight on the left leg and step forward.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. drawing an arc of about 90o to the left. then turn the body to the left and raise the right hand in Shun reeling. Finally. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. Next.7. drawing an arc of about 180o which goes downward and then up to the right. switch to Ni reeling. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. relax the left side of the crotch.12).11). These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. Next. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice.
Practice rotating both arms in turn. 王 西 安 194 . Notes The single-hand vertical circle is not completely vertical but slightly slanted at an angle to allow you to guide and draw the opponent in. 7.10 Fig.12 • • When rotating in the opposite direction. Finally. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. then reel in Shun. 7. reel in Ni to the right at 90o.11 Fig. Vertical arm rotation is guided by spiraling movements of the waist and back.陈 氏 太 极 拳 推 手 技 法 Fig. 7. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward.
Raise the forearms 90o upward. in preparation for action (Fig. the forward shift of the body should stop once the palms reach their natural end position. Relax the left crotch and while focussing on the right crotch. This body posture is now one of holding and collecting.13). pushing both palms forward (Tui Palm) at the same time. toes relaxed and pointing downward (Fig.7.13 Fig. the palms should move forward at an inclined angle (see picture). eyes facing the front (Fig. 7. then raise the right foot. shift your the weight gradually forward. palms facing to each other.16).14). 7. 7. Also. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. 7. 7. Note: when applying Tui Palm. 7. otherwise the shape of the posture will be lost (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.15).15 195 . Bend the left knee to put the body in a crouching stance.14 Fig. Shift your weight gradually to the left leg. 7.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed.
7. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. 7. then lowering to the front of the abdomen. then pushing both hands forward. this time relaxing the right crotch and focussing on the left crotch.17 • • • Next.陈 氏 太 极 拳 推 手 技 法 Fig. Repeat the Tui Palm movement again. Practice this cycle. 7. shift your weight backward and separate both hands to the sides of the body. 王 西 安 196 .16 Fig.17). palms vertical.15) by drawing a circle by the sides of the body. imagining the hands seizing the opponent’s wrists by Diao (Fig. 7.
Raise the forearms 90o upward. 7.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. draw the chest inward.14).18 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. then raise the right foot. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. Grasp the ground lightly with the toes and face the eyes forward (Fig.19). in preparation for action (Fig. While raising the hands. palms facing to each other. stated as follows: Stand at attention with the body upright and relaxed. eyes facing the front.7.18). 7. lower the waist and shoulders. drop the elbows and sink the Qi downward. Shift your weight gradually to the left leg. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. 7. Bend the left knee to put the body in a crouching stance. This body posture is now one of holding and collecting. toes relaxed and pointing downward (see Fig.19 197 . 7.
the palms descend to the sides.陈 氏 太 极 拳 推 手 技 法 Fig. stopping at shoulder level (Fig. finish the weight shift to your right leg. 7. .20 Fig. As both hands separate upwards. after another small Ni reeling upward. extending the hands forward so that the left hand crosses over the inner side of the right wrist. push the crossed palms over the head in Ni reeling.21). At the same time. 7. Extend both hands forward in an ‘offering’ stance. 7.20).21 • • • • 王 西 安 198 • Next. both palms facing inward. Then. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. During this process. cross both hands slowly in Shun reeling. 7. continue to draw your chest inward. step the left foot on the ground and shift your weight forward (Fig. Next. palms facing forward. with the intention of supporting something upward.
Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. forearm. finger-tips pointing down. Closing form: palms continue to Shun reel. then hands. that is. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. so as to start a new cycle. Both hands then draw a downward arc to fall to each side of the abdomen. palms facing each other. palms cross together. You will feel the power after long practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . upper arm. shoulders. while weight totally switches to the left. the chest. only that palms in the latter move horizontally. strike out in succession to the sides so that the arms become a pulled bow. • • Now the left hand reels in Ni while the right hand reels in Shun.Note: as both hands separate outward. With body gathering.
• Stand at attention.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. palm facing forward. • As the weight shifts. Ji. heel first.23 200 . Note that one should practice with intention rather than by force. 王 西 安 Fig. with the foot gradually stepping fully on the ground. Open every body part to make your rotations natural and flexible. The key points are the same as those of solo Tuishou. 7. then bend it inward 45o. extend the right hand diagonally forward to the right.22 Fig. act as if sparring with a partner. eyes. Lü. thumb pointing down and the little finger pointing upward. Coordinate the movements of your hands. When practicing. palm facing in.陈 氏 太 极 拳 推 手 技 法 7. Extend the left hand transversely and place it on the middle of the right upper arm. body and steps. 7. and An. • Shift your weight to the left leg and lift the right foot to step forward.
7. Relax the right crotch and turn the body to the right. the arm opens like a circle. and so continue to Peng upward before executing Lü. Meanwhile. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. Shift your weight to the left slightly then to right.24 Fig. as the left hand moves inward in Ni reelings.24).22). lower the right shoulder and drop the right elbow. and the eyes look forward to the right (Fig. As the left hand rises. Next. 7. raise both hands in Ni reeling. shift your weight left and focus your eyes on the front of the right hand (Fig.• • • • • The left arm intends to Peng outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. 7. During this process. 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. focus your intention on meeting and holding the opponent’s hand. At the same time. the left hand ahead of the right. relax the left crotch.23).25 201 . 7. the wrist bent slightly inward and palm facing inward. Move the right hand in Shun reeling.
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. Peng and An are transitional actions executed in 王 西 安 202 . pushing it outward. Note: In this movement. As this happens. visualize your left hand pressing down on the hand of the opponent. Repeat the process.25). Execute An forward with both hands the palms facing each other about 33 cm apart. The right hand reels in Ni direction also with the intention to push outward (Fig. If the left leg is in the front. This is the same as the starting posture of Da Shou posture. At this point. 7. 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 right hand executes Peng. shift your weight forward to the right leg. alternating left and right sides.22). 7. You will also need to use your left shoulder to push and use the right hand to help press forward. an instant. The edges of the hands become power-exerting points. eyes looking forward.
7. outward. Lower the waist.26 Fig.26). • • • • Step forward with the right foot then shift your weight forward. sink the shoulder downward and drop the elbows. Hand movements consist of four Zheng hands: Peng. Lü. draw the chest inward.27 203 . Ji and An. Face the outer hand edges. Step the left foot on the ground with the inner side of the foot touching the ground. where the pushing power is exerted. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Keep the eyes looking to the front right (Fig. raise both hands to attack by pushing them to the front right of the body. In practice. 7. moving backward uses Peng and Lü hand movements. These actions drive two the hands forward. moving forward is combined with Ji and An 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. 7.7. As the weight moves forward.
Relax the left crotch after pushing and shift the weight to the left. Raise the right hand in Shun reeling. rotate the right hand slightly downward in Ni reeling. Note that Qi should not be allowed to float upward. 7. thumb pointing down and palm facing down. Bend the left leg to squat further and extend the right foot forward. The body moves forward following the shift in weight. Push the shoulder forward. withdraw the left hand gradually and place it on the middle of the right upper arm.29).陈 氏 太 极 拳 推 手 技 法 Fig. 7.28). Eyes look to the front right (Fig.28 Fig. As this happens. 7. tiptoe first. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body. toes pointing down (Fig. turning the right elbow out and upward. At the same time.27).29 • • • • • 王 西 安 204 • • • After the pushing attack. and in preparation for moving. 7. with the intention to close before opening. . 7. followed by the arm and the hand (Fig. As the arm moves. At the same time. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. shift your weight to the left and lift the right foot.
31). Reel the left hand first in Ni direction. 7. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. Eyes look to the left (Fig.which takes place in an instant.32). While the right hand switches to Lü. then shift your weight to the right. 7. Eyes look to the front left (Fig. thumb pointing down and palm facing forward.30 Fig. Raise the right foot and take a step backwards to the right. Eyes look to the front left (Fig. Next.33). As the weight shifts. raise the right hand quickly to push forward together with the left hand toward the left side of the body. The front push of the right hand provides an instant defense.Fig.30). The outer edges of the hands are power-exerting points. Next. Visualize sending the opponent’s right hand out to the left side of your body. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . raise the left hand in a spiral to form a Lü movement with the right hand. Then the right hand switches to Lü. Both hands are about 33 cm apart (Fig. then draw a circle downward. then in Shun direction downward to the left. 7. the upper and lower body form a balanced block of strength with the waist as the boundary. 7. 7.31 • • • • • • Relax the left crotch and shift your weight to the left. gradually squat the body.
7.32 Fig. until the left hand reaches the middle line of the body. take a step forward with the right foot.陈 氏 太 极 拳 推 手 技 法 Fig. Eyes look to the front left (Fig. the right arm then bends to 450 inward.33 • • • Both hands execute Lü from left to right following the body. 7.34 Fig. extend the right hand to the right front of the body following the right foot. 7. At the same time. As the weight shifts. 7. Raise the body gradually and slowly shift your weight to the left leg.34). 王 西 安 Fig. 7.35 206 .
7.36). thumb pointing down. 7.37 • • Simultaneously. place the left hand on the right upper arm. Note that the waist power descends to the left first then the right.36 Fig.39 207 .38 Fig. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. 7. 7.35). 7. Eyes look to the front right (Fig. 7. Eyes look to the front right (Fig.Fig. Then shift your weight slightly rightward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
7. 7. Eyes look to the right (Fig. 7.39). 王 西 安 208 . visualizing that you are pushing the opponent’s hand outward to the right.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. execute Lü downward with the left hand. raise the right hand quickly and exert An forward with power. Start a new cycle (Fig. Eyes look to the front right (Fig. As soon as both arms finish pressing forward. At the same time.37).38). Relax the right crotch and shift your weight to the right. Next. then move it out to the right. 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. move the right hand in front of the left hand quickly.
the only difference being that the extent of the steps in Da Lü is bigger. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Lü Ji and An. Lü. Bie Zou. Furthermore. It uses the combat techniques of the four hand techniques in corner directions – Cai. Lie. then the fives methods of solo Tuishou practice. It is not easy to practice Cai. One is Da Pu Bu. 7. Zou. beginners should first practise the routines. and Kao. The circulating of steps in Da Lü when practicing Peng. and Kao. the whole body will become stiff when you try to squat down in the big body movements.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. Kao with large-scaled body movements. Zhou. Bie. The other movements are the same as the movements in Shun Step (forward or backward step). The other picture demonstrates the big Frontward Bow Step. we will only refer to two main Da Lü postures as shown in the pictures which follow. If not. 7. whereby Player B executes Lü on Player A. a major weakness with which you cannot even hope to attack the opponent. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. literally meaning “big falling step”. Ji and An is the same to those in Shun Step (forward or backwards Step).41 209 .40 Fig. In this chapter.7. As such.
Lü. You need to rotate neatly when executing a step forward as the partner changes his or her direction. and also uses the Si Zheng Shou. 王 西 安 Fig. and An. In the Luan Cai Hua Tuishou practice. The body movement and gait should be neat and swift.42.42 210 . Ji. See how to execute Dian step in Figure 7. you should pay attention to the following points. and flexible.陈 氏 太 极 拳 推 手 技 法 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). It’s features include free movement with no fixed direction. Luan Cai Hua is also built on the foundation of Peng. This way you will not lose energy unnecessarily nor become stiff. precise rotation. 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. 7.
Do not just practice at fast speeds or you will lose your energy or get stiff. getting close to their upper body while causing them to raise their lower body or slant it. When circulating the four Zheng hand techniques (Peng. heavy but not stiff. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . and entice the partner to advance and show his or her weak points.In this technique. An). The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. and thus impede any progress in Tuishou. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. looking for the attacking opportunity. Your movements should be quick but not chaotic. 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. you feel the partner’s energy as you rotate. light but not empty and floating. It is not easy to apply Die Fa. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. When you apply Luan Cai Hua in Tuishou sparring. You should practice listening repeatedly. Ji. the only difference being in the stances of the body. Lü.
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 .
so you must strive to concentrate. An introduction to Tuishou pair practices has been provided in the following pages. Pair practice Tuishou improves combat skills. whereby your actions should be precise. In addition. pair practice should start slowly. the practice stance should start high. If possible. 王 西 安 214 . like a flowing river: smooth. development should follow the stages of San Shou to Zhan (coherence). lowering to mid-height then low stance. Pair Tuishou embodies the essence of Taiji Tuishou. Lian (connecting) and finally Sui (following). Nian (sticking). Like solo practice. pair practice becomes beautiful to watch.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. Lastly. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”.陈 氏 太 极 拳 推 手 技 法 8. I hope that the reader will use this to practice diligently and master the key points. try to choose a partner of similar level for pair practice. movements in pair practice should start simply before gaining in complexity. gathering speed in the later stages. moving as the partner moves. Faster progress may be made if your partner is proficient in Taiji. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. agile. similarly. then pair Tuishou may be described as “acting as if there is no partner although you have one”. flexible and without weaknesses. flexible and rapid. If both partners have Taiji proficiency.
an arms length from each other so that their fists touch when arms are outstretched. toes pointing slightly outward to form a 八 shape.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. Player B refers to the female practitioner dressed in red. gradually forming a front Bow Step.1 Posture 1 Both players stand at attention facing each other. These may be shortened to ‘A’ and ‘B’.2.8. 陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 215 . 8. Their bodies are upright. The distance between both right feet should be about 10 cm. arms hanging relaxed by the sides.1 Both players take a step forward with their right feet. 8.
8. eyes focussed on the right hands. . As both players draw this arc. the left hand can also be placed naturally along side the body. and his body crouches slightly to form a closing power. Fig.2. both players raise their right palm and extend it forward.2 8.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. Both players watch their hands throughout this step. A’s weight shifts backward. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. using the middle line of the nose as the boundary. Alternatively. B’s weight continues to move forward to form a single-hand An (pushing) power. The right hand extends forward with the left hand akimbo.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. The back of the palms touch each other. with the middle fingers at nose level. corresponding with the rotation of the waist.
3 8. 8. At the same time.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. then she guides A’s hand to the front of his abdomen. B shifts her weight gradually backward while her hand draws an arc following Player A. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8.4 217 .Fig. Repeat this cycle.2. then Ni reels 90o to the front of Player B’s abdomen.
before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. Player A guides Player B to move first in Shun reeling.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).陈 氏 太 极 拳 推 手 技 法 8.3.3. then then draws a 90o arc to the left. Both players then rise.5 8.3 single-hand verTical circle wan hua in pair pracTice 8.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation. . 8. both hands perpendicular to each other and eyes looking forward. Fig. the only difference being that here the Da Shou (meet partner with hand) position is higher.
Partner B relaxes the left crotch.3. During the above process.6 8. For example. guiding Player B to Ni reel 900 to his right side. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3 Posture 3 Player A relaxes his right crotch and turns his body to the right. turning to the right (B’s left side).Fig.7 219 . when A draws an arc to the right side. with eyes looking at the same direction. 8. 8. B always adheres to A.
Both players step forward simultaneously with their right foot. they lower their waists. While waiting. 王 西 安 Fig. with aim to form a front Bow Step. Player A raises two hands in front of his chest.1 Posture 1 Both players stand at attention facing each other. draw their chests inward and gather their ribs. placing them outside A’s hands. ready to move and attack if hands touch. Then Player B extends her hands forward.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. lower the shoulders and drop the elbows. heel first.陈 氏 太 极 拳 推 手 技 法 8.4. Both right feet start to uncurl to the ground. 8. eyes looking forward.8 220 . having first shifted their weight onto the left leg. Now both players wait in a defensive mode. toes turned up (optional).
4. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. As B’s weight moves backward. B’s little fingers “stick” to A throughout the process. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks. 陈 氏 太 极 拳 推 手 技 法 Fig. He stops pushing when his hands are 20 cm away from Player B’s chest. Here. In other words.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. her hands reel in Shun.8.9 王 西 安 221 . A’s weight shift to the right foot has been fully completed. As Player A pushes his hands forward. 8.
Then both players return to the original position. B moves her weight forward to form a Bow Step. Fig.陈 氏 太 极 拳 推 手 技 法 8. then separates Player B’s hands to the sides of her body at shoulderlevel. 8.10 8.4.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. He shifts his weight backward.4. While A draws arcs. She relaxes her chest as her hands separate.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. While Player A separates. B senses the speed of A’s pushing and separating power as her hands are tightly guided by his hands and separated by them to the sides. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. using the outer edges of his palms. 王 西 安 222 .
Fig.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 . 8.
陈 氏 太 极 拳 推 手 技 法 8. The positions of all hands are higher than the eyes. guiding Partner B to raise her hands. Fig. then step their right feet forward simultaneously. the weight for both parties starts to shift to the right. Both players extend and raise their hands in front of their bodies with Player B’s hands placed on the outer edges of Partner A’s hands. Now. all eyes look forward. and separate hands to the sides of the body at shoulder level. B has been shifting her weight to the left. Now. The two parties’ eyes always follow their movements. with the inner sides of both feet facing each other and 10 cm apart.12 王 西 安 224 8.1 Posture 1 Player A and B stand facing each other.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. 8.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward.5. draw a vertical circle outward.5. . A’s weight is all at the right foot.
5. 8. Both players’ eyes face forward.13 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. while he shifts his weight backward. 8.14 225 . and draw arcs to the lower abdomen. she shifts her weight forward to form a front Bow Step. Player A draws outwards while Partner B draws inwards.Fig. While Player B rotates her arms downward following Player A. his little fingers slightly catching Player B’s wrists.3 Posture 3 Player A switches to Shun reeling.
Both players can practice this in turn. and continues to move her weight forward. whether Player A separates B or vice versa. Player B follows Player A closely and feels his change. Repeat this cycle.5.陈 氏 太 极 拳 推 手 技 法 8. the body squats to prepare for openning. his hands crossing before the chest with both palms facing in.4 Posture 4 Player A continues Shun reeling. Note: The steps are the same. Both players face forward. Then Player A returns to the original position by Ni reeling and separating his arms outward. 王 西 安 226 .
the weight for both parties are both in the left. and then extend their right hands forward so they cross each other. 陈 氏 太 极 拳 推 手 技 法 Fig. eyes looking forward.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands.8. Both players then shift a little more weight to the right.6. backs of the hands touching. yet start to shift to the right. with the inner sides of both feet facing each other and 10 cm apart. then step their right feet forward simultaneously. 8. Now.15 王 西 安 227 .6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. Player A and B stand facing each other.
gradually switching from Peng (ward off ) to Lü leftward.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. .6. 8. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm.2 Posture 2 Player A shifts his weight forward. he places his right hand on the middle of B’s left upper arm.16 8. then extends forward to press against A’s left forearm. At the same time.6.陈 氏 太 极 拳 推 手 技 法 8. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. he places his left hand on the middle of the right upper arm. Her right hand presses Player A’s right hand slightly downward. then turns his right hand left in Shun reeling following the turn of his body. Fig. Player B places her left hand on the right upper arm of Player A as he moves. both of B’s arms form an An (Pushing) power. In this way. While the right arm turns. During this process. Player A relaxes his left crotch and moves his weight slightly leftward.
8.17 8. and executes Lü (roll back) again. Player A executes Lü on B’s hand and presses it downward. Player B switches from An (push) to Peng (ward off ).6.4 Posture 4 Player B executes Ji (press) on Player A. Repeat this cycle. shifting his weight forward to add more pressure. Partner A withdraws his pressing hand and places it on his own right upper arm. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig. Then Player B wards off Player A’s left hand upward. In response.18 229 . In response. thus returning to the original position.
7. then places his left hand on the middle of his right upper arm.陈 氏 太 极 拳 推 手 技 法 8.19 230 . and places her left hand on the middle of A’s right upper arm. Both players look at each other from the side.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. bending it 450 inward. placing it on the outside of A’s right leg. Player A raises his right arm as his right leg moves. Player B steps her right foot forward at the same time. Player B’s right hand crosses the outside of A’s right hand. palm facing outward. 8. Player A steps his right foot forward to form a front Bow Step. 王 西 安 Fig. A’s left hand then crosses with B’s left hand.1 Posture 1 Both players stand at attention. so that both knees touch (A’s inner knee and B’s outer knee).
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. Player B shifts her weight forward to double her pressing power. and switches both hands to double-hand Shun reeling to ward off outward gradually. Player B continues to move her weight forward when Player A applies Lü. he lowers his left shoulder and left elbow.3 Posture 3 Player A relaxes his left crotch first.20 8.2 Posture 2 Player A then relaxes his right crotch. and moves his weight leftward. 王 西 安 231 . Both players look to the front and gather themselves to prepare for futher movements. At the same time. turns his body to the right. raises his left hand. and then wards off Player B’s left hand upwards. Both players look to the front. This switch from Peng to Lü happens in an instant. Simultaneously. 陈 氏 太 极 拳 推 手 技 法 Fig. executing Lü (roll back) with his right hand.8. 8. he places his right hand on the middle of B’s left upper arm. shifts his weight slightly to the right.7.7. As Player A’s body turns right.
When Player A presses downward. then pushes her left hand rightward. At the same time. with the aim of getting her to fall to his right side.陈 氏 太 极 拳 推 手 技 法 Fig.21 8. 王 西 安 Fig.7. 8. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. he presses Player B’s left hand downward to the front of her lower abdomen. forming an An force.22 232 . 8. with the coordination of his right hand.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. A then extends his left hand up and forward and presses the middle of Partner B’s right hand.
王 西 安 233 .8. 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.6 Posture 6 Player A shifts his weight back to the left leg after pushing. At the same time. her right crotch relaxes and she shifts her weight to the right. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü.5 Posture 5 Player B’s left foot steps on the ground. his right hand switches to Ni reeling to force Player B to step backward. At the same time. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. In this move. Player A moves his weight first to the left and lifts his right foot quickly to step forward. then her foot gradually steps on the ground fully. 8. A’s upper and lower body move as one.7. As Player B executes Lü.23 8.7. 陈 氏 太 极 拳 推 手 技 法 Fig. tiptoe first. and his forward push corresponds to the hardness or softness and speed of B’s Lü power.
24 8. Both players look diagonally to the front. Both players look to the side at each other. shifts her weight leftward. Simultaneously. B also places her left hand on the middle of her right upper arm. Player A places his left hand on B’s right upper arm.陈 氏 太 极 拳 推 手 技 法 At the same time. In response. 8. to form Ji (press) power with her right arm. Player B wards off slowly outwards with both hands in Shun reeling. Fig. . B steps forward in synch with A’s guiding hand.7. shifting her weight gradually rightward. then takes a step forward with her right foot. While this happens. and steps within A’s left leg so that their two knees connect.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. palm out. then pushes Player B’s right hand first down then left using the pressing power of his left hand. Player B relaxes her left crotch. turns his body slightly left and shifts his weight slightly leftward. so as to form Peng and Lü with both of his hands.
26 235 . Simultaneously. B also places her right hand on the middle of A’s right upper arm. At the same time.25 8. then raises her left hand in an upward Peng on A’s left hand. 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.7.Fig.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. 8. then switches her left hand instantly from Peng to Lü. Player B lowers her left shoulder and left elbow.
At the same time. then to her left. Then with her left hand. As Player B pushes A’s left hand downward. she presses Player A’s left hand first down to the front of his lower abdomen. 8. then raising his left hand upward onto B’s right upper arm to warding off (Peng). A responds first by flowing downward. His right hand then comes into contact with B’s right hand.7. Player A continues to shift his weight forward. then quickly forms a pushing power towards B. 王 西 安 Fig. Both B’s hands work together to form an upward pressure pose.27 236 .陈 氏 太 极 拳 推 手 技 法 As this happens. then withdraws his right hand to place it on the middle of his left upper arm. Both players look to the sides. Both players look diagonally to the front. In this instance.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. she presses forward on the middle of A’s right lower arm. both A’s arms form an outward Peng power. 8.
leading to increased exposure to attacks. Both players should defend and stick to defend their own territory. relaxes his left crotch.10 Posture 10 Both players keep moving and rotating.8. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. 王 西 安 237 . Player A steps his left foot on the ground. 陈 氏 太 极 拳 推 手 技 法 Fig. Player B shifts her weight first to the left. In response to A’s Lü. 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. 8.7. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. following A’s Lü power. taking care not to go beyond their territory as this would mean that the transferring and changing of movements would not be as quick and flexible. He moves in Lü until his left hand reaches the mid-line of his body.
both players return to their original positions.25.陈 氏 太 极 拳 推 手 技 法 8. 8. her two hands forming a Lü posture.11 Posture 11 After pushing forward. and are ready to start a new cycle. Both their knees connect. Player A places his left hand on the middle of his right upper arm. 王 西 安 238 . her right hand changes to Ni reeling to force Player A to step back. At the same time. palm out. Player B shifts her weight backward to her left leg. As B shifts her weight backward. tiptoe first. Simultaneously. foot gradually steps fully on the ground.26. At the same time. B places her left hand on the middle of A’s right upper arm. Lü.7. 8.28. shifts his weight leftward. as well as an accomplishment of one cycle of Peng. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. The rotating methods are the same as those on Figures 8. Both playesr look diagonally to the front. You may have found that. one full cycle consists of one step forward and one step backward. and 8. Ji and An. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. Finally. to form a Ji power with his right arm.27. A relaxes his left crotch. for both of the two players.
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. which is aimed at reinforcing your lower body stance and leg power in this technique. This technique consists of larger scale body movement.29 王 西 安 239 . In this low body movement. and is based on Shun Bu Tuishou. Bie. which is Cai.8. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground.8 pair pracTice in da lü TuishOu (large scale lü TuishOu) Da Lü Tuishou pair practice is the fourth technique of of Chen-style Taiji Tuishou. 陈 氏 太 极 拳 推 手 技 法 Fig. 8. you should combine Si Zheng Shou practice with Si Yu Shou.
Gun Shuan (roll and seize). use your elbow or Kao (shoulder strike) to attack when you find a weak point. the opponent cannot discern your target. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). Shuan means to put an arm across the chest like a locked door bolt to protect against attack. Gun Shuan is an extension of Da Sao. With this method. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. nor the location of your body weight. During combat. If you choose not to attack under some circumstances. Sao means to sweep or clear away. Instead of sweeping the arms horizontally. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). depending on the circumstances. or power direction. Only this way. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. reel them in Shun and Ni directions.陈 氏 太 极 拳 推 手 技 法 8. so as to transform the opponent’s power. From this position. Bi Ya (push and press) and so on. push and press against the opponent to force them into a defensive mode.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. 王 西 安 240 . try to feel the Gongfu level gap between you and your opponent by listening. can you win consistently. left and right. In Da Sao. up and down.
you can advance two or three steps to gain a territorial advantage. Your footwork should be based on the speed. 8. 8. These are the main methods and purpose of Luan Cai Hua pair practice.30 陈 氏 太 极 拳 推 手 技 法 Fig.Your footwork should be coordinated with your handwork.31 王 西 安 241 . flexible. Actually. This is an example of the Die Fa. there are no restrictions in the application during practical body combat. which you think harmful to your opponent. coordinated with Shang Long Xia Ti. agile and swift. if the opponent retreats one step.32 Fig. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). direction and angle of changes. Apply Ti (lift) and Long (holding close) unpredictably and precisely. Your Dian Bu should be light. Fig. For example. 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. 8.
While the Taiji form has undergone many changes through the ages. At its foundation. the philosophy of Taiji attempts to explain the workings of the universe.Other books by INBI World: OLEG TCHERNE philosophy of Taiji The philosophy of Taiji was developed in China at the height of the Daoist era between 700 bc to 200 ad. through Taiji forms and postures. 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. our world and the human body through the interactions. For this reason. opposing and complementary. Sun and Wu Styles. that is. Earth or Human realms. much of the theory in this book is based on the guidelines written by Yang Chengfu. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. one of the pre-eminent representatives of Yang Taiji family. culminating in the modern-day Chen. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. . Yang. Taiji Philosophy is most easily expressed and understood through the use of body language. of two fundamental forces: Yin and Yang. According to this philosophy.
including his meticulous inscriptions for over 400 illustrations. www. and a referential resource for Taiji instructors and practitioners for generations to follow. this tome was intended by its author to be both the first ever written repository of Taiji lore. A work of intense scholarship which took over fourteen years to complete.CHEN XIN The illustrated Canon of Chen Family Taijiquan “The Illustrated Canon of Chen Family Taijiquan” is universally acknowledged by the Taoist community and Taiji practitioners as the seminal sourcebook of Taiji philosophy and techniques. 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.com .inbiworld.
Henan Province. China. What is the Chen Changxing - Chen Village Restoration Project? A. Who was Chen Changxing? A. founder of the Yang style.com . Q. Wenxian.Chen Village Restoration Project • Q. Q.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. How do I purchase calligraphy or make a contribution A. Q. How is the project being funded? A. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. www. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan.
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