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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 .
Atsuko Noguchi January 1998. we believe that Taiji. indubitably a result of the efforts of Taiji followers in both countries. Indeed. Tokyo. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. newly written by Master Wang Xian. his high disciplinary standards and outstanding martial arts techniques serves as an inspiration to all Taiji learners in Japan and we greatly appreciate his tremendous contribution to Sino-Japan Taiji relations and the spread of Taiji knowledge all over Japan in years past. I look forward to Master Wang’s future works with great enthusiasm. an impressive feat of concentration and energy considering Master Wang’s teaching workload. More than ever. belongs not only to China but to the rest of the world. as an expression of the profound spirit inherent in all human beings. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. In the spirit of Taiji’s original meaning. ‘to exist everywhere.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. One of the finished manuscripts resulted in this book. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. to consist of everything’. is to be published.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
................................... Misleading and Transforming Techniques ............................ Dongjin – Realization of Energy ............................... Feet Practice .................................................................31 9................................. Tuishou: the Only Criterion to Judge the Gongfu of Taiji...............................................34 10.......................................25 6......................................................23 5...........................................................................3 Tuishou Practice – Going Inward............................. Introduction .................................................................................................. Na (Seizing) Practices .40 3.............................4 The Core of Tuishou ....................................................................... 4............................. Opening and Closing .................................. Kao (Push) Practices..... Energy Explosion ..... Na (Seizing) Techniques ......................... Jietuo (Escape) Practices..................................................................................105 9..........................................................29 8......................63 5............................... 3...............................................84 7............................................ Fist Practice ...............................................................97 8....................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix .......Table of Contents Chapter One: Introduction 1........................ Lian Sui Energies ............35 Chapter Three: Single Form Practice 1.18 3..................................................... Step by Step .........................72 6.................... Ti (Raising) Energy ................38 2......... Reeling Silk ....................................................................................................................................................................... Elbow Practice .................. Listening to Energy ...................................... 2. The Relationship Between Three Stages of Taijiquan Practice and Tuishou ......................10 5...16 2.......... Zhan Nian Techniques.................................... Palm Practice .................................................................................................................................................. The Origin of Taijiquan Tuishou ......21 4...........13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1.....................................................26 7................................................................................................................................... Leg Practice ................55 4.............
.......................................... Solo Double-hand Flat Circle Wan Hua ........................179 5........... Introduction .................... Kai He Zhuang (Opening and Closing Zhuang) . 157 Chapter Six: Chen Style Taiji Tuishou Categories 1........................................ Introduction .... 183 Chapter Seven: Solo Practice in Tuishou 1......227 7...........................146 6.........................................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1...... Hunyuan Zhuang (Circle Posture) ................................... San Ti Shi (Three Postures)............................................................................230 8...........................132 2.................................224 6....................................................................................................210 Chapter Eight: Pair Practice in Tuisho 1............................................................... Single-hand Horizontal Wan Hua in Pair Practice ...187 3............186 2................... Tuishou Footwork Techniques............ Chan Si Zhuang (Reeling Silk Posture) ..................................................................................................................... Shuang Shou Li Yuan Wan Hua...................... Solo Wan Hua .........................175 4..214 2..........................154 Chapter Five: Practice for the Buttocks and Crotch ........................................... 215 3..203 8................ Shuang Shou Ping Yuanwan Hua ...... Solo Danren Da Lü Tuishou ..........................................................................................................................240 王 西 安 x ..........................195 5......................................... 133 3............................142 5.... Pair Practice in Luan Cai Hua Tuishou............................................ Introduction ..........................................149 7.... Pair Practice in Da Lü Tuishou ............................... 138 4..........................................................209 9...................... Wu Ji Zhuang (Wu Ji Posture)............................ Hand Techniques in Tuishou Reeling...................................168 2..... He Bu-Tuishou ............218 4....................................................................................193 4.... Solo Luan Cai Hua Tuishou .................................. Shun Bu Tuishou .................. Single-hand Vertical Circle Wan Hua in Pair Practice .............. Classifications of Tuishou .......................................................... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ..................................................................................... Tuishou Handwork Techniques .................. Solo Tuishou With Static Footwork ..........220 5........197 6.................. Solo Double-hand Wan Hua in a Vertical Circle ..........200 7.............................................. Solo Ping Yuanwan Hua ..171 3. Tuishou Steps ....................................... Pair Practice in Shun Bu Tuishou...............................................................239 9...................................................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
With the accelerated pace of modern life. is a practical combat technique based on grabbing. As it is not stressful to the body. Wenxian County. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. gender. was the creator of Taijiquan and 9th generation head of the Chen Family. location or access to equipment. Chen Wangting. (also known as Zouting) was a famous martial arts master.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. catching. sword and stick routines. agility and flexibility. it helps maintain fitness. Taiji Tuishou practice is not restricted by a practitioner’s age.1. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. According to the book. transforming. reducing illness and prolonging a healthy life. in the period between the Ming and Qing Dynasty. In doing so. Chen Wangting. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. the ‘Book of Changes’). throwing and striking. As a combat techniqiue. he drew on the theories of the Yijing (I Ching. originally known as Jieshou or Dashou. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . China. Its creator. Henan Province. it helps build health and defence as well as to develop a sensitivity to movement. and he was recognized as the creator of Chen Family boxing. as well as the principles of Yin and Yang. and will continue to do so in years to come. ‘The Family Tree of Chen’. Tuishou.
sTep-by-sTep To practice Tuishou. throwing. followed by the double hand horizontal and vertical practice. hard/ soft. you must know its significance. with greater efficacy and subtlety. Initially. Become familiar with the single hand horizontal and vertical practice. to the Deity’. Follow the circling movements with the whole body. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate.2 TuishOu pracTice – gOing inward. and do not disconnect or oppose your partner’s energy. Less well known is Tuishou’s other application as a technique for internal transformation. from the realization of Jin. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. You will not realize inner transformation. A Taijiquan proverb pertains also to Tuishou. such as grasping. to the realization of Jin. an athletic activity based on mutual pushing. catching. you will be able to release explosive energy to both small and large targets. pacing your learning step-bystep. Literally. and striking. 王 西 安 4 . listen to each other’s energy flow. As you reach the level of adept. nor will you be able to intuit your opponent’s energetic intention. so much that you will be able to apply combat techniques. Relaxation is fundamental. Tuishou translates as ‘push hands’. or appreciate the interplay of the slow/quick.陈 氏 太 极 拳 推 手 技 法 1. Tuishou practice should be soft and modest. intuitive and subconscious. ‘From the familiarity of forms. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. With sustained practice over a period of time. principles. and what it consists of. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. transformation is the basis. that is. enabling you to throw opponents meters away without hurting them. be relaxed.
you will ultimately enhance your health and combat techniques. In solo practice. Practice makes perfect. your intention and commitment must be deeply held. combining your heart. force and speed in your actions. As long as you practice persistently and make progress. but never practice just in order to practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . imagine a partner practicing or competing with you. Skill arises from consistent and accumulated practice. be calm and concentrated in your demeanour. mind and spirit with determination.Remember that ‘inner listening’ is the one essential skill required to improve your technique. To cultivate ‘inner listening’.
At a more advanced stage.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. The thirteen forms are: • Ward off • Roll back • Press • Push • Pull down • Split • Elbow strike • Shoulder strike • Advance forward • Retreate back • Look backward • Gaze forward • Central equilibrium Peng Lü Ji An Cai Lie Zhou Kao Jin Tui Gu Pan Ding 王 西 安 6 Tuishou flows seamlessly between the application and combination of opposites.陈 氏 太 极 拳 推 手 技 法 1. You will learn to follow your partner’s intention and forget your own. follow) and Chansi Jin (Reeling Silk). your partner’s weight. Qing (light) and Zhong (heavy). gathering or exploding. while its theoretical basis builds on the philosophies of Yin and Yang. Movements alternate freely between Gang (hard) and Rou (soft). which are also the essential elements of Taiji. and so on. with the lightest of touches. continue. adhere. speed. Nian. Kuai (quick) and Man (slow). Sui (stick. Tuishou practice is based on thirteen ‘forms’ or energies. you will develop the capacity to subconsciously anticipate quick or slow changes. Lian. actions to the left or right. attacks or retreats. opening or closing. upward or downward movements. . When you can control these energies within yourself. it will enable you to feel. distance and direction of energy.
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. ‘follow slow attacks unhurriedly’. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. it is the force of friction that enables you to hold and seize their arms etc. stretching. ‘if the opponent does not move. move before they do’ etc. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. expansion. 王 西 安 7 . ‘if the opponent moves slightly. don’t move’. concentrate on one direction at a time. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. this energy refills automatically to its original ‘full’ state. or other deformation. 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’. be calm and relaxed To release bursts of energy effectively. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. Like a balloon whose air has been exhausted.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy).
yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. push or strike your opponent you do so without alerting them in order to capture their energy. no matter how hard they press. I can conquer a force of a thousand jin with a tiny force of four Liang. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages.陈 氏 太 极 拳 推 手 技 法 As stated in the General Song of Taijiquan by Chen Wangting (also known as the ‘Song of Taiji Practitioners’): “…remembering the principle of following. Even if attacked by a monster. I perform strictly to the principles so as to make me unassailable. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. whether ascending or descending. none of your opponents can defeat you. I always follow their intention. push or strike. The canon of Taiji teachings is rich with such sayings. 王 西 安 8 . Using this. and is worth remembering.” This technique. the 14th generation master. also states: “No one knows when I gather or stretch. 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).” Chen Changxing. results in the shaking off of the opponent’s upper body and lifting of their lower body. when you move forward in your turn to press. Similarly. I follow my partner. whether they strike or twist. utilizing the techniques of Kao.
the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. In order to inherit and develop this Chinese cultural heritage. Here. 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 . 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. As a science. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. Only one with five Yin and five Yang is called adept.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. requiring us to further our exploration and improve our practice of it. One with four Yin and six Yang is among the group of the adepts.
‘three-yin seven-yang.陈 氏 太 极 拳 推 手 技 法 1. ‘Chen Style Taiji Laojia’ (Old Routine). Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. Dong Jin (realizing the inner energy) Qi drives outer form. The three stages of Taijiquan are: 1. Zhong Quan (medium circle) At this stage. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. 2. still regarded hard’ turns into ‘fouryin six-yang. 2.4 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. Correspondingly. as stiff as a stick’ evolves to ‘two-yin eight-yang. one comes into the group of the adepts’. with fuller details available in Chapter Two of my book. 3. . Zhao Shu (familiarity with the forms) Outer form drives Qi. is San Shou’.
one is regarded as a Deity’. in addition to a diligent assimilation of knowledge. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). Following a correct program of practice as outlined above.3. an adept may say. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. at the first stage. the complete fusion of external form and internal spirit. that is. enjoy a feeling of lightness. random alternations between states of energy gathering and releasing within a relaxed and elastic body. as well as the combination of the respective techniques applied in the big. That is to say. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . Note that ‘no circle’ denotes a state of subtlety and skilfulness. and does not mean total stillness. along with the Tuishou practice of Zhong Quan (medium circle). and be able to achieve constant internal changes between Xu and Shi (void and solid). At the second stage of Dong Jin (realization of energy). We must pay attention to different methods during different stages of practice. medium and small circles. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). At the third stage of Shenming (deity). The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). that is. all parts of the body become as highly sensitized as finger tips so that when competing. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. By this stage. along with the Tuishou practice of Da Quan (big circle). possess abundant internal energy.
if you don’t make efforts to go forward. This is not unattainable. as our ancestors tell us.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void).” 王 西 安 12 . even though I don’t know how I do it’. “Taiji practice is like rowing in the river. Also known as ‘Five-Yin Five-Yang’. you surely go backwards.
Skilled practitioners rely on a highly developed sense of touch. nor is it just a matter of pitting one’s physical force against others.5 TuishOu. Nevertheless. Tuishou develops one’s sensitivity to others. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. meaning ‘loss of energy’. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. 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.1. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. Ding meaning ‘stiff resistance’). Without the latter. It simply requires practitioners to have sufficient physical force for competition. Remember too where your weight is placed to maintain control of your centre of gravity. When forces are equally matched during competition. However. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. hence it is essentially a competitive activity. no techniques can be executed. 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. tough energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . ‘thousands of Jin’ (i. four Liang defeats thousands of Jin’. In other words. ‘Weak side strikes strong side. While appearing deceptively easy. softness can break through hard.e. the stronger force) also can defeat the weaker force. Hence. These reflexes are faster than thought and only come with constant practice. 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 also the key criterion against which one’s level of Taijiquan Gongfu can be measured. It is this dynamic that we need to explore during practice. This is called.
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 .
During Tuishou sparring. one’s force is injected into the marrow. no matter if the changes are in the opponent’s rotation. adhere. Similarly. the skin. when an opponent touches one’s fine body hairs.’ 王 西 安 16 . continue. a practioner’s body can react instantly with great accuracy and flexibility. The entire body surface of a high level practioner is highly sensitive. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. Hence the saying. I know others and sweep all enemies aside. At this stage.1 lisTening TO energy In the context of Taiji and Tuishou. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. ‘Without being known. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. One’s skin is the key weapon. sensing through the skin enables reaction in any manner within the rules. position and magnitude. On receiving these signals. What is listening with the skin? It means following the command of the heart and mind. With your skin. and a highly-tuned awareness of sensations in the heart and nerves as well. follow) as fundamentals.陈 氏 太 极 拳 推 手 技 法 2. a rise or fall in height or changes in weight. 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. the act of ‘listening’ has profound resonances. alluding not only to listening with the ears. Listening can be divided into three areas: listening with the bones. her changes in rotation. her body light and flexible. feel your partner’s movements. but also with the eyes. allowing both body and mind to enter into the level of deity and transformation. with the skin and with the fine hairs on the body surface. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). filled with abundant internal Qi. squeeze and press. and taking Zhan Nian Lian Sui (stick.
let alone the attainment of energy for combat. While the majority of practitioners are able to listen with the bones. emptiness. that is why it destroys the strongest of enemies”. until it is too late to repel danger. As Sunzi Bingfa says. which is essential for constant adjustments to frequently changing circumstances. slow. descending. blood and breath. where every knot of one’s body opens and stretches without crude force. special attention should be paid to ‘the intervals of fastness and slowness’. listen without hearing. making all one’s muscles stiff. You will look without seeing. ‘descending Qi and steady steps’. very few achieve the ability to listen with the skin. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . ‘clear manifestation of emptiness and solidness’. Without this preparation. In all this. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. so a practioner cannot generate energy for sparring if he or she is unable to listen. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. Failure to do so will cause one’s energy to remain stuck in the chest. opening and closing (快、慢、沉、稳、虚、实、 开、合). your judgement confused. leading only to failure. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. listening would be impossible. calm. Listening is essential to Tuishou. How good it would be to attain this level. Just as a deaf person is unable to comprehend a conversation as he cannot hear. Your reactions will become slow. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. your listening untrue. you fight back. Only through accumulated practice can one’s sensations detect the smallest changes. defending and attacking blindly. rising to the upper body. “The most super-human strategy is formless and soundless. Nervously. solidity.
Ba (pull out). you cannot realize it. length. An (press). Fa (引yin – lead. await them. that is.陈 氏 太 极 拳 推 手 技 法 2. Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. Meng (sudden). Ba (seize by force). Gou (hook). Be warned that mistakes will occur on this learning path. 王 西 安 18 . Li (leave). Jia (stiff ). Even for those who achieve this skill. Dang (block off ). magnitude and hitting point. Zhe (hide). Realizing energy is based on listening. Ke (knock). Failure to overcome these shortcomings would be to fail to realize energy. new challenges such as ‘being too fond of competing’. Zhi (straight). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Shan (dodge or flash). Pai (squeeze out). 拿na – capture. 化hua – change. You may find yourself being too stiff (Jiang). Ya (push down). Zhuan (cheat). vertical axis and flexibility. Bo (move with hand). We call such shortcomings. Shi (tight). Hua. Di (resist) and Gun (roll). Zhan (chop). this skill may eventually be attained with diligent practice and a good teacher. Qin (intrude). While beginners may find this difficult to achieve. the ability to circle and the principles of Zhan Nian Lian Sui. Lou (hold). 发fa – explode) at the appropriate opportunity. Teng (jump). Qi (insult). It is the ability to note present or potential changes in emptiness and solidity. direction. straightness and curvature. Peng. Without ‘hearing’ the energy of one’s partner. your posture too straight (Zhi). Duo (escape). you cannot note any of the above changes in the oponent. Ting (stick out). Hun (mix up). speed.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Gua (hang on). Ji (hit). Cuo (rub). “faulty palms” or “faulty body”. hardness and softness. Tui (push). Ling (pressing). transform. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. your energy too resistant (Ding) or being lost unnecessarily (Diu). Ying (stiff ). Na.
says in a verse from his book. ultimately. look around and maintain an upright axis during Tuishou practice. Concordant with the adage that ‘external forms are the method and the pathway’. hence its continuing ties with Tuishou and. Ultimately. is misleading and does not take into account its fundamental role across the Chinese martial arts. An. In fact. Cai. Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . Zhou and Kao). jumping. Ji. striking. As Chen Changxing. rather than use them as disparate forces to enhance one’s attacking prowess. When attacking. I always keep remembering to follow their intention. Lie. the poplular stereotype of Taijiquan as a non-combat. these eight techniques form the method for Tuishou. Sanda can simply be taken as a higher evolution of Tuishou. ‘The Taijiquan Formula’: No one knows when I gather or stretch. relaxation and health practice for the old and infirm. I follow my partner. form and quality of Tuishou. no matter if they use the technique of Kao or twist. Whilst all Chinese martial arts possess unique characteristics. angle. with Taijiquan. which is used not only in Tuishou. Whilst acknowledged as a combat technique in its own right. Sanda complies with basic Tuishou principles. changing one’s centre of gravity and flexibility) in synchronous movements. developed from further transformations of Tuishou routines. and shares many common principles with Sanda (free sparring). In effect. transforming. twisting. they share the common practice of ‘realizing energy’. 14th generation Taiji master from the Chen family. grasping. Hence. and also in one’s facilitiy with the eight energies or techniques (Peng. but also in the combat arts and and Sanda (free sparring). the Tuishou practitioner must aim to apply these techniques (seizing.The practice for ‘realizing energy’ also tests one’s position. 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. utilizing the techniques of Kao in spiralling. falling. Tuishou is the combat application of Zhan Nian Lian Sui. dodging.
“From the familiarity of forms. to forget about one’s own intentions and follow the opponent’s. Li. leading to a wider understanding of the profound benefits and applications of Taijiquan. In addition to applying Master Chen Changxing’s advice. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. that is.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. The third. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. Again. fourth and fifth sentences refer to the application of Taiji Sanshou. the Chinese martial arts have evolved into health and fitness promoting practices. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. until I come to the level of Deity”. this verse confirms Taijiquan as a profoundly practical Martial Art. press and hold back. to act naturally and follow one’s intention. we can clearly see that in all movements. ward off. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. that is. Indeed. step by step. ‘listening and realizing energy’. and horizontal Cai are also irresistible. With the development of modern weapons. As mentioned. The attacks from me by twisting. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. strike. Chen Xin once said. The author stressed the importance of ‘follow’. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. The second sentence of the verse means to follow the other partner’s intention while circling them. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. push or press. Hence. adaptable to both Tuishou and Sanshou. to the realization of energy. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . Everyone knows how to hook.
and come to realize the laws of movement and force. 2.” Zhan literally means ‘stickiness’. Conversely. Zhan Nian energies work as a pair. extent. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . This ability comes through great patients and a life-long perseverance of effort through the three stages. and its natural and intuitive use. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. Ultimately. on reaching the final stage of ‘deity’. A practitioner. Nian means to chase and follow one’s opponent. magnitude. with which one’s opponent will find difficult to escape. Through reeling-silk practice. Tuishou practice cultivates the capacity to know others. this results in a deeper and more precise understanding of energy. Whilst it is said that form practice cultivates a capacity to know oneself. the adhesive force that allows a practitioner to become strongly attached. to one’s opponent. in this way maintaining the upper hand at all times. It is commonly used in attacking strategies. so that he finds it hard to escape. Only with the awareness of both oneself and others can others be conquered. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. while Tuishou exposes the quality of Zhan Nian techniques. like glue. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. that is. At this point. the first being ‘familiarity with form’ and the last being ‘realizing deity’.3 zhan nian Techniques Zhan & Nian are forces directed forward. Zhan Nian techniques develop one’s capacity for high precision. will be able to instantly sense the delicate changes in the movement. “Form practice is the essence of Zhan Nian training.effectively. This is why it is said. capturing and transforming his energy and using it to attack at the first opportunity. direction and the position of a partner’s energy flow.
and so on. During Tuishou. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. Ultimately. one can never accomplish quality ‘chasing’ (Nian). ‘I move before them on feeling their slightest motion’.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). ‘Fast reactions to fast attacks. and then through the entire body. When Zhan Nian techniques are applied. Once the whole body is enveloped. Not an easy task for ordinary practitioners. but certainly achievable for diligent practitioners with good teachers. despite prolonged practice. victory or defeat is decided in an instant. flow up the arms to the shoulders and back. 王 西 安 22 . continuous and diligent practice. and forget my own’. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. as reflected in their stiff bodies and tense. inflexible muscles and joints. beginners find Zhan Nian energy difficult to comprehend let alone detect. but even many long-term practitioners find total understanding or realization elusive. Understandably. Zhan Nian energies can be detected by sensations that start at the palms. 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. This is why it is said that at this relatively high level. especially those who. ‘I win by striking after the enemy has struck (My fist starts late. these techniques will lead the opponent into faulty moves. slow reactions to slow attacks’. yet arrives at the hitting point earlier than the opponent)’. an internal energy manifesting externally. have failed to attain high proficiency in the art. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. It is Zhan energy that envelops the body. the practitioner can exert Zhan Nian forces towards the opponent. ‘I don’t move if they don’t move’. Simultaneously. as indicated by these teachings: ‘Follow my partner’s intention.
so that ‘as one falls. the opponent cannot escape because if one follows closely using Zhan Nian.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. and no chance to escape. that is. including consistency. one observes and reacts to the opponent’s Zhan Nian techniques. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. Used in concert with Zhan Nian energies. Unless one follow’s the opponent with Lian (co-relation). adhesiveness. another rises’. non-forcing. emerges from the application of Lian. slow reactions to slow attacks. Once palms come in contact. no resistance). non-pressing. how can Sui be achieved? Sui technique means to react. can we execute Yin Jin Luo Kong efficiently. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. ‘to react while following’. taking any opportunity to attack. Sui. Without Zhan’s adhesive force over the partner preventing escape. ‘Bu Diu Bu Ding’ (no loss of energy. follow and move in the same direction as one’s opponent. Lian has a rich amalgam of meanings. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. It can be summarized as ‘co-relating to the opponent’. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. fast reactions to fast attacks. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . In so doing. moving effortlessly between quick/slow and forward/ backward movements. Lian is dependent on one’s use of Zhan. continuity.2. and can only exist in the presence of the latter. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. there can be no Lian.
“The lower body automatically follows any motions of the upper body. therefore it is advisable to practice the combined application of both. the basic ability to follow the opponent’s movements. Lian and Sui can never function without the other. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. whether through form practice or Tuishou”.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. It is vital that beginners are able to feel the movement of internal energy inside their bodies. successfully use Lian and Sui to attack and prevent escape. Adepts. 王 西 安 24 .陈 氏 太 极 拳 推 手 技 法 As a teaching goes. upper and lower coordinate any motion in the middle. so that they can ascertain if their energy levels match the purpose and intention of their actions. Beginners may attain the preliminary stage of Lian Sui. without any break in flexibility or continuity. As the teaching says. on the other hand. following their energy flow without interruption. 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.
I apply Shun reeling downwards. we then use our shoulders. I lower my body then stretch my right foot toward his or her crotch. using our arms. so as to mislead my partner’s energy and upset their centre of gravity. one should avoid Diu and Ding (losing energy and resistance). going up or down. When applying Yin. hands. Using these complementary techniques. While moving. then gradually upwards.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. palms. or feet to upset their centre of gravity. knees. Literally meaning ‘to draw’ or ‘to lead’. the adept draws the opponent into his or her domain. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). When we feel the changes in our opponent’s energy flow. Once neutralized. Hua is the transformative force. Use these principles whether you are going backward or forward. we should apply She Ji Cong Ren without being detected. and cannot exist without Yin first being applied. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . For instance. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). Note that while applying Yin and Hua forces. if my partner presses my right arm with their palms. using Lian Sui to follow their energy flow. neutralizing any opportunity for attack. reeling my back inward before suddenly striking outward.2. I use Yin Jin Luo Kong to constrain my partner’s energy while simultaneously gathering energy carefully to prepare for an explosive release of energy at any angle or position. legs and so on”. Yin is the ability to draw the opponent’s energy into one’s control. elbows. hence ‘misleading’ and transforming the opponent’s energy. turning left or right. As Chen Xin explains. A particularly effective combination is Luo Kong. hips. and in this way mislead and neutralize your opponent’s energy.
my Taiji harmony within emerges so that even ghosts fail to predict my next move. Any hard fan guanjie (joint twisting. just as one should attack forcefully without hesitation. shock. In Tuishou and San Shou. Opponents will feel as if their tendons and bones are about to break. the more one stretches the bow. It is important to remember that one must gather energy well before misleading one’s opponent. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. touch. he or she can easily capture his opponent through the combined use of all . meaning the direction which hurts the natural structure of joint. As Chen Changxing advises. When I attack. rotate an opponent’s joint towards its unnatural direction. using all these techniques to mislead my opponent. However. wrists or hands to inhibit their rotation or movement. Instead. explode energy as if releasing the arrow”. i. and hence the harder the opponent falls. destabilizing their centre of gravity and transforming their energy in order to conquer them. Hua and Xu (gathering). look one way and go another”. one must cultivate the forces of Yin. As Chen Xin suggests. and their pain penetrates right to the marrow. depending on circumstances. I “roll over. so as to accumulate and release energy effectively. That is to say. hence rendering them helpless. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use.e. In this way. that of Taijiquan is accepted as the most refined. 2. the further one’s arrow flies. tie up. elbows. “gather energy as if pulling on the bow. I know my partner without being known. sweep. they are conquered.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. dodge.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways.
Hua (transforming) are all preconditions for striking (Da). There is a saying. Na (seizing). applying the energy smoothly and judiciously without over-exertion. so that I can strike them cleanly and successfully. transforming and striking. If he or she succeeds in escaping. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. so that I may capture my opponent without hesitation or detection. you still have the opportunity to move in quickly and seize them by their palms before they move away. If you fail to attack lightly and skilfully and your intentions are detected. agile. To apply Na effectively. throwing.their gathered forces. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . Indeed. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. Tuishou accentuates Taijiquan’s martial power. I move using the principles of Qing Ling Huo Qiao (lightness. This is called ‘dual-utilization of seizing and gathering’. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. you must react quickly and flexibly to any changes in your opponent. ‘is called the “best of the best”’.’ as Sun Zi Bing Fa says. ‘Only this. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. These recovery measures also depend on a light. you need to seize first’. I utilize Na to prevent my partner from escaping or from transforming their energy. Zhua (grabbing). flexibility and skilfulness). In Tuishou. agility. a Tuishou practitioner can exert the invincible might of Taiji. This is why it is said that Na is the pre-condition of Da. techniques such as Zhan Nian Lian Sui. Shuai (throw). When utilizing Na. The seizing technique in Tuishou is very important. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. thus reaching their goal. in order to strike well. With the combined application of seizing. ‘Na (seize) always goes with Da (strike).
How then can you hope to seize another? Indeed. he will be able to press forward. In peace every part of my body moves at the time of movement’.’ 王 西 安 28 . hence it is advisable to heed the teaching. if you want to seize your opponent. ‘No part of my body is not peaceful. your root will become unsteady. the targets for both being the arms. application of appropriate angles and techniques. stomach and legs. shoulders and crotch all gather downward in concert. Then strike directly forward in a spiral and hit your target accurately. use the Na technique carefully to avoid hurting your sparring partner. and sensing the amount of force the partner’s joints can withstand. Miscalculations often result in injuries. Never let Qi float upward and never let your feet lose their roots. and all parts in a gathering motion. If Qi ascends. your centre of gravity destabilized and you will find it difficult to protect yourself. ‘Never be rude and rash when you begin to practice Na. remember to maintain a relaxed state by lowering your whole body. both palms covering his right wrist. twist his right arm inward with your left hand. Na is the synchronous manifestation of the internal and external. releasing your force like bullets rushing out of a gun. especially amongst beginners. every part of your body works in harmonious cooperation.陈 氏 太 极 拳 推 手 技 法 When applying Na. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. If you fail to Peng (ward off ) your opponent adequately. By relaxing. When relaxed. in which case. just as it is stated. Next. and your ribs. stomach and the protruding and concaved parts of the shoulders. your chest rolls inward naturally. chest. Using this will overcome the opponent without fail. Exert your energy first lightly then with force. with no part tense. During practice. making sure your hitting points are clearly defined. Na technique works together with Cai technique. Common problems. seize him then guide his pressing force into your territory using Lü energy. whether you exert Na by the co-ordination of your hand and chest or with your ribs. you have no option but to relax your joints. include controlling one’s speed and magnitude of attack.
The opportunity to transform the partner’s energy lies in the process of movements in various directions’. 2. gathering versus exploding. bend and gather. Gather the ribs. Sanda and form practice. preserve. Remember – to attack your target with agility and flexibility requires long accumulated practice.Work on your technique step-by-step: develop a closed crotch. transform. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). Opening (Kai) means to stretch and reach. Closing (He) means to draw in. Inhale from the stomach so that it remains solid. relax the shoulders. Mengzi. In all Tuishou and Taiji movements. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. are widely used in Tuishou. This is an important concept which bears deeper contemplation.7 Opening and clOsing In the martial arts. often meaning to ‘guide and attack’ in the martial arts. making sure all movements are steered by the waist. one cannot ‘open’ without first being ‘closed’ and vice-versa. As Chen Xin says. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. every part of the body is engaged in the action of opening and closing. OpeningClosing techniques. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . solid stomach and slightly concave chest. Indeed. As complementary opposites. Even masters of Chinese philosophy – Kungfuzi. opening and closing illustrate the subtlety of Taijiquan. just as Chen Xin mentioned in his works. Keep every joint relaxed before you exert Na.
from the soles of the feet. The quality of the effort you put in to closing determines your ability to open with power and effect. muscle energy (Qi). the rebounding force exerted by the ground can be used to energise any upward movement. Yi moulds changes in external shape while Jin (force) rises with Qi. so that your targets become accurately defined and attacks successful. pressing the ground with your heels to empty the Yong Quan points. In practice. filling you with great vigor. since Yi (intention) follows wherever Xin (heart) goes. Your heart acts as the guide and leader during energy explosion – when your heart opens. you will find your opening powerless. your intention (Yi). if your energy is gathered and conserved well. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. crude and slow. every part of your body follows suit. so that all parts of the body work together. but also to coordinate the heart (Xin). Without closing well. Likewise. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. and sometimes they disappear. the louder the explosion.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. ‘Opening-Closing. While standing. grasp the floor with the toes and soles. you will find that Qi penetrates your whole body more smoothly and powerfully. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. The Opening-Closing technique starts from the closed state. this means that one needs to be closed first before one can open. Thus positioned. your ‘opening’ explosion will be natural.’ Only diligent practitioners have the opportunity to experience this phenomenon. 王 西 安 30 . that is. with the qualities of both solidity and emptiness. forceful. sometimes appear before our eyes. swift and powerful. external shape (Xing) and spirit (Shen). As the saying attests. Closing not only means to bend and withdraw your upper body. these changing motions. Kai (opening) energy originates in the root of your body.
The solution is to make your energy round. you need to train your muscles in relaxation and gathering. then to every corner of the body.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). The explosion should be short. Exploding energy at close-range is best as Kai energy. and to develop high sensitivity and rapid responses to external stimuli. the energy released unhindered. Practitioners also need to build-up a reasonable level of muscular strength. To gather energy of this quality.33 cm. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. roll your chest slightly inward. flexible and compact enough to mislead and upset your opponent’s centre of gravity. your centre of gravity may be lost. you will need to drop and relax the shoulders. land on the ground on your in-steps. After exploding energy. spirals up the legs to the waist control-center. or worse still. the whole body returns to a state of softness and relaxation. then spiral your internal energy up the legs to the waist. or you may find your Kai technique lacking in power and precision. 2. To master this elastic force. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. is limited by its short duration and small coverage which extends only as far as your body. lower your waist and let Qi flow along the spine. keep your elbows down. which then distributes it to the other extremities. strikes may not find their mark. This energy originates from the soles of the feet. presenting your partner with opportunities to attack. Beyond this range.As you explode energy. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . albeit swift and powerful. while being mindful of the adage.
When doing Tuishou exercises. Failure to counter your partner’s force means. and with that outburst. horizontal forces and so on. consistent good performances will not be achievable. that you are unable to neutralize. 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. not relying on rigid or crude force. all these are prerequisites to “destroy something already in a state of ruin”. utilize. straight forces. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. dissipate or absorb her external force. Gathering. Without these. your opponent is vanquished. and to explore the interactive relationship between them. in effect. though random wins may happen. frictional forces. Transforming and gathering are complementary and cannot function without each other.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. and exploding energy with elastic vibrations. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. there are also a myriad of other forces which influence our bodies – supporting forces. not strength”. The external force of both parties affects each’s internal energy flow. transforming and attacking are closely related. one must explode energy smoothly. To combine the power of the three. spiral forces. internal forces. you must practice Changjin 王 西 安 32 . together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. Constant diligence. Your performance in competition depends not only on the quality of your sensitivity. it is necessary to distinguish clearly the respective functions of internal force and external force. skilfully. counter forces. which manifests as our weight. To do this. but also that of your internal energy and combat strategy. The main external force that we humans experience is gravitational force from the earth. The force that you and your partner exert on each other in Tuishou is external force. abundant internal energy and intense physical and energetic concentration. flexibly and harmoniously. However.
leading to very smooth and swift responses. there would be no striking the partner from one inch”. despite its ferocity. “Without striking the partner from a distance of three metres. and even when elastic cunjin (hitting a target at very close range) is executed. At this level of Gongfu. it is not advisable to exert Changjin (long energy). Only very high-level practitioners may achieve this. As it is said. An attack. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. quick. imagine a line between the navel and Mingmen.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. Good Hands’. easy conquest of the opponent does not necessarily follow. To reach this level. as their attacks flow naturally from their heart and intention. This means that if one finds it difficult to attack from a distance. Still Tough’ and ‘Four-Yin Six-Yang. elastic or vibrating variations. beginners need to do the following: do the big circle practice. At the transitional stage between ‘Three-Yin Seven-Yang. Close-range attacks require a high-level of competence. while downward flowing energy helps maintain a firm and stable root. one should not attack at close target. the medium circle practice. you will find it easier to hit targets more accurately and swiftly. even with the slightest touch. especially exhaling-inhaling and opening-closing motions. By mastering the key points of energy explosion. will find the opponent flung far and wide. Alternate between these three with slow. below which energy flows downward and above which energy flows upward. Upward energy and downward energy exist in opposition to each other. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . the whole body moves as a synchronized force to follow the slightest movement of intention. and the small or no circle practice. For example. Continue developing these techniques step-by-step until the level of deity is reached. instantaneous. during Tiaozhou practice (upward strike with elbow).
you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. then your instant and precise attack can never fail”.陈 氏 太 极 拳 推 手 技 法 2. waist and arms. Even if not thrown completely off balance. and may lead to loss of control. skilfully changing your tack to distract them from your true intentions until you have destabilized their centre of gravity and they are caught off-balance. while you maintain a state of relaxation. Remember to maintain full concentration. shadow your opponent with agile steps. heart. To apply Ti successfully requires the whole body to work in coordination. Using Zhan Nian Lian Sui. you need to destabilize your opponent’s centre of gravity by inserting one leg between your opponent’s legs and lifting it quickly outward using spiralling energy. This means that no matter what Tuishou techniques you use. At the same time.9 Ti (raising) fOrce Ti means to ‘rise spirally’. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. The rising force is difficult to use if forced. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. Remember to maintain your centre of gravity with the coordination of the other leg. To conquer your opponent. rotate your Dantian so that your body lifts with greater speed and accuracy. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. and intention into one entity. To lift your opponent up with Ti requires the combined effort of legs. Instead. When applying Ti. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . your opponent’s upper body will shift out of their control. combine your rising force with your elastic force. never let your partner know your intention before you act. keeping your axis upright and combine your eyes. First. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. while you keep your intentions and energy flow undetected. powered by upward spiralling energy. The arms and legs work together. As Qi flows up the spine.
The Reeling Silk consists of great varieties: reeling inward. you will lose awareness of your physical body and location. Mastering this energy requires much effort and practice. so you feel able to “protect your descendents and kill the rebels”. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . their root and they will certainly fall. revolving energy which originates internally in the body. your force will reach its target just with intention. touch or sweep in response to the circumstances and you remain always observant and alert. You roll. you will come to sense it with practice. whether you rise or descend. on the verge of losing their centre of gravity. until it reaches the fine hairs of the skin. follow the primary principles and develop your skills stepby-step. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. go forward or backward. you will find it easier to follow. your attacks will never fail. You will attack like a flying dragon. passes through the legs up the spine and arms. When this happens. mislead. Adequate practice will naturally lead to success. reeling upward. tie. reeling to the left or reeling to the right. walk with such assurance as to shock evil spirits. 2. Do not try to strike others before you have attained a reasonable level of competence. Attaining high-level skills will make you braver. and not even know from whence your power emanates. reeling outward. you will be able to transform energy while striking. For beginners. but once attained.10 reeling silk Reeling Silk is a spiralling. transform and defeat your opponent’s attacking energy. Though undiscernible initially. and manifests externally as it permeates through to the fine hairs on the skin. as it emerges from the feet.and power. This energy is created using the Reeling Silk technique and penetrates all movements during form practice.
As for posture. one must avoid being too soft or too tough. excessive toughness makes you get too rigid. reeling horizontally or reeling vertically. remember to keep your Zhongqi (energy to keep your axis upright). When using Reeling Silk energy. and thus renders you unable to react properly and to be easily manipulated by the opponent. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. and so on. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. Yin (guiding.陈 氏 太 极 拳 推 手 技 法 small circles. collapse the waist and establish a stable centre of gravity in the legs. quiet and calm. The solution lies in the middle path: keep a balance between softness and toughness. reeling forward and backward. and apply opening and closing techniques. all these reeling movements are always comprehensively combined together and closely connected. misleading) always comes with Jin (approaching forward or attacking) and vice versa. 王 西 安 36 . When being utlilized. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. remain balanced. Be humble and respectful during form practice. Shun reeling (conforming) and Ni reeling (contrary). Keep a firm root. focusing your energy internally and guiding the flow of your responses from Yin to Yang. reeling to the front or reeling aside. maintain the interplay between solidness and emptiness. While reeling.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
Because Yilu lacks speed and Gang (tough) energy. Single Form practice is vital for hand-to-hand Gongfu combat. 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. 3. medium and high-level stages. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). where ‘Qi spreads to the whole body. As we know. keeping your energy tracks undetected by the opponent. Da. This means that Yilu fosters Zhongqi so that. Erlu and Single Form practice help to accumulate and strengthen Gang.’ In this way. who is then inevitably conquered. Shan (dodge). Cai.1. Tui (go backward). Ti. movements gradually become agile and flexible. relaxed and soft. Shuai (fall). Erlu explodes In this technique. for example. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. Kao. Lie. A wide variety of single movements must be practiced repeatedly. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought.1 inTrOducTiOn This is a practical lesson in combat practice. Faji (attack) effectively under any conditions. Lü. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. goes through the Sanguan (Three Gates). An. Zhou. 王 西 安 38 . Qi will flow around the body to the extremities and skin. Hua (transform) and Na. full relaxation of the joints. you need to execute Jin (go forward). as well as techniques focussing on various target areas of the body. This practice requires a solid foundation in preparatory exercises. if practice is diligent. Zhan (battle).1 Yilu cultivates Qi.陈 氏 太 极 拳 推 手 技 法 3. so the Single Form Practice and Erlu help to compensate for this disadvantage. Ji.
you don’t. back. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. be they exponents in internal Gongfu or external Gongfu. hands. He was known to say that he found throwing partners too easy. Single Form practice is of vital importance. elbows. resulting in loss of vigor and effectiveness. Lastly. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. each have their own unique combat style drawn from continuous tempering in their practice. ‘You practice. neglectful practice becomes increasingly difficult to rectify. Chen Zhaopi was the undisputed master of 滚Gun (rolling). Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. after you practice the form ten thousand times’. inner meanings of the mysterious art rather than a competition. they always got hit and thrown to the ground. we have Master Feng Zhiqiang who is venerated for his steady. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. To do otherwise would be to ‘attend to trifles and neglect the essentials’. Though widely differing in style. sober movements and his relaxed yet vigorous energy explosions. so that the path to deeper understanding and realization may be paved. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . No matter how steady his partners stood in the beginning of a fight.Gongfu masters. These clearly advise diligent practice of the shoulders. 拴Shuan (tie). Significant gains may be attained by practicing the single forms step-by-step. you harvest. If prolonged. legs and hips using relevant principles. more like a relaxing stretch to enjoy the subtle. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. Hence. such as: ‘Profound principles emerge by themselves. the seizing techniques of Eagle Claw King. ‘Skills come naturally when you are familiar with forms’. Well known examples include the foot techniques of Li Bantian. 搭Da (touch) and 扫Sao (sweep). you fail’ and so on.
1 . chest rolled slightly inward. 3. upwards and sideways. horizontally.1 Exercise One • • Squat slightly. trampling. bend and raise your knee slightly.2. With one hip relaxed and the opposite foot slightly touching the ground.陈 氏 太 极 拳 推 手 技 法 3. 3. 王 西 安 40 Fig. pedalling forward. face to the front. alternating between both legs: kicking forward.2 feeT pracTice Feet practice includes the following movements. stomach gathered and head suspended from above. swinging up and down and so on.
upward and downward swing. sideways. pedaling.3. stepping. • Roll the chest inward and aggregate energy with the whole body. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. bend the other leg with toes grasping the ground to maintain a firm centre of gravity. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2. • Relax the feet so energy can reach the toes where it is required.2 41 . 3. up and down. horizontal. make sure your in-step is stretched moderately tightly. • Kicking smoothly.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. Descriptions of some of these exercises are provided below. feet hanging backward and so on. collecting the energy at the abdomen.
3.陈 氏 太 极 拳 推 手 技 法 Fig. 3. Beginners should practice slowly. On landing with either foot.3 • This technique is applicable to the toes. It should be practiced with both feet so that. for example. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). use the rebounding force of the earth to bounce up and propel your kick (Fig.5).4. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. 3. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. 3. At this point. edges of the foot plate and the sole (Fig. . if you kick with the right leg. your left foot prepares to kick with the toes or instep as the right foot lands.3). they will be able to direct energy explosions to targets with precision and ferocity.
3.4 Fig.6 43 .Fig.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. 3.
The kick should be light. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. a principle also applicable to the Double Kick (Er Qi Jiao). instead. usually the opponent’s chin. flexible and quick. There is no jumping in the Upward Kick. The Upward Kick should match the rhythm of the hands’ movements.7 The Upward Kick is used for high targets. practice kicking with each foot sequentially.陈 氏 太 极 拳 推 手 技 法 Fig. 3. The whole body must be kept balanced and straight when kicking upwards. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. • Switch your centre of gravity to the left foot. .
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. all the while rolling the chest slightly inward. keeping the right foot at the same distance from the left foot as before. 3.8). 3. grasp the ground with the left toes and. raise the right knee gradually (Fig. but try to keep some weight in the un-weighted side as well. standing with left leg. 陈 氏 太 极 拳 推 手 技 法 Fig. feet firmly grasping the ground.• Bend the left knee. 王 西 安 45 . exploding energy as quickly and fiercely as you can. cup your right fist and left wrist together in front of the chest. Then empty the Yong Quan point. As your right foot explodes energy stamping downward. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground.
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 .10). The key points here are the same as those for the previous segments.9 Regardless of which leg steps forward first. including the alternating use of the legs (Fig. e) Forward Kick This consists of a straight kick forward with the sole of the foot. 3. practice with the left leg) (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. and then withdraws elastically like a rubber band springing back into shape. 3. remember to follow instantly and quickly with the other leg. you can practice with the alternation of legs (after praciticing with the right leg for a while. 3.9). In Single Form exercise. Kick as high as your opponent’s stomach and chest.
Fig. As you reach a higher level of skill.13). 3. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig.10 Fig. 3. 3. fierce and perfectly targeted.12) and the Outward Kick (Fig.11). 王 西 安 47 . 3. with hitting points mainly on the inside of the foot (with the occasional use of the outside). • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front. Before kicking. sometimes with the soles. prepare well by relaxing the chest and stomach to ensure your kick is fast. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity.11 Kick mainly with the heels. 3. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig.
explode energy like releasing the arrow”. the whole body gathers together then opens up with an explosion of energy. while the body becomes straightened when kick is streched).13 • The Outward Kick is executed outward and upwardly. In the Sideways Kick. this reflects the relationship between Yin and Yang’. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. with the hitting points mainly on the outside of the foot (occasionally inside). 3. 王 西 安 48 • . 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 instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow.12 Fig. 3. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking).
Eye your target and prepare for the kick by gathering your internal energy and lowering it. Squat slightly. Before kicking. while your hands are targeted at the face. 3.14 49 .14). smack the foot with your hand to ensure the integrity of the energy. Kick upward with the back foot. which allows you to use quick and continous forward steps. then bring it backward (Fig.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. 3.15). 3. Always coordinate the kick with your hands. use the Gen Bu (follow-on Steps). toes grasping the ground and all muscles of the body relaxed. Your swinging foot is targeted at the back of the opponent’s head. While swinging outward to the level of the shoulder. If kicking with the right foot. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. be it with the right or left foot. then swing it outward in a natural arc. turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig.
. And kick upward along with palms coordinated with Lü. I take the back of the opponent’s head as target. 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility. 3. I smack in the air by switching into the track of a swing arc.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig.15 With openings and closings. And smash enemies to pieces.
• Use both hands to execute Lü on one arm of opponent behind the body. • Hang one foot backward. Gua (hanging) and Gai (covering) in a second. • The action must be quick and powerful. The powers of hand and foot combine together. palms facing outward. No matter which you use. • Pay attention to that you finish this action with the guiding of the waist and back. • Hold the body in a squatting position for the next few movements. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. remember to balance upward Long (close) movements with downward Ti (raise).h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. • The foot hangs to the calf suddenly to make the opponent lose his balance. • Swing both hands backward to the side of the back hanging Foot. You should finish Lü. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. depending on the distance between you. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . During solo practice. coordinating both with Tou Bu (sneaking steps). keep your footwork flexible and neat. rotating it slightly so that it slants to one side. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth.
As a Tuishou poem states: With Yin and then Jin techniques.陈 氏 太 极 拳 推 手 技 法 Fig. Hold your position and collect yourself enough to kick upward then swing downward.16). 王 西 安 52 The secret of Back Hanging Foot is to plot the method to seize the opponent down and to fiercly bring him under your control without detection. And kick upward along with palms smashing downward. 3. Move forward with Tou Bu (Sneaking Steps).16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. I explode my energy with the rotation of my waist. And enemies fall to the ground with face to the air. . Then lower your foot to the ground. twisting the waist and rotating the back to exert more power (Fig. 3. your face looking upward. I take the opponent’s upper body and chest as target.
. 3.18. 30:70. Note that while weight distribution ratios may be used as a guide (e. 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. Use Front Bow Steps to practice this movement (Fig.17).17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3.19). 3.Fig. since these are in a constant state of flux depending on the circumstances. mindful that while one is in the air. Practice this transfer of weight by alternating the legs. 20:80). The attacking leg must be flexible enough to swing to the left or right. 3. these may not provide an accurate picture of weight changes required in practice or combat. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 .g. 40:60.
Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. so that the strikes are as rapid and powerful as possible. I explode and shock the ghosts. waist and hands. As one master said: 王 西 安 54 I move my centre of gravity.19 Using Short Energy: Short energy should be used in both inward and outward kicks. 3. shock their lower limbs and unbalance their upper body with my feet. making your intention easily anticipated. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. .18 Fig. 3.陈 氏 太 极 拳 推 手 技 法 Fig. Short energy attacks are often used to ‘give a shock to the lower limbs’. Avoid using long energy as it is likely to dissipate the concentration and power of your attack.
Lihe Tui (Inward Knee Strike). Xiacai Tui (Downward Cai energy). look in the direction of the moving leg. making sure your leg is no higher than 15 cm above the ground.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). Keep your legs reeling from left to right. As the toes touch the ground. just as in form practice.3. Change your weight to the left. step your right foot 40 cm forward to the right. then squat and step out with your right foot. Use intention (Yi) rather than physical force (Li). Move the left foot half a step to the left. Practice continuously alternating both legs. 3. a shoulder width apart from the left foot.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. repeating the movements while keeping reeling from the left to right. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). Lower the tip of the toes of your unweighted right foot to the ground.3. Begin with slow practice. that is. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. change the weight to the right and step out with the left foot. Waibai Tui (Legs Swinging Outward). toward the target. ‘Yong Yi Bu Yong Li’. When the right foot lands fully on the ground. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. Nichan Tui (Legs Reeling in Ni Circles). 王 西 安 55 . working up your speed in gradual stages.
3. Inner knowledge can only develop with concerted. transferring all your weight to the right. Raise the left foot. 3. Next.3.20 56 . You also need to practice Nichan and Shunchan with both legs. 王 西 安 Fig. transferring all your weight to the left. Step the right foot forward. striking to both sides with each leg. and then rotate 360o left stepping on the toes (Fig. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner.陈 氏 太 极 拳 推 手 技 法 3.20). continuous practice. then step forward 40 cm to the left. 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. Practice these steps in continuous alternating cycles. step forward 40 cm with the right foot. remembering that the inner side of the heel is the striking point.
3. attack with Lihe and then move 90% of your weight to the back leg (Fig.22). whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg.22 57 . we usually attack with Lihe Tui using the right leg. • While practicing.21 Fig. practice with both legs and with change of directions. change your weight to the front foot. 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.21). 3. 3. 3. In Huobu Tuishou (Tuishou while walking). As such. • Stand at attention.3 Lihe Tui … Inward Knee Strike Lihe Tui is an inward strike using the inner side of the knee and is widely used in Qian Gong Bu (Front Bow Steps) and Ban Gong Bu (Half Bow Steps).3. 3. • Combine Lihe Tui with the rotation of the waist and spine.
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. practitioners will come to realize the deep significance of their efforts. 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.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). 王 西 安 Fig.24 58 . During practicing Waibai Tui. step forward with one leg and swing the other outward and then closing inward. and requires a sudden outward swing of the leg as weight is transferred. 3. Through diligent solo Tuishou practice. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. 3. 3. Being content with a superficial understanding is fruitless.23).陈 氏 太 极 拳 推 手 技 法 3. 3. regardless of whether you practice day and night (Fig.23 Fig.24).
• Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent. • To do Ni Cai: move the back leg forward. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles).26 59 . Shun Cai and Ni Cai are based on Front Bow Steps. Xiacai Tui consists of Cai to the left. The outer side can also be targeted once your ability improves. • Start with your centre of gravity at the back leg. placing your toes slightly inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. placing your toes slightly outward. 3.3.25 Fig.3. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. Cai to the right.5 Xiacai Tui … Downward Cai Energy Cai means to pull down. 3. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles).
Deepen your understanding of Jin Li (energy and force distribution).3. striking to the front. striking inward and striking outward.28 60 . 王 西 安 Fig. Bend your knees about 40o – more than this and you will lose your centre of gravity. 3. keep ankles relaxed and Qi descending (Fig.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). 3. Practice with alternating legs during Single Form practice.26). 3. you can enter the opponent’s territory (Fig.25). bending consists of stretching’. 3. Train your body to understand the meaning of ‘stretching consists in bending. With a spiralling move forward.27 Fig.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. 3.
• • •
All the above incorporate shifting of weight forward and back. Move the left foot forward then strike out the right knee, aiming it at the partner’s crotch (Fig. 3.27). While striking forward, roll the chest slightly inward and gather energy in the abdomen. Also, keep the hip and ankle relaxed, focusing your energy exertion on the target. Change your weight to the front, raise the knee, then strike it with an open palm (Fig. 3.28).
Li He Bu (Tuishou with Static Footwork) requires you to bend your knee, strike to the left, hit the inner side of partner’s right leg or the outer side of his left leg. (Fig. 3.29). Striking up and outward is called Waizhuang (Striking Outward). Key points are the same as in the previous striking practice (Fig. 3.30).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.29 Fig. 3.30
陈 氏 太 极 拳 推 手 技 法
3.3.7 Houbai Tui … Backward Swinging Kick
This is a wide-spanning movement and beginners are advised to imagine an opponent or target as they perform the technique during solo practice. • Lift the right foot to step forward and as you lean forward, swing the right leg backward using both the waist and spine. • As the right leg swings backward, fend off the opponent’s arm and attack with both hands. This technique of ‘attacking the upper parts and shocking the lower parts’ is often used to throw opponents to the ground (Fig. 3.31). Key points to remember are the same as in preceding techniques, all of which require whole body involvement.
王 西 安
3.4 fisT pracTice 3.4.1 Shangchong Quan … Fist Striking Upward
This technique consists of striking either fist spirally upward. • Step forward with the left leg, bending your knees slightly to transfer your centre of gravity to the left leg, then strike with the right fist using the ‘Ligou Quan’ (Fist Hooking Inward) technique, taking care not to overshoot your blow above the opponent’s head. • Simultaneously, use your bent right knee to hit at the opponent’s crotch (Fig. 3.32). • Integrate both fist and knee strikes with practice principles of rolling the chest slightly inward (Hanxiong), lowering the waist (Tayao), relaxing the stomach (Songfu), and drawing up the anus (Tigang). • Strengthen your centre of gravity to improve your accuracy by ensuring your left leg is slightly bent with toes grasping the ground (Fig. 3.33).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.32 Fig. 3.33
陈 氏 太 极 拳 推 手 技 法
3.4.2 Xia Zai Quan … Fist Striking Downward
This technique encompasses a downward strike with either fist at any angle. For example: • If the right leg goes forward, transfer your centre of gravity from the right to the left leg. • Clench the right hand into a fist, thumb tucked inside neither too tightly nor too loosely. • Strike the opponent’s upper body with the right fist, using your left arm to balance your movement. • You can also use the Bei Kao technique or attack with the elbows as well. • Again, effectiveness of this technique requires involvement of the whole body in the movement: ‘once you move, your whole body follows’ (Fig. 3.34).
王 西 安
3.4.3 Shuang Fen Quan Splitting Fists or Double Bursting Fists
• • • •
Take a half-step to the left (or right). Bend your knees slightly and gather both fists to the chest, centres (Quanxin) facing downward (Fig. 3.35). Prepare to strike by gathering in the crotch and knees, and rolling the chest and shoulders slightly inward. To strike, transfer your weight to the right (or the opposite leg) and simultaneously split both fists explosively from the chest to either side of the torso, fists facing upward. As you strike, open the crotch, knees, chest and shoulders. Remember to keep the external and internal energy consistent, and the energy flow smooth (Fig. 3.36).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Rest the left fist beside the left leg (Fig.4. Rotate the body to the right then strike downward with the back of the right fist. However. fist centre facing inward. • • • • • • Take a half step to the right with the right foot. Rotate the right toes slightly outward as the foot lands.37). at the same time hooking the left fist upward. 3. 3.37 . Hold the right fist close to the left side of the chest. 王 西 安 66 Fig. Next.陈 氏 太 极 拳 推 手 技 法 3. there are three main distinctions: the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used. change your weight to the right leg and step your left foot forward.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.
as the left foot steps forward (weight on the right). Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. step the left foot horizontally over the right one.38). the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. the left fist rises above the right side of the chest and smashes down to the left. both left and right fists rise and descend at the same time. For example. alternating both sides continuously (Fig. stepping the right foot forward and exploding the fists before landing. 3.38 Fig. when the right foot steps forward (weight on the left).Fig. (Fig. 3. downwards on the right and upward on the left.39 • • • • • Again. involve your whole body in the attack. 陈 氏 太 极 拳 推 手 技 法 In summary. 3. After striking. the right fist is raised above the left side of the chest for more power and then smashes down to the right. For each step.39) 王 西 安 67 . and lower the left fist from its upward strike position back to the left side of the body). Practice these steps. Likewise. 3. Then repeat with the other foot.
41). 3. • Then fling the right fist forward in Ni reeling. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. concentrating your power in the Quanding (the front of the fist). • Sychronise both arms so that while the right fist flings forward. fingers vertical. Practice this technique on both sides. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power. stretching the left hand upward. • Step the left foot forward. 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. 3.40 Fig. the left arm gathers inward and strikes backward to the left with the elbow.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. • Sink your weight into the right foot and rotate the waist to the right to gather energy. 王 西 安 Fig. 3. This counter-balancing movement helps to accelerate the punch of the right fist.4.40). • Gather the right fist under the right rib (Fig. 3.41 68 .陈 氏 太 极 拳 推 手 技 法 3.
bringing the left palm to the front of the body (Fig.42 Fig. 3. 3. Then step the left foot forward. simultaneously gathering the right fist beside the right ribs. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist).42).6 Baokong Quan … Half-Moon Fist Baokong refers to the half-moon shape that is formed by the arms as you strike the centre of one palm with the other fist. Instead.43 69 . The power of this technique depends very much on the practitioner’s physical condition. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. only about 40% of the jin force generated is exerted as short rather than long energy. energy does not manifest externally.3. • • • • Step the right foot forward. 3. the main difference being that in the former. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. and practice alternating both sides.43). so that the strike manifests within a narrow range yet internally it contains great power and flexibility. Repeat with the other side.4.
This makes the fist ‘peak’ stable and solid. • Strike with force and ferocity with this fist using short energy.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 70 Fig. • Attack to the left or right. • Brace the middle finger with the index and ring fingers. • Clench your fist so the middle joint of the middle finger protrudes. like hammering a nail. using small agile steps (Fig. This forms the ‘peak’ of the fist. 3.44). 3. up or down.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. and press the tip of the thumb against the middle fingernail.4.44 .
Roll the chest and shoulders slightly inward. 3.46 71 . Bend the other leg then strike both fists upward together. hence creating a dual attack with both fists and knee (Fig. Method 1 • • Method 2 • • • Step forward with either leg.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. Place your weight on one leg.3.45 Fig. 3.46). Bring the fists together in the middle about 25 cm apart. 3. Form two nail-shaped fists and strike from both sides using short energy. Guanyang means to hit the temples with two nails. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4. gather the ribs and lower your energy to the Dantian (Fig. Practice both methods using both legs. 3.45).
3. 3. the chest rolled slightly inward and the spine slightly lifted. the ribs gathered. fingers pointing up (Fig. while making sure the chest is relaxed. 3.5 palM pracTice 3. and lower the energy to the abdomen (Fig.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. • Step forward with either leg.47 Fig.47). • Step forward with the other leg.5. • Place your hands in front of the chest. thrusting them forward with explosive force. • Strike forward with both palms. though in the initial stages. palms facing forward. practice using long energy first.48 72 . 3. transferring your weight to the front.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig.48). • Prepare for the strike by ensuring your axis is upright.
lower your energy abruptly and push forward with short energy using small steps. 王 西 安 73 . To be effective.5.Fig. 3. using long or short energy (Fig. Make sure your shoulder. • Repeat using the left palm. elbows and wrists are lowered. gather the chest and stomach like a cat stalking a rat. 3. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. 陈 氏 太 极 拳 推 手 技 法 3.51. thrust your arms out about 50% (Fig. As the energy reaches the wrists.50. speed. a Double Palm Push needs to be sudden and exerted directly forward. • At the same time step forward with the left leg.49). energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy.49 When practicing with short energy.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). 3. Just before the explosive strike. 3. The power. 3. • Thrust the right palm forward or diagonally to the side.52).
3.52 . Fig.51 Fig. gradually increasing the speed. and hence conquer your opponents without effort.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. abruptness and power of the push. you will be able to explode energy with natural ease by combining both external form and internal spirit.50 王 西 安 74 Fig. 3. With continuous practice. 3.
3. 3.5. enabling you to hit your target with more precision and power (Fig.53 Fig.54). 陈 氏 太 极 拳 推 手 技 法 Fig. This creates an energy balance that stabilizes your centre of gravity.3 Bi Peng Qiantui Zhang … Push with Ward-Off This technique is used to fend off an arm strike from the opponent with an upward hand strike. Direct energy above the waist upward and energy below the waist downward. whilst using the other palm to push at the opponent’s chest or strike at their stomach.53). • • Step one foot forward and ward off an arm attack with one hand. while gathering the other hand beside the ribs (Fig. 3.54 王 西 安 75 . 3. 3.
• Keep the hips relaxed.55). • To push with the right palm: bend the right knee.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. 3. • At the same time. 3. 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). 王 西 安 Fig. Explode this energy through the right side of body out through the right palm.55 76 .陈 氏 太 极 拳 推 手 技 法 3. and then straighten it while pushing the right palm upward. open the right side of the chest and stomach. first at an angle then vertically upward.5. • As you push upward. while gathering energy on the left side.
3.3. 3.5. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. rotate your body to the right.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. 3.57 77 . then quickly striking their chest with your right palm (Fig. • At the same time. stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’. 3. Keep your body and energy lowered while doing this. Shun means ‘sequence’) (Fig.56). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.’ Apply this technique during Single Palm practice.58). 3.57).56 Fig. • Then swiftly draw the opponent into your domain by touching their back with your left hand.
For example. lower the shoulders.58 • • Also apply the usual principles: roll the chest inward. Coordinate the movements of your body with those of the palms. 3. • As you lower the body. moving the body quickly forward. and gather the ribs and dantian. This helps to concentrate energy in the palms. 王 西 安 78 . 3. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. if the opponent seizes your right hand and twists it outwards with Shun reeling.5.6 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.陈 氏 太 极 拳 推 手 技 法 Fig. left and right. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling.
inclining outward and exploding with the left palm (Fig.59). extending the thumb and fingers (Fig. Unify the three actions of stepping forward. 王 西 安 79 . lower your body then extend it forward with Shun reeling.60 • • • As you do this. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward. • Key points are the same as with the left hand push above. this time at the left side with your right hand.59 Fig. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. • Again. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. 3. 3. Next.Fig.60). thrust forcefully at the opponent’s ribs. respond in this way: • Step forward with the left foot. 3. 3.
” 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. roll your chest slightly inward and bend your right arm inward. . Relax your joints to enhance energy application. especially when stepping forward and exploding energy (Fig. so that energy flows to the very tips of the body.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. coordinate the waist and legs when exploding energy.陈 氏 太 极 拳 推 手 技 法 Fig.5. • As you seize. dominates the waist and penetrates to every part of body. goes through legs. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles. Also. regardless of the technique or force used. change your centre of gravity from the left to the right. “Energy comes from heels. 3.61). as advised in an essay.
practice alternating the seizing between right and left hands.Fig. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. 陈 氏 太 极 拳 推 手 技 法 3. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended. reach under your opponent’s front arm. 3.8 Shuang Dai Zhang Danshi Yanlian Fa Double Dai Palms Single Form Practice Step your right foot forward and transfer your centre of gravity to the front. 3. listening closely to your partner as you do so. guide or bring along . 王 西 安 81  ‘Dai’ means to lead. 3. 3.62 Fig.63). • At the same time. you are able to use both palms to seize the opponent (Fig. palm open.63 • • • With your right arm. Thus. To speed up your response. Change your right hand to Shun reeling and your left to Ni reeling.62).5. If the opponent escapes.
66). Change your weight to the back and turn to the right.65 • • • • • Extend your right arm forward. fingers up. Transfer your centre of gravity to the front.65). moving your arms to stabilize this rotation. gather the right hand beside the ribs. 3. 3. 3. face the left palm outward.64). Bend your right arm 90o inward and form a fist with your right hand.64 Fig. Then hit the opponent with the right arm (Fig. As your step forward.陈 氏 太 极 拳 推 手 技 法 Fig. fingers to the front (Fig. 3. 王 西 安 82 3. Practice on both sides.5. . palm up. fingers pointing to the front (Fig. Clench the left hand into a loose fist and push it forward. 3.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward.
As the right foot lands on the ground. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms.67 • • • • • • Lift the left palm over the right. 王 西 安 83 . 3. place the left thumb and little finger in opposition while the remaining fingers face forward.67). to increase the speed and power of the explosion. move the left hand and foot quickly forward together. left under right and right under left (Fig. 3.Fig.66 Fig. coordinate the waist and spine when shaking the right palm forward in Shun reeling. 3. reel the right hand in Shun reeling to the right and step the right foot forward. and then explode both palms forward with a piercing thrust. Also. Next. Return the hands to their original positions before the next energy explosion. To increase the precision and power of the fingers.
1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot.陈 氏 太 极 拳 推 手 技 法 3. Remember to apply long energy before you apply short energy (Fig. 3.69). bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. In this case. 3. 3.68 Fig. strike forward with the right elbow while hitting backward with the left elbow. At the same time.69). 王 西 安 Fig. As you change your weight to the front.6 elbOw pracTice 3. 3. palms facing in (Fig. Practice striking with both elbows with corresponding weight changes to either side. the left arm counter-balances the movement of the right.6.69 84 .
3. wrist turned inward and the palm facing backward. At the same time. return the elbow to the right side.6. step the right foot forward again and extend the left arm forward. As the right elbow descends.71). Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. Alternatively.70 Fig.71 85 . Then strike the right elbow down for the second time (Fig.70). At the same. 3. Step the right foot forward and strike the right elbow down forcefully as the foot lands. palm up. slap the right shoulder with the left palm. 3. Lift the left hand when the right elbow completes 90o of its descent. gather it close to the right ribs. and clench the right hand into a fist. bend the right elbow inward. After the strike.2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. take a small step forward with the left foot. 3.
Rotate slightly to the left.72 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3. 3. 3. Fig. then turn right with the right toes facing slightly out.73 Fig.74 86 . 3.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward.6.
Move the body to the left and transfer your centre of gravity to the right and back. as if warding off (Fig. clasping the right forearm with the left palm. so that both feet are approximately 50 cm apart. 3. As you do this. then step forward with the right foot. transferring your centre of gravity to the left. Turn to the left and strike out explosively with the right elbow. 3. clench the right hand into a fist.• At the same time. gather the ribs and lower your Qi. • • • Practice with the other arm. Lower right fist to the left side of the body so that the right arm is held at 900 while stepping the left foot forward (Fig. 3. 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.73). Gather the body by bending it slightly. toe tips slightly touching the ground. Step the right foot to the left and bend the right arm. Gather the body to prepare for attack by lowering the body slightly (Fig.74). 王 西 安 87 . Step the left foot forward. Remember that the right leg moves forward with the right arm and vice-versa. raise the right hand across the front of the chest to the left in an upward arc. clasping the right forearm with the left palm. 3.75).6. palm facing in.4 Shun Lan Zhou … Smooth Elbow Block • • • • • 陈 氏 太 极 拳 推 手 技 法 Roll the chest slightly inward so that it is concave. 3.72).
palm down. 3. the right fist lowered to front of the left armpit. Once familiar with the practice. Practice with both sides (Fig. Next. 3. step right with the right foot. turning the body to the right. Simultaneously.76). strike the right elbow to the right.76 • Spiral the right arm forward with Ni reeling.75 Fig. use short and fast energy. 3. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). practice with long and slow energy. 王 西 安 88 3. gathering it horizontally in front of the chest.陈 氏 太 极 拳 推 手 技 法 Fig.6. balancing this movement with the left hand. with the following differences: .5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. • In the initial stages.
3. • Jump the left foot half a step to the left.78 3. Touch the right knee with the right palm. landing approximately 50 cm apart from the left foot. palm facing right. • Stand at attention with the arms relaxed at the sides. 陈 氏 太 极 拳 推 手 技 法 Fig. palm down. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig.78). fingers pointing up. Before the foot lands.77 Fig. 3.6. 3. • Turn the body to the right and reel the right palm across the chest to the right. 3. extend your left palm forward. jump slightly with the right foot.77). 王 西 安 89 . toe tips on the ground.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. • Simultaneously.• • Shun Lan Zhou is aimed slightly to the back. while Xin Zhou is targeted to the front (Fig.
step the right foot forward. followed by the right foot. After the strike. placing the left fist below the right. starting with slow movements initially until the steps become familiar. clench both palms into fists. 3. As you change weight.80).81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. . Move the right fist toward the right shoulder using Shun reeling. then gradually using short and fast energy. balance the energy between the upper and lower body. 3. then transfer your centre of gravity to the right. Next. toe tips touching the ground (Fig. toe-tips on the ground.81).79). avoid letting all your energy flow upward as this will destabilize your root.80 Fig. While striking on the right. bending the wrist before striking upward quickly with the back of the right fist. 3. Also. 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. Look to the right side of body while striking upward.陈 氏 太 极 拳 推 手 技 法 Fig. Return the left fist beside the right ribs (Fig. Practice on both sides. 3. step the left foot to the left. taking the waist as the dividing line.79 Fig.
3.82). • • • • Step to one side with either leg. the right elbow executes the dominant attack.82 Fig. 3. Gather the fists close to the chest (Fig. 3. place the left arm inside the right. looking to the left and concentrating energy in the elbow tips (Fig. Practice alternating both sides. while the left the supplementary strike. then exploding both elbows horizontally.83 王 西 安 91 . 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.3. 陈 氏 太 极 拳 推 手 技 法 Fig.6. then strike with the right elbow.83). 3. Change your weight to the left. In this position.
85). 3.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows. This increases the force of your attack. 3.陈 氏 太 极 拳 推 手 技 法 3.84 Fig. holding fists on either side of the ribs (Fig.6. 3.85 . Try to feel the effect of this preparation during practice (Fig. As your weight transfers to the front. looking to the front and rolling the chest and shoulders inward. • • Step one foot forward. 王 西 安 92 Fig.84). 3. prepare for the stike by gathering the wrists inward.
86). 3. 3. then lift it so that the right elbow is positioned over the right knee (Fig. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. At the same time. Practice alternating both sides.87).86 Fig. 3. As the weight shifts to the left. rotate the body to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. palm facing inward and inclining backward.87 93 . clench the left palm into a half fist and place it beside the left leg. 3. take a big step forward with the right foot in front of the left. As your centre of gravity shifts to the left. clench the right hand into a fist. palm to the front.6. Simultaneously.3.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig.
• At the same time. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb.6. • Step the right foot forward. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. 3. the legs should be parallel to each other.陈 氏 太 极 拳 推 手 技 法 3. • After exerting Pie force. 王 西 安 Fig.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). In this way.88). strike forward explosively with the right forearm using a short-energy (Fig. then lower it over the right knee. • Shift your weight abruptly to the right and form a half fist with the left palm. Make sure both hands move and arrive at their destinations simultaneously. • All movements are guided by the rotation of the waist and spine.88 94 . palm up. As one of the Eight Forces. moving it beside the left ribs. 3. shifting your centre of gravity to the front. • Extend the right hand outward. • Change your weight to the left.
3. use Cai technique to strike out explosively with the outside of the right forearm and elbow.89 95 . 3. lower the left hand from the front of the chest to the left ribs. both internal and external movements are integrated with the movements of the body and limbs. palm up. In this way. bending the elbow. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.89). The thumb and index finger form the character Ba ‘八’. Form a hook (Diao Shou) with the right hand with the little. • Keep the left hand open so the thumb is separated from the fingers. • While lowering the left hand. using guiding energy from the little finger. Shift your weight more to the left as you do this (Fig.6. using downward Ni reeling. • Raise the right hand from the right side. • Step backward with the left foot shifting your weight to the left. ring and middle fingers. • Then. and extend the left hand forward to the right. closing it slightly. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow.
12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. While transferring weight.陈 氏 太 极 拳 推 手 技 法 3. toes grasping the ground. and then. 3.6. especially useful as a defensive move when being attacked while in a passive situation.91). 王 西 安 96 Fig. Note: For maximum effectiveness. 3. and extend the right leg backward.91 . you raise the right hand in Ni reeling to descend the elbow (Fig. moving your weight to the right (Fig. At the same time. 3. • • • • Bend the left knee.90 Fig.90). the right thumb guides energy flow. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. strike the right elbow backward at an upward angle (Shang Chuan Zhou). make sure power is gathered properly through the whole body and that your timing is correct before you strike. 3.
93 97 .92 Fig. Ce Jian Kao. The right foot and right arm should reach their positions at the same time (Fig. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao.92). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. As you shift your weight to the right. Ying Men Kao.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. Xiong Kao.3. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm. Shuang Bei Kao and Qi Cun Kao.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. 3.7. 3.
if you find you get into an appropriate space for attacking. take care to maintain your centre of gravity by not stretching too far forward (Fig. 3. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. Then step the right foot forward again to execute Zai Kao for a second time.94). quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. . After executing the above. 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. pushing it forward and down. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu).93). Then take another big step forward with the right foot. On completion of the shoulder push.陈 氏 太 极 拳 推 手 技 法 • • • Then.7. As the heel touches the ground. Note: Only push when you are in the correct position. 3. 3.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. step forward with the left foot and place it next to the right foot. As the body inclines forward significantly during this move. Repeat these steps for both sides.
arms are a defense against attacks.7.3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. This only comes with closely combining the Yin (guide). Dai (lead and pull) and Ji (attack) energies together.Fig. conversely if one is able to ‘open’ the doors of the opponent. lowering down but not stiff. 3. 3. light but not floating” . 王 西 安 99 . When firmly closed. then techniques such as Ying Men Kao can be used to penetrate defences and attack. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose.
At the same time. 3. Once the attack is completed.96). Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. move both arms to each side of the body and push the right shoulder forward in attack (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. . the right hand above the left.95 Fig. • You can use more of the shoulder surface in the attack. move the left foot forward parallel to the right foot and repeat the sequence for another attack. 3. 3. Note: There are two ways your can attack with Ying Men Kao: • You can lower your power slightly so that the tip of the shoulder protrudes more. It is easier to hurt the partner using a narrower attacking surface.95). Separate the hands of the opponent to expose his chest (Fig. 3. fingers pointing up and palms facing the sides of the body. Next. cross the hands in front of the chest. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed.
• Change your weight to the left while pulling the opponent toward your chest using your palms (Fig.98).7. 3. A good sense of timing is essential for defeating the opponent. the chest and waist are in a collapsed position. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. 3.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. • Step the right foot forward.98 101 . 3. • After this move is completed. move the left foot parallel to the right. 3. • Extend both arms from the sides to the front in an embracing gesture. • Then roll the chest inward and shift your weight quickly from left to right.97). • To begin. using this shift to deliver a sudden push with the chest (Fig. Only with a thorough mastery of this technique. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. shifting your weight to the front. can you execute it in actual combat (because you may easily hurt yourself ).97 Fig. Note: Focus on sharpening your sense of timing during practice.
Shuang Bei Kao requires Duan Tan Dou Jing prowess (short.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders.99). a capability that comes only with extended Quan practice. • When the whole body holds and collects to a moderate extent. remember to gather and withhold energy before delivering the strike. This technique also uses Duan Jing (short power). shoulders slightly concave and with power guided by the thumbs (Fig. Note: As mentioned in previous techniques.7.陈 氏 太 极 拳 推 手 技 法 3. 3. • When the weight moves forward the chest rolls inwards. take a sudden breath in and push the chest forward quickly.100). and the shoulders execute Bei Kao to the right . 王 西 安 Fig. 3. • Gently rotate backwards with both palms facing backwards.99 Fig. You may lead with either leg. as the shoulders deliver Bei Kao backwards (Fig. rebounding and shaking power). 3. • Stand with feet parallel.100 102 . 3.
• Turn the body slightly to the left as the right hand rises. use short power in your push.3.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. continue to transfer your weight to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Once your root is stabilized. 3. • Gradually move the right arm downward toward to the inside of the right leg. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. if further away. 3. • Practice pushing from both the right and left sides. Note: If the opponent is at close-range.101 103 . and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. • Extend the right foot and arm forward. Find a stable centre of gravity with the body and gather your body in this position.7. extend the distance of your Kao slightly. fingers pointing down.101). • Start doing Shun reeling with your right hand as you move your weight slightly to the front.
102 104 .102).陈 氏 太 极 拳 推 手 技 法 3. Practice this sequence in rounds from left to right.7 Qi Cun Kao … Seven Cun Kao The name of this technique indicates that the body should be seven cun (approximately 23 cm) above the ground. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). Place the elbow below the knee (Fig. Note: Power applied in the initial stages should be slow rather than quick. 3.7. 王 西 安 Fig. • • • • Take a large step diagonally forward with the left or right leg. 3. Incline the body forward in the same direction. This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice.
• At same time.8.104 105 .3. 3. Shuang He Fu Cai Na. Fu Na.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. Chan Rao Na. and Shuang He Na. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Xiong Na. Diao gai Na. 3. palm up (Fig.103 Fig.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. • Rest the right hand near the right ribs. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. Tui Na. 3.104).103). 3. • Extend the left foot and left hand forward. • Relax the left side of the crotch and shift your weight forward to the left. palm facing in. 3.
Try to relax at every step while applying the seizing action firmly. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. Repeat the above sequence. Seizing techniques are quite difficult to practice. Shun reel with the right hand and Ni reel with the left. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. i. then you must respond promptly by swapping the reelings to the opposite hands. With practice. When seizing. . if you practice each side diligently. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. drop the elbow. move the weight slightly backward then move forward again. and lower your waist and Qi.e. but she evades your attack by ducking down. lower the shoulders. 王 西 安 106 Closing with the left while seizing with the right and vice versa. Note: Shun and Ni reeling are interdependent and cannot be separated. this time reeling in Shun direction with the left hand and Ni direction with the right. tighten the ribs. roll the chest in. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. even though you deliver the power later than the partner. After seizing. Your moves will become more effective as your internal Qi integrates more closely with the external movements. spread the energy up and down the length of your body like a bow so that power is distributed everywhere.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. you will be able to execute these changes quickly and smoothly. changing the weight from left to right. in order to block the opponent’s energy path.
8. 3.107). extend the left hand forward to rest in front of the body (Fig. Again.105 Fig. 陈 氏 太 极 拳 推 手 技 法 Fig. • • • • • Step forward with the left foot and move the right hand in front of chest to fend the opponent off upwards to the right at head level (Fig.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. 3.3. placing it in front of the chest. Then lower the right hand to the right ribs. As you do this. palm out. roll the chest in. 3. At the same time.107 王 西 安 107 . and shift your weight to the right side. The shift to the left enables you to hit the target clearly (Fig. and clench the right hand into a fist.106 Fig. lower the Qi. 3.106).105). 3. Relax the left side of the crotch. relax the left side of the crotch and shift your weight to the left. Then rotate the right hand and body to the right. tighten the ribs. 3.
while the two hands serve as supports.109). The strike is actually applied by the left side of the chest. roll the chest slightly inward and gather the ribs.” 3. 王 西 安 108 . Make sure to keep your own axis when seizing the opponent. 3. Move the whole body in a natural and relaxed state. lower Qi to the abdomen in preparation for the inward roll and seizing. Move quickly and follow your partner but do not lose power. the palm forming a “八” (Ba) shape. palm facing right (Fig. The left hand leads by closing the power causing the right hand to follow. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. Relax the crotch. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen.108). Shift your weight forward and accumulate power well. 3. reel with both hands in a Shun direction. palm facing left (Fig. • Step the right foot forward and pass the right hand across the left side of the body. • Close the crotch. rotate the body.8. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. the force of upward suspension maintains the axis.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. Match the speed of your movements to that of your partner. Draw the arc with the intention of meeting the opponent’s hand.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. • At the same time. • As the weight shifts to the left. • Step the left foot forward and extend the left hand to the front. and gather energy in the ribs.
clench the left hand. 3.108 • • As the Qi descends. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. seize with the right and roll the abdomen – these three actions combine to become one power. whose movement is heavier (Fig. The eyes look forward and to the left.Fig. The abdomen provides the main supporting element. 3.110).110 109 .109 Fig. 3. the left hand moves lightly and assists the right. 3.
• • • • 王 西 安 110 • • Take a half step forward with the right foot. extend both arms to the front. Direct the eyes to the front. whereby the abdomen gathers power to support the hands. the right hand moving down while the left moves up. 3. gather the ribs and lower Qi to the abdomen so that internal strength flows through the Dantian and the Three Powers (Jing Qi Shen) may unify to guide the attack. immobilizes their wrists by bending them outwards. Continue to shift your weight forward. As your weight shifts. bending them at the elbows. Concentrate your energies then pounce on your opponent like an agile cat. followed by the left. 3. while the hands use Na (seizing) power to collect inward. push the abdomen out suddenly (Fig. roll the chest slightly inward. and commence shifting your weight forward. keep your intention firm for victory or failure will be decided in a second. 3. Move swiftly without hesitation. As you seize. facing in so that the fingers are directed towards each other. move the palms up to chest level and seize the opponent’s elbows using Na power.111). Both hands extend forward in sequence. capture and immobilize the opponent. and both feet standing steadily as the hands move. and gather them towards you (Fig. .陈 氏 太 极 拳 推 手 技 法 In summary.112). palms about 10 cm from the lower abdomen. the right foot steps forward. At the same time.8.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. do not be kind to the foe for the opportunity to attack comes just once.
fending the opponent off upward to the right (Fig. 3. 陈 氏 太 极 拳 推 手 技 法 3.113). 3. • • • • Step the right foot forward and pass the right hand across the chest.5 Chan Rao Na … Seize by Reeling This technique uses the gathering power of one hand to seize while the other reels from the inner side of the opponent.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. Reel the left hand forward. supported by the warding right hand. Step the left foot forward and shift your weight to the left. 王 西 安 111 . and lower Qi in your abdomen before protruding it forward.Fig.111 Fig. so that you respond by moving your weight forward. Lower the right hand then cover it with the left.8. 3.
Collect the hands inward to about 15 cm in front of the chest. tendons and veins. 3. .113 Fig. Step the right foot forward again and repeat the above steps.114). Combine them with the power of chest to become one power (Fig. 3. But remember: practice like an adept.114 • • • • Put your body in a squatting position by bending the knees slightly. Alternate practice on both right and left sides. Collect the body by rolling the chest slightly inward. gathering the ribs and lowering the waist and Qi. by taking a step forward (Shang Bu) each time.陈 氏 太 极 拳 推 手 技 法 Fig. this technique can be used effectively to break wrists. not like a thug. bones. 3. 王 西 安 112 Note: If Qi descends smoothly.
Lower your Qi. fingers pointing forward. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. In this way. • As the weight moves forward. roll the chest in and gather the ribs (Fig. • As the knee swings inward. the Three Powers (Jing Qi Shen) combine to seize the opponent. • Bend the left arm inward to gather both palms. 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. 3. • Step forward with the left foot and extend the left arm to the front. 3.3.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. 3. • As you step. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. relax the crotch. and move both hands to assist the left leg.116 113 . shift your weight forward and bend the knees slightly so that the body squats like a bent bow.8. • As soon as the right hand reaches the level of the left leg. The powers of the left arm and right hand unify as one.115).115 Fig.
陈 氏 太 极 拳 推 手 技 法 • • • After seizing. spiral the right hand up from the right side into an arc. • At the same time.118 114 . 3. • Step forward with the right foot. The changing of the legs happens quickly. 3. 3.8.117 Fig.7 Diao Gai Na … Seizing with Both Hands This technique uses both hands to seize: the right hand moves up from the right to grasp the opponent’s arm from the bottom while the left presses down from the top.116).117). extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig. 3. guiding it to the right ribs for support (Fig. As you step forward. gradually guiding it inward to rest in front of the right ribs. • Then lower the right arm by executing Lü downward in Ni reeling. 3. shift your weight quickly to the left and step forward with the right foot. shift your weight to the front and extend the left arm again to repeat the steps and seize once more. Then step forward with the left foot. 王 西 安 Fig.
shift your weight to the right and step forward with the left foot. 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. The intention is to have the whole body collecting and seizing together with the hands.Fig.119). 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 .119 • • • • • • As soon as the right foot touches on the ground. roll the chest slightly inward and bend the knees slightly into a squatting position. Continue to move the right hand and foot forward. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig.118). shift your weight to the right and move the left foot and hand forward (Fig. lower the shoulders. When the right hand moves up. 3. 3. 3. As the hands move. 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.
strengthed by whole body coordination. Bend your knees so your body squats like a bending bow. 3.陈 氏 太 极 拳 推 手 技 法 3.120 Fig. 3. 3.120).8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize.8. Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig.121 116 . • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig. rolling the chest inward and tightening the ribs. 王 西 安 Fig. Prepare for the seizing by lowering Qi to the Dantian. then gather both hands and grasp the opponent’s wrist firmly downwards.121). Combine this with the power gathered in both hands and seize with one force. At the same time. This step marks the transformation of Peng (ward off ) to Na (seizing). 3. step forward with the left foot and shift your weight to the front.
9. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. This technique enables a practitioner to avoid capture or break a hold.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book.122). Qu Wan Fan Na Jie 6. Shan Jing Ce Jian Jie 7. ‘Wars Among Three Countries’ by Guan Yu. 王 西 安 117 .9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. such as a waist grasp from the rear to throw you down. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. and finally the index finger. Diao Wan Qu Zhi Jie Tuo 3. Guan Gong Jie Dai 2. middle finger. Guan Gong. then the ring finger. Fan Na Cu Bu Jie 9. • Hang the hands naturally at the sides. Chuan Zhang Jie 5. Shuang Wan Zhi Jie 4. • Move Qi in from the outside and lower it to the Dantian.3. • Inhale. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. the Guan Gong Jie Dai technique is said to be named after its creator. 3. Shan Jing Zhen Zhang Jie 8. • Next. • Stand with both feet in parallel. eyes looking forward. shoulder-width apart.
This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip).陈 氏 太 极 拳 推 手 技 法 Fig. otherwise it is not easy to unfold (Fig. In this way. 3. . the squatting of the body. the gathering of the ribs and the hooking of fingers should combine to become one unit. 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.9. 3. and also with the speed of Qi descending. This technique becomes effective only after extended practice. If the fingers are being held.122 Fig. 王 西 安 118 3.123 • Synchronise the speed of this movement with that of the body.123). hook the wrist and bend the fingers to escape.
relaxing the shoulders. 3. join the fingers of your hand together and point them diagonally upward to the right (Fig. 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. slowly bend the wrist and fingers.125).Fig. rolling the chest inward. By doing this. you relax and elongate your encaptured arm. your conjoined fingertips and knuckles should be able to escape with ease (Fig. 3. and lowering your Qi as you do so. 王 西 安 119 .125 • • • • • If the fingers of one hand are seized by the opponent.124). Practice these steps with both hands in turn.124 Fig. 3. unblocking the arm area being attacked. By the end of your movement. so that Tuo (escaping) power can reach the fingers effectively. lowering the elbows. As you move.
• • • Step one foot forward and shift your weight to the other leg (Fig. While doing this. then move your arms forward and upward as your weight shifts forward (Fig. closing your hands while opening the opponent’s. tighten the ribs. 3.126 Fig. It is not necessary to use large movements in this technique. roll the chest inward.127 120 . and lower the Qi so that power can flow smoothly to the inner side of the wrists.127).3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. clench both hands into fists.126). 王 西 安 Fig.9. 3. 3.陈 氏 太 极 拳 推 手 技 法 3. Just focus on relaxing and lower the Qi. lower the shoulders and elbows. bend the arms. 3. At the same time.
9. and Qi. placing the right hand on the left (Fig. 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). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. two eyes look forward horizontally. • Bend the knees slightly to place the body in a squatting position.129 121 .128). elbows. tighten the ribs.3. 3.4 Chuan Zhang Jie Tuo Escape by Crossing the Hands before the Chest This technique consists of crossing both hands before the chest when you move to the left or right to transform power. 3. • Bend both arms 90o inward and cross them in front of the chest.128 Fig. and lower the shoulders. • Two feet stand flatly and the body stands straight. 3. and roll the chest inward.
Do not rush forward but defend you territory in straight postures (Fig. 3. then rotate forward again. and move the right hand in Shun reeling while the left does Ni reeling. and lock the palms of the opponent.131 122 . 3.陈 氏 太 极 拳 推 手 技 法 • • • If you choose to turn to the left: rotate the body to the left then right. swapping the Shun and Ni reeling to the opposite hands.130 Fig.5 Qu Wan Fan Na Jie Escape by Bending the Wrist and Seize the Opponent This technique is used to counter-attack a hold on the right fingers. then to follow your opponent by bending your wrist in Ni reeling while you rotate to the right position so as to extend the left hand and seize with the right. It requires you to twist the captured fingers outward in Shun reeling. If you choose to turn to the right: rotate the body to the right then left. Then ward off (Peng) by pushing both palms outward.129). 王 西 安 Fig. 3. 3.9.
As you do this. open the joints throughout the body and stretch the muscles so that power can flow through to the wrist and move to its end point more smoothly. 3. While rotating the arm. 3. 王 西 安 123 . palm facing left (Fig. If you practice diligently.133 • • • • • Extend your right arm forward.Fig. step the right foot forward (Fig. raise the elbows. it will be difficult for opponents to overcome your attacks. As the right toes touch the ground.133). Apply the principle of constant change and flexibility in Taiji circles.132). then bend it about 450.131). Rotate the arm about 1800 outward in Ni reeling. wrist bent inward in readiness to seize and fend off danger (Fig. Your movements should be relaxed and executed with power at all times. 3. relax the shoulders. extend the left hand forward to support the right hand as it seizes downward (Fig. 3.132 Fig.130). 3. 陈 氏 太 极 拳 推 手 技 法 Note: Use the waist as the boundary dividing rising energy above the waist and descending energy below the waist. 3.
135 124 . coordinating it with the lifting of the back and the descending Qi. move the left hand rightward to the front of the chest. palm facing right. then move swiftly to the right to destabilize the opponent.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling.陈 氏 太 极 拳 推 手 技 法 3. right fingertips initially pointing downward. Next. you should rotate externally and upward in Ni reeling. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). • The right wrist bends inward with the arm to rotate the hand in Ni reeling.134 Fig. this sequence of movements make up the Shan Jing Ce Shen Jie technique. the palm gradually guided by Ni reeling to slant externally to the right. so that the power of the left hand combines with the right to become one.9. • As the right palm reels outward. • Extend the right arm horizontally and bend it 900 inward. 3. In response. roll the chest inward. 3. • Simultaneously. 王 西 安 Fig. Together.
3. So Shan and Jing serve as the pre-condition of escaping.• • • As your left hand moves. Note: Move in Ni reeling while the opponent moves in Shun reeling. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. because with these. 陈 氏 太 极 拳 推 手 技 法 3. then quickly step the right foot forward (Shang Bu). you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. All the above movements of the hands.135). giving him a sense of losing of Qi.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. The above movements of both arms and the right foot should occur in one very smooth and swift motion. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). Almost at the same time. 3. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. 王 西 安 125 . make a big step forward with the right foot.134). touching the ground with the toe tips (Fig.9. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. shift your weight to the left . and thus enabling one to evade capture. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. 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.
At the same time. open both fists and shift them away from the sides of the body. then Shang Bu (take a step forward). Next. step forward quickly and attack with the palm (Fig. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. then the whole body sends a Dou in a circle in Shun reeling (short power). use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. slowly raise both hands and bend them inward about 1800. palms facing up and eyes looking forward.138 126 . 王 西 安 Fig. This power should be quick and strong.136 Fig.136). 3. palms facing up and the two little fingers placed on the middle of each arm. 3.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time.138). Simultaneously. When the body and two hands send the Dou power. and both palms draw inward.137).137 Fig. 3. and the extending palm reaches the right position at the same time. clench the hands into fists and place them at the sides of the body (Fig. 3. 3. As soon as you surprise and destabilize them with your moves. 3. the body squats.
holding and collecting a quicker speed.9. 3. 3. Bend the knees slightly to place the body in a squatting position. extend the left hand from left to right. Then push the left palm to the right. since he or she can easily twist your fingers and get you caught’. Two elbows draw inward and hands move outwards. you find escaping easy. 3. 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. At the same time. because sometimes appropriate retreating gives one a closing power. and attacking by the Cu Bu or Dun Bu technique (stomping). With Shan and Jing. the partner cannot reach you though his attacking power is strong. which is against principle.139). • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. 王 西 安 127 . palm facing out. Step diagonally right with the right foot. thumb separated from the fingers (Fig. It is not wise to grasp the opponent’s elbow with your fingers. first bending it inward then moving it outward to the right. fingertips slanting up (Fig.It is just like the poem reads: ‘It is not a failure if you retreat your pace.140). extend the right hand diagonally forward to the side. then shift your weight to the left and inclining the body to the right to hold and collect.
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. paying attention to the upper and lower body and your surroundings. This power can only be gathered with greatly unified power. 王 西 安 128 . Even if you sense the opponent’s intention to move. side pushing with the left palm and exhaling at one time. Then you will free yourself from capture. Stand rooted like a big tree. 3. do not react or become anxious but remain confident in your prowess. from long power to short power.139 Fig. During the practice.陈 氏 太 极 拳 推 手 技 法 Fig. the body should move from high to low. Be patient and diligent with practice. Incline your body and explode the energy with great unity by stomping with the right foot. from slow to quick. 3.
141 Fig. • In this way. the left hand in Ni reeling and the right in Shun reeling. • Next. 3. • Then bend both wrists inward.141). bending inward about 90o. • Extend both arms forward.9 Shuang Shou Wai Fen Jie Escaping by separating hands This technique is used to wrest free of a double wrist grip by separating the arms. palms facing each other. eyes looking forward (Fig. palms facing in (Fig. separate the hands to the sides of the body. 3. the hands wrest free of the opponent’s wrist grip. exhale.3. 3. lower the shoulders and elbows. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. tighten the ribs and lower Qi to the Dantian.9. roll the chest in. • Step the right foot forward. 3.142 129 .142). As you do this. breathing in as you do this.
finally returning them to the front of the chest to repeat the cycle (Fig. then separate them to each side. During practice. Palm Inserting Down) (Fig.144). insert both palms downward (Xia Cha Zhang.144 Notes The extent to which you separate your hands depends on the opponent’s grip. then you transform and eliminate the seizing on your wrists. You can escape from seizing by one closing and one opening.143). 3. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. 3. 3. keeping both arms tightly together like pincers. then raise your hands.143 Fig. If you still can’t free your wrists with this technique. 王 西 安 130 . If you cannot push the opponent’s hands away.陈 氏 太 极 拳 推 手 技 法 Fig. 3.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
Taiji Yangsheng Zengqi Gong can be divided into six postures. Wu Ji Zhuang (Wu Ji Posture) 2. its leaves and branches must flourish. San Ti Shi (Three Postures) 5. Lü. each of which can be practiced individually or in sequence: 1. Chan Si Zhuang (Reeling Silk Posture) 6. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. Ji and An. Kai He Zhuang (Opening and Closing Posture) 4. states: “If a tree has deep and strong roots. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. These movements are applied throughout the whole system of Taiji and Tuishou practices. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. 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. opening and closing. As Qing Dynasty Taiji Master.1 inTrOducTiOn Taiji Yangsheng Zengqi Gong is a collection of health and Qi enhancement practices essential for the formation of robust Taiji and Tuishou techniques. Peng. . rising and falling. Chen Xin.陈 氏 太 极 拳 推 手 技 法 4.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). 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).
1 133 . eyes closed. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4. Concentrate your intention (Yi) in the Dantian.2 wu ji zhuang (wu ji pOsTure) 4.2. feet parallel and shoulder width apart.1 Postures a) Posture 1 • • • • Stand upright. Hang both arms at the side of the body and relax. breathing gently and slowly. keeping your mind relaxed. Open your eyes gradually. 4.
palms facing downward and slanted diagonally (Fig.3). 4. 4. 4. 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. Lower the hands onto the abdomen. the right over the left for male practitioners. Try to expand your arms moderately. Maintain the hands at shoulder height. 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. when it should actually be solid.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides.2).2 Fig.3 134 . do not do it so gently that Qi becomes too soft and weak to reach every part of the body. On the other hand. the reverse for females (Fig. 4. 王 西 安 Fig.
guiding the Qi and saliva through to the middle Dantian. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 . inhale and then swallow saliva down into the stomach. 3. bend the knees slightly and grasp the ground gently with the toes. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. the mind and facial muscles naturally relaxed. 4. The neck should be firm and straight. Pay attention to the following points when practicing the Zhuang posture: 1. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. 4. 2.2. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. lower it when exhaling. until they reach the lower Dantian. The whole body will be steady if you gather the internal organs consistently. Lift the buttocks and anus up a little. so that the waist descends naturally. Gather the chest and ribs inward. Your shoulders should be loose and slightly lowered. Your elbow joints should be lowered.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture).4.2 The requirements for every part of the body 1.2. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point.
Maintain your vertical axis. While inhaling Gather your chest and abdomen inward while breathing in Qi. you will enlarge your vital capacity and exercise the diaphragm muscles. which will help with the distribution of Qi around the body. lower the waist and gather the Qi in the Dantian. By practising the above key points. Feel the sensation of all the body joints. While lowering the internal Qi. through the Wei Lü Guan point. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. including the internal organs. keeping your body upright and lifting your back slightly. across the Yu Zhen point. While exhaling Lower every part of the body. so that they all have the same rhythm. Raise your Yi (intention) from the Hui Yin point (perineum). 王 西 安 136 . up along the spine.陈 氏 太 极 拳 推 手 技 法 2. roll the chest slightly inward. skin and fine hairs opening as the Qi rises. leading to Qi filling and blocking the chest. until it reaches the Bai Hui point. 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). 3. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further.
patients and the correct mastery of key points. During Wu Ji Zhuang. quietude and concentration. However. and achieve the smooth Zhoutian circulation and help with body combat. external movements) follows Qi. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). Qi cannot be separated from Yi (intention). • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . these can be accomplished only by hard learning. just as Xing (posture. Practitioners should modify the scope of their practice according to their level and progress.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. Only these can guarantee normal and healthy internal Qi circulation. The key requirements for practice are relaxation. Only through mastering your mental activities such as intention. Beginners generally find it difficult to remember the postures and key points. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. consciousness. thinking. and emotions.2.4. Qi follows Yi.
” Hence.1 Postures 王 西 安 Fig. 4. 4. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation.陈 氏 太 极 拳 推 手 技 法 4. is an important basic skill in Chinese Martial Arts. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill.5 138 .3.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.4 Fig.3 hunyuan zhuang (circle pOsTure) Zhuang skill. 4.
The upper body should be kept upright. Stand with your feet parallel. a little more than shoulder-width apart. The palms face each other. fingers pointing at their counterparts about 30 cm apart. Execute the posture as if embracing a big tree. if closed. If your eyes are open. 4. the neck.3. then lower the waist (Fig. focus your attention on the Dantian (Fig. Relax the shoulders. 王 西 安 139 . waist and back straight. Keep the fingers evenly open and slightly bent as if half grasping a sphere. with practice duration increasing gradually from short to long.4).5). Keep the head naturally erect. then move them back to the middle. shift your weight to the right and lift the left foot and take half a step to the left.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. b) Posture 2 • • • Separate the hands when the left foot reaches ground. 陈 氏 太 极 拳 推 手 技 法 4. Lower the elbows and shoulders slightly. Leave your eyes naturally open or close them.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. The old and weak may practice using a high body stance. Next. focus on a static object at the same level as your eyes. 4. mid-level and low. Bend the knees so that the body is squatting a little. waist and crotch.
At the same time. increasing to thirty or forty minutes at later stages. 王 西 安 140 . through the Ren Mai. Now lower the tongue and inhale. until it reaches the Baihui point. then bend the knees to lower the body until the buttocks are at the same level as the knees. Practice duration can last just a few minutes in the initial stages.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. then a low stance. swallowing your breath with saliva. up the spine. The trembling may only be detected by touch or by close observation of the leg muscles. inhale slowly first. Should this happen. and slight trembling may occur. For example. This relieves or may even stop the trembling for a period. the thigh muscles and even the whole body may tremble rhythmically. 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. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). raise Qi from the heels up the legs. In this case. Wei Lü Guan. and guide the saliva down to the middle and lower Dantian. Inhale again as the body rises. touch the palate with the tip of the tongue. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. Beginners will find that the thighs may ache after two weeks of practice. graduating to midlevel. Que Qiao. you should raise your stance slightly to rest. Du Mai. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. when doing Standing Zhuang at a high stance. then lower your body again. becoming gradually longer. although this may become more obvious with prolonged practicing at mid or low stances. past the Yu Zhen point. At this point.
Zhuang skill is actually a practice using static strength and tension. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. the body quivers in a relaxed and peaceful state of mind. as it responds to the circulating blood.3 Breathing Breathing is an important element of Zhuang skill. It rises and falls like a boat in the ocean. Practice this process repeatedly.3. breathing motions and digesting processes. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. but the apparent non-activity is misleading. 4. like a wild goose flies off and falls. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . The body weight is always subtly moving in various directions. Standing on the ground steadily like a mountain.As you exhale slowly.
1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. the body rises slightly with the inhalation. 4. 4. extend your breath slowly through the practice process. the palms face inward and the eyes are slightly closed (see Fig. 4.陈 氏 太 极 拳 推 手 技 法 4. 王 西 安 Fig. The distance between both arms starts short then grows longer. relax and open the internal organs. The only difference is that in this posture. In the initial stages of practice. The navel and Ming Men are in the same rhythm. Gather the chest and abdomen.4. the breath is usually short. At the same time. as are the requirements and key points for the body parts.8).6 Fig.7 142 . the middle fingers connect. 4.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. Relax the body. 4. Roll the chest slightly inward. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. use your intention to guide the current outward.Note: when you inhale and open up. Focusing on your intention (Yi). At the same time. Acting slowly. Do this practice slowly. All internal organs are filled with strength. the navel and the Ming Men Mai swell out. Drop the wrists and hold the palms facing inwards in a concave shape. b) Posture 2 • • • • • • Exhale and gather the organs. Qi appears between finger tips of both hands like a magnetic force. using your intention (Yi). crouch down and lower the elbows.8 143 . lower the waist and gather the rib muscles.
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. as well as breath control. it also helps increase internal strength and distributes Qi around the whole body. For thought (or attention) to combine with intention. For example. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. intention and Qi. then your strength must be soft. In this way. Qi and strength. “the internal Qi moves inside”. . the ebb and flow of Qi and strength (or power) are in synch with each other. as well as the internal Qi moving in the body with the guidance of your intention. and when Qi rises – the body and internal organs gather slightly.4. gentle and even. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. and also helps the practitioner build skills in relaxation and quietness. For example. when extending the hands. 4. This is called. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. if you require the breath to be slow. one’s thoughts need to implement intention consistently.2 The relationship between Thought. This practice also strengthens the practitioner’s ‘root’. Qi here refers to the fresh air exchanged between the lungs and the outside. Lastly.
With practice. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. the chest. Its purpose is to stimulate the nerve system by muscle movement. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. abdomen and back. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . Guided by intention. and are one of the main requirements in Zhuang skill. this movement becomes a conditioned reflex and helps move muscles which are normally static. In particular.The relaxing and gathering of the internal organs mentioned here refers to the activities of the internal organs and the muscles around the midriff area – under the ribs.
raise both hands above the right leg.10). . This posture could also be called a sideways Bow Step (Fig. 4. 4.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. then shift your weight forward from the left foot to the right knee.9). a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. then open your eyes and look into the distance. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. Start the posture with your eyes closed. Expand the crotch like a circle. focusing your intention in the Dantian. the right hand in front of the left.陈 氏 太 极 拳 推 手 技 法 4. make sure your eyes are drawn inward to looking internally. At the same time. Gather the Lao Gong points of both hands inward. When the weight shifts completely to the left leg. Swallow the fresh air inhaled. inhale and move your weight backward. The length of inhalation should match the speed of the weight shift. Next. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. then breathe it out slowly as you move forward (Fig. The fingers are poised as if grasping the air. When inhaling. Purify this saliva with your intention. fill the body with strength and withdraw the limbs to prepare for the next pushing posture.
4. 4.10 Fig.Fig.11). 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. You need to have the feeling of closing before opening. then push both hands forward slowly (Fig. lower the waist.11 147 . Repeat this process alternating the left and right sides. close and fold your strength into your chest and waist.
leading to progress and experience of the benefits. practioners will make the expected progress. practitioners are required to cultivate their Three Spirits when they begin practice. If. confidence is a critical prerequisite. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. and great determination. confident and diligent practice. Only after prolonged practice can confidence be nurtured. Confidence in Zhuang skills grows with practice as difficulties are overcome. your belief is half-hearted. persistence may be engendered. So where does confidence come from? From practice. and hold firm to these attributes throughout path of practice and study. Indeed. You can persevere only if you firmly believe in the benefits of Zhuang skills. With confidence comes determination. then your progress will be poor. determination. your practice hesitant and inconsistent. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. with confidence and determination. 王 西 安 148 .陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. In sum. Through serious dedication. and persistence. on the contrary.
In this way. extend both hands forward with the right hand before the left. As you step forward. inhaling all the while (Fig. • The fingers of the both hands point to each other.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward.12). • At the same time.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. 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. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. 4. Peng force is maintained while the foundation of the body is reinforced as well. 王 西 安 149 .4. 4.6. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). both palms facing forward.
4. 4.14 .13 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 4.12 王 西 安 150 Fig.
As this happens. inhale and crouch the body slightly. 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. 4. lower the shoulders. step the right foot on the ground. rotate the left hand in Shun reeling in front of the lowered abdomen. turn the waist and twist the crotch. gather and close the whole body so it forms a posture prepared for opening activities.b) Posture 2 • • • • • • • Next. Inhale and swallow saliva. As you shift your weight. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. you will lose your weight and axis). 4. relax the right crotch and shift your weight gradually to the right. suffusing it with Qi before lowering it down to the middle and then lower Dantian. drop the elbows. As the weight shifts. otherwize.14). Both hands make a half fist when reeling. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. 王 西 安 151 . you start to repeat the sequence. When the left hand executes Lü (roll back) to the middle of the body. At the same time. open both fists into palms facing inward. the right hand in front of the left. relax both arms. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. keeping the left hand inside and the right outside (Fig.13). withdraw the right hand so it intersects the left. When this happens.
This phenomena of “connected arteries. Dual practice with Yi (intention) and Qi connects the whole body. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. After mastering the key principle of natural breath. 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”). Ren Mai starts 王 西 安 152 .陈 氏 太 极 拳 推 手 技 法 4. and comes only after accumulated practice. Therefore. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). The normal breath frequency of adults is six to twenty times per minute. When you practise Zhuang skills to a certain level. Only by this can you avoid errors and side effects. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. After practicing Zhuang skills for a period. and even to one or two times per minute. inhalation/exhalation being one breath.6. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. you will feel your key joints and your arteries and veins become unblocked and re-connected. This helps in the exchange of carbon dioxide and promotes metabolism in the body. the breath can become slower and longer. you should focus on increasing the duration and depth of your breath. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. decreasing to seven or ten breaths per minute. your breath should be natural and of the proper duration so that it enhances body combat and health. This is a primary sign of beneficial Zhuang practice. then to five times per minute.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. Inhalations and exhalations should be of proper length.
then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. reaches the Bai Hui point through Wei Lü Guan. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. For both. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. deeper. the five sense organs internally gathered. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation.from the tip of the tongue. even and quiet. Jia Gu Guan. Du Mai starts at the perineum. the difference being that Da Zhou Tian extends Qi to the lower limbs. reaches the perineum through the Dantian and then connects to Du Mai. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. The Qi of Da Zhou Tian originates from the Yong Quan point. except that the breathing in the former is longer. the body should be relaxed. then infusing Qi into the Dantian. and Yu Zhen Guan. The whole process of moving Qi through Ren Mai and Du Mai. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. In Da Zhou Tian. and Yi and Qi should move in the required routes. all channels extended and unfolded. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . more gentle.
close your eyes and inhale. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. then bring in the right foot so that both feet are a shoulder-width apart. bring in the arms and place both palms in front of the abdomen (Fig. 王 西 安 Fig.15 Fig. a) Posture 1 • • • Shift your weight gradually to the left leg. 4. Swallow Qi down with saliva and guide it down to the middle Dantian. 4.15).16 154 .陈 氏 太 极 拳 推 手 技 法 4.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. then infuse it into the lower Dantian. 4. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. At the same time.
swallow Qi and saliva and infuse them into the lower Dantian (Fig. 4. 4. palms facing in (Fig. lift both arms upright.18 155 . finally placing them in front of the shoulders.17). 4. 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. fingertips pointing obliquely down. Then using the little fingers to guide the energy.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. 4.18). Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. separate the arms to the sides. As the body lowers.17 Fig. Clench both hands into fists and lower them to ear level as the body lowers. palms facing each other.16). pointing the fingertips upward.
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c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
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5.1 pracTice fOr The buTTOcks
The requirements for positioning the buttocks in Taijiquan practice are very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the end of spine) in an upright position when practicing, gathering and raising it naturally so that the buttocks do not protrude nor swing too much, otherwise the buttocks will be unable to rise and lower naturally. Taijiquan novices sometimes err on over-gathering or raising the buttocks, which can result in various negative effects. For example, if the buttocks are gathered too far forward, the posture will become unnaturally stiff and not follow the natural straight alignment of the body; in addition, this posture may also impede natural breathing as it blocks smooth circulation of Qi throughout the body and may even destabilize the firmness of the weight of the lower limbs. Gathering or raising buttocks in routine and Tuishou practice must be applied in accordance with each specific practice and not generalized. For example, while relaxing the the joints and muscles in the Lan Zha Yi posture (Lazily Tying One’s Coat), the buttocks should be raised slightly as the waist is lowered so that Qi can descend smoothly into the Dantian. If the buttocks are pushed too far forward, the lowering of the waist is impeded and consequently, Qi cannot cannot descend through the Dantian and separate into two streams to flow through the Yong Quan point through to the legs.
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5.1.2 Application to Sparring: Bei Kao
An example of applying this principle in Tuishou sparring is as follows: if the opponent executes Lü on you, you need to relax, lower your Qi and gather your buttocks before executing the Bei Kao move (Kao with the back). In this move, gathering the buttocks helps to concentrate power drawn from the heels and transported up the legs before it is unleashed at the target. In contrast, raising rather than gathering buttocks at this point will hinder full release of striking power and thwarts any attempt to transform the opponent’s energy. Bei Kao is an opening-closing move, consisting of lightening-quick power exertion and rebound, during which you need to guide Qi upward to explode energy. To do this, you need to roll the chest slightly inward and bend knees a little, then stamp on the ground to generate rebounding power and ascending Qi. The gathering of buttocks at this point is essential so that Qi can descend instantaneously after energy release. Protruding the buttocks will impede Qi flow downwards, resulting in Qi blockage at the chest which affects the stability of a practitioner’s stance and may even be harmful to health. These key points in the above example need to be practised and applied assiduously during routine and Tuishou practice.
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5.2 pracTices fOr The crOTch (dang)
Dang refers to the crotch area where the legs connect to the body. To open the Dang area, the thighs need to be stretched apart as much as possible so that the waist and crotch can rotate freely. Any obstruction of Dang movement will negatively affect routine and Tuishou practice. The opening-closing of Dang, that is, the transition between emptiness and solidity of the crotch area, has a direct impact on the flexibility of the practitioner’s body and his or her ability to change speed and weight. The shift between emptiness and solidity of the Dang area is used as a measure to monitor and adjust movement and speed of movement, and also serves as the key point to increase the power to be exploded. The firmness of Dang relates to their exertion of power and resistance. Mastery of Dang power and posture in routine and Tuishou practice helps increase flexibility, emptiness and stability of waist and legs, reinforces the foundation and enhances your practice. Adjustments to the waist and Dang are usually the first steps taken when you feel there is something not quite right with your movements routine or Tuishou practice. As Master Chen Xin said, “When you attain realization of Taiji, even a bird cannot fly out from under you during Taiji movement.” In other words, the openingclosing of Dang is key to increasing and exerting power. When Dang is closed, the whole body is directed toward closing (He); when Dang opens, the body opens. Hence, Dang is essential to Xu (gathering), He (closing), Yin (guiding), and Fang (releasing) in routine and Tuishou practice.
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2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. In Taiji practice. Ding Dang. In ancient times. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. A brief introduction is provided below. anus contraction should only be slight and done in a natural way. Yuan Dang. are described below: 陈 氏 太 极 拳 推 手 技 法 5. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. a short introduction of key Dang movements.2. the positioning of the anus also needs careful attention. advocating contraction of the anus during physical exercise as a remedy. womb and so on. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. 王 西 安 161 . womb prolapse and so on. the left knee and ankle vertically aligned to each other and the ground. This realization caused the ancients to suggest that “the ground door should be always closed”.The Anus In the same way that the positioning of Dang is very precise. and it became difficult for vena blood to flow to heart. This requires the left leg to be solid with the lower leg standing upright. rectocele. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. After humans evolved to the upright posture and started to walk. 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. the weight distribution is 3:7. For example. Jian Dang and Tang Dang. To help you master correct Dang postures in routine and Tuishou practice. Doing so over an extended period can have a positive effect in curing hemorrhoids.
This should be corrected at the earliest stages of learning. These traditional teaching methods should be changed as implied by the adage. energy in the legs is strengthened and the body is well supported. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. “It is easy to teach but hard to change what is learnt. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. the right knee should incline outward. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. For example. innate talents. there are many opportunities and responsibilities. 5. “closing in opening” and that “Dang should open in a full circle”. If a practitioner is advised to relax.” Indeed. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. it is very difficult to correct bad practice habits solidified with prolonged practice.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. 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. Some perform better than others due to learning abilities. the body crouches as the right knee moves outward. at the end of the Dan Bian (Single Whip) posture. which means there will not be opening-closing power if he or she crouches in the Horse Stance. In traditional teaching methods. the root of Dang should be relaxed.2. That is. 王 西 安 162 . Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. when the right leg moves to the side. Hence.陈 氏 太 极 拳 推 手 技 法 In this way. As for practitioners. and at this moment Dang should open in a circle so that both legs can support all parts of the body.
and quality and length of practice, rather than due to a teacher’s attention. Some practitioners are happy to help the teacher out and teach others, their intention being to allow the teacher more rest. Students are also happy to learn from co-practitioners as this may help to accelerate learning.
5.2.4 Jian Dang … Sharp Crotch
In Jian Dang position, the Dang area is shaped like an inverted “A”, the bottom tip of the Dang area is tight and not relaxed. In this case, Dang cannot be lowered during routine and Tuishou practice, and Yuan Dang cannot be formed at all. Moreover, the Bow Step is hampered, one’s gait becomes unsteady, and the upper body becomes heavy while the lower body is unrooted, swaying to the right or left, while the feet are also unsteady. This mistake may be tolerated by the old and weak if their aim is just to improve health, but cannot be ignored by younger practitioners who want to improve combat skills. Because with Jian Dang, some get easily unrooted, some find they can’t get clear distribution of weight, some find it so hard to shift the weight because they put exceeded weight onto one leg. If the habit of Jian Dang is allowed to form over a period of time, practitioners will become used to it and feel comfortable in this incorrect stance, which should be avoided. On the contrary, one must learn to identify and cultivate the twin qualities of emptiness-solidity in the legs through the practice of Taiji routines. Novices practicing Dang will inevitably develop aching feet. This is no cause for worry, as these are normal physical indications of body development and they will disappear when you reach a certain level. For example, after a bout of Tuishou sparring, novice practitioners may feel a little ache in the arms and legs, and indeed, the whole body may ache after a little rest. This is because you are not used to the intense exercise and some capillary blood vessels may have been strained. This ache will lessen gradually after extended practise, as the body becomes stronger, blood circulation improves and lung capacity is increased. At this stage, any additional
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muscle ache resulting from further increase in practice will ease off more quickly. Hence, do not be deterred by any aches and apply Yuan Dang when practicing Taiji and Tuishou, so that Jian Dang may be prevented from developing. Without patience, Taiji skills cannot be improved.
5.2.5 Tang Dang
Tang Dang happens when the legs are spread too far apart, out of proportion to the weight distribution required on the legs and the lowered Dang. As a result, the movements of the legs are hampered as they are not able to move forward and back or turn to the sides with natural ease. This situation is also called Ta Dang, meaning collapsing Dang. The Taijiquan routine is a whole body practice, suitable for people of all ages, body constitutions and those engaged in mental and physical work. Typically, practice methods for Taijiquan routines start from large circle movements to smaller ones, then from smaller circles to no-circle movements. However, the opposite is true for Dang practice, which starts with smaller scale movements, growing to larger-scaled practice. This requires Dang to be positioned a little higher in the beginning before becoming lower and wider gradually. As with Ding Dang and Jian Dang, be careful not to form the habit of committing to Tuishou movements that bring a lot of pressure to the knee joints, as Tang Dang not only increases pressure, but may also cause harm. This results in chronically tight muscles which will eventually cause bad blood circulation in the legs. The Tang Dang posture has particular impact on the stimulation of the on the nerves in the knee joint, so hindering the supply and renewal of blood in the leg muscles. Prolonged Tang Dang positioning will result in aching knee joints and a very heavy feeling in the legs. In some large-scale movements, Tang Dang
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may actually be intentionally applied, such as in the Seven Cun Kao movement, that is Kao applied in the Xie Xing or oblique walk where the distance between the ground and shoulder is seven cun (about 23 cm). Yet even in this movement, heavy pressure on the legs last only an instant and the legs can recover quickly, so Tang Dang poses no real issues. However, large-scale movements cannot be applied to the whole practice; hence Tang Dang is considered harmful to health and body combat if applied for extended periods in routine and Tuishou practice. Generally speaking, Dang practice should begin modestly with a slight lowering of the body, gradually growing to bigger movements. Most importantly, it should match the physical conditions of the practitioner and the requirements of body combat so that the practitioner does not incur any injury.
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Chen sTyle Taiji Tuishou CaTegoRies
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then strike back with Jian Kao. For example. Tuishou is commonly divided into eight categories. your opponent may respond defensively with Xiong Kao (Kao by chest).陈 氏 太 极 拳 推 手 技 法 6.1 Overview Within the Chen style Taiji routine. you can defend using An (pressing). 王 西 安 168 . with attackers changing to defensive roles in an instant and back again without warning. Indeed. For example. since both the attacking and defensive movements are interrelated and cannot be separated. In this chapter. if the opponent attacks using Jian Kao (Kao with shoulder). the attack-defense stances change dynamically. we will describe how to apply these eight Tuishou techniques in sparring practice. While the combinations of Tuishou moves are infinite. practitioners may master its secrets and principles with serious study. if you advance using Ying Men Kao (Kao diagonally to the front).
and any movements can be exerted by intention. i. Dan Wan Hua (Coiling Flower with Single Hand. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. He Bu Tuishou with static footwork.6. where the the practitioners are no longer oblidged to the sequences or fixed routines. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . while Tuishou) 8. Jin San Tui San (both parities advance and then retreat for 3 steps. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. Shun Bu Tuishou (Tuishou with movable footwork.e. normally a forward step then a backward step) 6. Da Lü (larger scale movements) 7. Luan Cai Hua (Picking Flower. silk reeling in the shape of a flower) 2. which is regarded as the highest level of Tuishou.1.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1.
During sparring. including: 1.陈 氏 太 极 拳 推 手 技 法 6. Dan Tuishou (Tuishou with single hand) 2. Ding Bu (static footwork) 2. Bie. Ji. Lü. feet placed together ) 7. novices should start by learning one set at a time. i. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. Huo Bu (moving footwork) 3. There are many categories of footwork techniques. Dian Bu (stepping on toe-tips) . and not be limited to one or the other. Qie Zhang (palm chop) In static footwork. Duli Bu (standing on a single foot) 8. Xuan Wan (rotating wrists) 4. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. However. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. Zou. these consist of the Cai.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. or Kao hand techniques. An) is usually applied. Si Yu Shou hand techniques are always used. Si Zheng Shou (Peng. Bing Bu (step touch. as follows: 1. Shuang Tuishou (Tuishou with double hands) 3.1. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü.e. Cha Bu (inserting steps) 6.
2 171 . All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling.6. the four fingers extended and joined together to form a slightly concave palm (Fig. you need to place the body in a crouching position. palm facing in.2.1). In this posture. 6.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. Da (meet) and Sao (sweep) movements. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2. with the wrist lowered and fingers relaxed. The elbow must be dropped.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. 6. When cutting downward. one arm is extended horizontally sideways. The roots of the fingers are relaxed. when both players retreat after being mutually warded off.2). In single practice. Shuan (bind).2 TuishOu handwOrk Techniques 6. it is also applied to Gun (roll). 6.1 Fig. with the forearm bent toward the upper arm at an angle of 450. 6. 6. roll the chest slightly inward and lower the waist and shoulders.
陈 氏 太 极 拳 推 手 技 法 6. one player may guide the other to reel first in the Shun direction. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. the power lies in the root of the palm. 6.3). During sparring. then reverse to the Ni direction when the hands arrive at his or her body. 6. 6. In this instance.4). 王 西 安 Fig.3 Wa Long Zhang … Roof Tile Palm The Wa Long Palm is shaped like a Chinese roof tile where the sides curl upward and the middle is low. Xie Tuo Zhang is also applied in the process of Big Lü. when hands are rotating horizontally in a circle. As you rotate the hand downward or outward. For example. where the raised hand lies above the middle of the upper arm.2. The palm posture during this direction change is called Xie Tuo Zhang. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. 6. 6.3 Fig.4 Xie Tuo Zhan In this technique. if the opponent executes Lü on you.2. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). the hand is stretched upward to the sides (Fig. the little finger is used to guide energy and draw inward toward the thumb.4 172 .
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6. This technique is called Diagonally Upward Cha. 6. fingers slightly parted (Fig. Cha Zhang is widely used in Tuishou. separate them and switch to Cha Zhang. then lower your shoulders and drop the elbows. as the hands insert downward. the hand is inserted upward or vertically/diagonally downward.5 Cha Zhang … Slanting Palm In this technique. insert your hand downward and rotate it in the Shun direction. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. • In Luan Cai Hua (palms reel in non-predictable angles.6. see above). for example: • When you rotate both hands in vertical circles.5). • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. and gradually press your hands toward the opponent. see above). Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above).5 173 .2.
6 王 西 安 174 . 6.2. while the thumb and the index finger form a “ 八” shape. you can rotate your arm with the middle finger.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. This way.6).陈 氏 太 极 拳 推 手 技 法 6. and your partner exerts An to your hand. 6. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation. Fig. and the little finger bending inward. the ring finger. When you guide your partner via Shun reeling to the front of your chest.
The toe tips point slightly inward. The other leg bends with the intention to straighten.7 王 西 安 175 . 陈 氏 太 极 拳 推 手 技 法 Fig. the Yong Quan point should be empty while the Dang is open with the intention to close.6. 6. the thigh nearly parallel to the ground.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. In this posture. the sole fully touching the ground.3. the knee positioned approximately above the tip of the foot (Fig.7). This knee is turned slightly outward to provide a frame for all parts of the body. 6. toe tips bent slightly inward. One knee is bent so that the body is in a half crouch.3 TuishOu fOOTwOrk Techniques 6. following the principle of ‘straightening in bending’. following the principle of ‘closing in opening’.
toes grasping the ground.陈 氏 太 极 拳 推 手 技 法 6. knee bent slightly over the toe tips. 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. 王 西 安 176 . 6. 6. It is applied widely in Tuishou. 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.9). the heel touches the ground with the toes pointing up at about 450 (Fig. • This step is always used in Shun step. When the weight is completely transferred.2 Hou Zuo Bu … Back Seat Step In this posture. straighten the front leg so that the back leg becomes the Bow leg. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles).3 Qian Dian Bu … Forward Tipping Step In this step.8 6. Fig. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. 6. big Lü and Luan Cai Hua.3. if the opponent presses on any part of your body with his or her hands or arms. Position both feet fully on the ground.8).3.
and Luan Cai Hua For example.10 177 .3.Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. if an opponent applies Lü on you. move your weight back and withdraw the front leg backward by stepping the toe tip back first.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü. 6.9 6. followed by the sole then heel (Fig. 6. 6.10).
Big Lü and Luan Cai Hua. 6. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg.12 .11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. which now lies close to the ground. 6.11). For example. This posture is applied to Shun step. in the ‘Dragon sweeps ground’ form. Lü applied through large-scale movements) (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 178 Fig.e. 6. Hence the name ‘Falling Step’. 12). c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. and is widely used in forward or backward movements (Fig. When the opponent applies Big Lü on you. 6.
you draw the opponent inward into your territory. In Silk Reeling technique.6. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. when the opponent executes Lü on you. exerting Ji and Na in confronting reelings). power rises from the heels up the legs. while simultaneously executing Kao on the opponent. with the little finger guiding energy as it points to the thumb when it is drawn inward. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. the shoulders guiding the elbows and the waist guiding the shoulders. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. in Bei Zhe Kao (Lean with back).4 hand Techniques in TuishOu reeling 6. with the other fingers slightly turned outward. spirals around the waist and shoulders. This move is called Shun Ji Shun Fa (i.13 179 . the term ‘reeling’ means to spiral energy. In addition.1 Shun Chan … Conforming reeling In Taijiquan. The principle of Shun Chan is that with the elbows guiding the hands. where it returns to its original position of circulation. you can use Shun Chan to gather energy and edge into the opponent’s territory.4.e. For example. enters the bone marrow through gaps in the scapula and travels down the arms. 6. Shun Chan means to spiral energy from the outside to the inside.
while the other fingers turn out slightly (Fig. roll your chest slightly inward and lower your waist. Note: to apply this technique precisely. In horizontal circle rotations with single hand.3 Shun Ni Zuo Wan Wrist descending in Shun and Ni directions This technique consists of lowering the wrist gradually during the transition from Shun to Ni Chan. shoulders and elbows.14).陈 氏 太 极 拳 推 手 技 法 6. concentrate you energy in the wrist. Ni Chan is used to open outward.14 Fig. the thumb gathers inward and guides the little finger. 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. by using the waist to urge the shoulder.15 180 .15).2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’.4. Here. Zuo Wan (descending wrist) technique is adopted (Fig. 6. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. 王 西 安 Fig. 6. the shoulders to urge on the elbows and the elbows guiding the hands. 6. 6. 6. In Ni Chan.
to provide a closing and opposing force with the three fingers (Fig.16). while trying to ‘listen’. • For example. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand.16 181 .4. Cai.6. 6. Lie. which is formed by pointing the little. 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). Zhou. The wrist is drawn inward to form a Diao Wan (Hooked Wrist). your right hand rotates at 90o towards the right side of body in Ni reeling. Kao). through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). 6. Ji. the Shun hand changes to Diao Shou (Hooked Hand). and adhere to him or her. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. Lü. At this point.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. by holding on to the opponent by the hand. in case of single hand rotation in the horizontal circle.
陈 氏 太 极 拳 推 手 技 法
6.4.5 Shun Chan Yang Zhang Raised palm in conforming reeling
This can be divided into inward Yang (palm rising) and outward Yang (palm rising), which are always used in the four front oriented techniques (called ‘Si Zheng Shou’ in Chinese, i.e. Peng, Lü, Ji, An) and four side oriented techniques (called ‘Si Yu Shou’ in Chinese, i.e. Cai, Lie, Zhou, Kao). First, if the partner executes Lü on your right arm, you insert loosely in Ni reeling, and then advance and press inwards by Shun reeling, raising the hand while advancing. It is called Yi Yang Zhang (palm raised inward), because at this time the palm is facing inward and upward. Second, if you guide the partner and withdraw your step, the partner will likely expose some weak point after you raise your palm in Ni reeling. To lift the partner in this ‘openning’ provides preparation for your ‘closing’, i.e. to capture your partner in Shun reeling quickly. At this time your palm is facing upper outward, so it is called Wai Yang Zhang (palm raised outward) Internally, whether in outward Yang or inward Yang, you should coordinate whole body movements coherently. Yang is a kind of opening, so at this time the body should close, so as to support each other and not be separated. Practitioners must pay attention to these principles in practice.
王 西 安
6.5 TuishOu sTeps 6.5.1 Shang Bu … Forward Step
Shang Bu is a forward step with one foot, and begins with both a step forward and the bending of the knees so that the body is slightly crouched, five toes grasping the ground (Fig. 6.18). This preparatory posture resembles a cat ready to pounce on a rat, and allows you to step forward lightly and flexibly. Like a cat, you should prepare first by gathering energy, then extending the foot while listening and feeling intently. Step first with the heel then uncurling the rest of the foot flat on the ground. This procedure will limit your vulnerability.
6.5.2 Tui Bu … Retreating Step
The Tui step consists of moving one leg backward in an arc, and it can consist of more than one step (Fig. 6.19). Key to the Tui Bu is the bending of the weight-bearing knee. How much this knee bends and hence how much your body squats depends on the size of the Tui step. The bigger your retreating step, the lower you will have to bend your knee. However, it also depends on your body condition. Whatever the case, the Tui step has to be done flexibly and lightly and not with stiffness.
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 6.18 Fig. 6.19
陈 氏 太 极 拳 推 手 技 法
6.5.3 Gen Bu … Following Step
The Gen Bu can also be called the Dian (adding) Step (Fig. 6.20). This step is used in the situation where one normal step is too small to reach the target while two steps too excessive. In this instance, one is said to Gen (follow) or Dian (add) a small step after a normal step to reach the target distance. Gen is applied to the four front orientated techniques, Si Zheng Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua. The main purpose of Gen Bu is to get closer to the opponent to decrease their chances of escape. However, note that the Gen step is completed without the opponent’s awareness, a technique called Die Fa (a general concept of body combat techniques, referring to the comprehensive techniques and strategies to defeat the opponents, on the basis of quality ‘listening’ to their speed, weight and power in Tuishou). The importance the Gen step in Tuishou is reflected in the saying, “You cannot reach the depth and secrets of Tuishou without understanding Die Fa.”
王 西 安
solo pRaCTiCe in Tuishou
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
Solo Tuishou practice consists of individual practices useful for improving flexibility, agility and responsiveness to combat. Typically, body movements are initially executed at a high stance, gradually lowering to mid then lower stances. However, practitioners should practise according to their body condition. Likewise, beginners should start with practicing at slow speed, gradually working up to faster then very swift movements. At each stage, slow movements should not become blocked, fast movements not energy-losing, and very fast movements not chaotic. In other words, you should not lose energy in slow practice, nor be obstructed in fast movements. On the contrary, you should keep the consistency, coherence and Liu He (the Closing and Consistency of six parts of the body), and avoid any disorder and energy loss.When one part of body moves, all other parts follow and coordinate. In solo Tuishou, you should act as though following your partner neatly, and always keep attention concentrated, shoulder blades relaxed, and movements flexible. Execute solo practice as if you were actually fighting with a partner, with the fight so vivid that it brings you more interest in your practice. As a result, after thorough sole practice, the whole body moves flexibly, neatly and smoothly, and you are able to do well in actual paired Tuishou.
王 西 安
2). eyes looking forward (Fig. stepping without thought) (Fig.1). bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. so as to avoid empty stepping (i. 7.7. relax the crotch and lift the right knee.2. precise and full of intention of listening.e. then slowly roll down the rest of the foot to the ground. 7. heel first with toes pointed up.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. straightening the neck and lifting the top of the head.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. Shift your weight slowly to the left leg.3). 7. empty the Yong Quan point. Maintain the vertical axis. 7. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig.2.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. As your weight shifts.2. Step the right foot forward. Relax the arms and hang them at the sides. 王 西 安 187 .1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. the left toes grasping the ground. Your step should be light. in preparation for the right leg step forward lightly. Continue relaxing the crotch. 陈 氏 太 极 拳 推 手 技 法 7. palms lightly touching the sides of the legs.
Complete the movement by raising the right fingers to form the Li (erect) palm.陈 氏 太 极 拳 推 手 技 法 Fig. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. . As the weight shifts.4).4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step.2. thumb behind the fingers (Fig. the left elbow and the right hand should move coherently in collaboration with each other.1 Fig. 7. 7. relax the left arm so that the left hand hangs down. 7. 7. 王 西 安 188 Note: in later movements.3 7. right elbow and wrist. While the right arm moves.2 Fig.
5). relax the left side of the crotch and shift your weight slowly to the left so that the inner side of the right foot touches the ground. 7.Fig.2. 7. As you reel.4 Fig. 王 西 安 189 .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. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig. 7.5 7.
the elbow in a slightly warding off (Peng) position in coordination with the little finger. 7. The other fingers reel outwards in coordination with the elbow (Fig.6).6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. .7 7.2. 7. 7. 7. 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. right palm facing down and wrist bending 450 inward using the little finger as a guide. When the right arm moves downward.6 Fig. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs.7). draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. At this point. The right forearm now moves transversely in front of the abdomen. 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.
power is most concentrated and exerted on the external side of the thumb and index finger. The 3600 rotation of the arm follows this sequence of changes: Shun. pointing the right knee slightly outward and moving it in a helix. While the right arm reels.9). Return the bent arm and the bow leg to their original positions (Fig. 7.2.2. that is. a 900 arc to the right side of body. 7. changing into Ni reeling. As the arm changes to Ni reeling. extend the right hand slightly forward.9 Part 9 • • Now using Ni reeling. 7. At this point. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. 王 西 安 191 .7. three Shun reelings and two Ni reelings. shift your weight to the right.8). until it reaches the front of the right ribs. 7. Ni. followed by the hand.7 Part 7 • • • • Using the little finger to guide the energy. Rotate the waist to the right. draw the chest slightly inward and relax the right side of the crotch. Use the rightward rotation of the waist and torso to steer and guide the partner’s power into your territory towards your right side so you can eliminate it. Shun. Shun. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. Then place the palm downward (Fig. bend the knees slightly to place the body in a squatting position.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. using it as a pivot to rotate the right shoulder rightward. Ni.2.
7. Shun. The movement of every part of the body should be continuous and synchronised – when the upper body moves.8 Fig. rotate the wrist. the reeling sequence being Ni. The middle body moves in coordination with the upper and lower bodies. 7. When you feel tired practicing on the right. Notes In these horizontal-circle rotations.陈 氏 太 极 拳 推 手 技 法 Fig.9 • The left arm rotates from the left. that is. all parts moving together collectively. Ni. the upper body guides the lower body’s movement. Shun. that is. three Ni reelings and two Shun reelings. Relax the waist and shoulders. Ni. Practice until you reach a level where when one body part keeps still then all other body parts keep still. when one body part moves then all other body part follow. Practice alternating rotations with both arms so that there is a feeling of balance. the lower body follows. the arms rotate with the waist and the axis while the hand guides the energy. 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.
11). These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet.7. Next. then turn the body to the left and raise the right hand in Shun reeling. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo.12). Focus the eyes on the right palm (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . relax the left side of the crotch. Next. switch to Ni reeling. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. drawing an arc of about 180o which goes downward and then up to the right. Finally. with the rest of the foot gradually fully touching the ground.10). 7. It only requires vertial hand revolution and very small shifts in weight. heel first with the right foot. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. lower your Qi. drawing an arc of about 90o to the left. with eyes looking forward (Fig. 7. • • • • • Keep your body weight on the left leg and step forward. then switching to 90o Shun reeling. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. Bend the left leg so that you squat slightly. The whole movement is mainly guided by the rotating waist and relaxed shoulders. palm slanting upward with intention to gently guide and draw in.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. 7.
reel in Ni to the right at 90o. Finally. then reel in Shun.12 • • When rotating in the opposite direction. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward.陈 氏 太 极 拳 推 手 技 法 Fig. Practice rotating both arms in turn. 王 西 安 194 .10 Fig. Notes The single-hand vertical circle is not completely vertical but slightly slanted at an angle to allow you to guide and draw the opponent in. Vertical arm rotation is guided by spiraling movements of the waist and back. 7. 7. 7.11 Fig. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling.
Bend the left knee to put the body in a crouching stance. the palms should move forward at an inclined angle (see picture). Also. 7. 7. 7.16). eyes facing the front (Fig. Shift your weight gradually to the left leg. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.14). Relax the left crotch and while focussing on the right crotch. otherwise the shape of the posture will be lost (Fig.7. 7. then raise the right foot. shift your the weight gradually forward. 7. the forward shift of the body should stop once the palms reach their natural end position. in preparation for action (Fig.13). 7. palms facing to each other. Raise the forearms 90o upward.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. Note: when applying Tui Palm.15).15 195 .14 Fig. toes relaxed and pointing downward (Fig. pushing both palms forward (Tui Palm) at the same time.13 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. This body posture is now one of holding and collecting. 7.
then lowering to the front of the abdomen. shift your weight backward and separate both hands to the sides of the body. palms vertical. imagining the hands seizing the opponent’s wrists by Diao (Fig.17 • • • Next. 7. 7.16 Fig. 7. then pushing both hands forward. 王 西 安 196 . Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. Practice this cycle. Repeat the Tui Palm movement again.17). this time relaxing the right crotch and focussing on the left crotch.15) by drawing a circle by the sides of the body. 7.陈 氏 太 极 拳 推 手 技 法 Fig.
7. Bend the left knee to put the body in a crouching stance. toes relaxed and pointing downward (see Fig. Shift your weight gradually to the left leg.14). While raising the hands. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. draw the chest inward.19). stated as follows: Stand at attention with the body upright and relaxed.19 197 .7. Grasp the ground lightly with the toes and face the eyes forward (Fig.18 Fig. eyes facing the front.18). 7. palms facing to each other. then raise the right foot. lower the waist and shoulders.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. Raise the forearms 90o upward. drop the elbows and sink the Qi downward. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. 7. in preparation for action (Fig. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. This body posture is now one of holding and collecting. 7. 7.
push the crossed palms over the head in Ni reeling. after another small Ni reeling upward.21 • • • • 王 西 安 198 • Next. As both hands separate upwards. At the same time. Extend both hands forward in an ‘offering’ stance. 7. both palms facing inward.陈 氏 太 极 拳 推 手 技 法 Fig. palms facing forward. continue to draw your chest inward. the palms descend to the sides. 7. with the intention of supporting something upward.20 Fig. 7. . step the left foot on the ground and shift your weight forward (Fig. extending the hands forward so that the left hand crosses over the inner side of the right wrist. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands.21). Then. Next.20). cross both hands slowly in Shun reeling. During this process. finish the weight shift to your right leg. stopping at shoulder level (Fig. 7.
palms facing each other. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . then hands. Both hands then draw a downward arc to fall to each side of the abdomen. • • Now the left hand reels in Ni while the right hand reels in Shun. while weight totally switches to the left. forearm. With body gathering. palms cross together. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. the chest. finger-tips pointing down.Note: as both hands separate outward. upper arm. You will feel the power after long practice. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. shoulders. Closing form: palms continue to Shun reel. that is. so as to start a new cycle. only that palms in the latter move horizontally. strike out in succession to the sides so that the arms become a pulled bow.
with the foot gradually stepping fully on the ground. • Stand at attention. palm facing in. Ji. Lü. • As the weight shifts. act as if sparring with a partner.23 200 . Open every body part to make your rotations natural and flexible. 7. palm facing forward.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. The key points are the same as those of solo Tuishou. body and steps. When practicing. Extend the left hand transversely and place it on the middle of the right upper arm.陈 氏 太 极 拳 推 手 技 法 7. and An. then bend it inward 45o. eyes.22 Fig. heel first. Coordinate the movements of your hands. thumb pointing down and the little finger pointing upward. extend the right hand diagonally forward to the right. 王 西 安 Fig. • Shift your weight to the left leg and lift the right foot to step forward. Note that one should practice with intention rather than by force. 7.
Shift your weight to the left slightly then to right. Relax the right crotch and turn the body to the right.24 Fig. 7. shift your weight left and focus your eyes on the front of the right hand (Fig. 7. 7. 7. focus your intention on meeting and holding the opponent’s hand. 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. lower the right shoulder and drop the right elbow. During this process.22). relax the left crotch. the left hand ahead of the right. the wrist bent slightly inward and palm facing inward. and the eyes look forward to the right (Fig. Meanwhile.23).24). Next. 7.• • • • • The left arm intends to Peng outward. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. as the left hand moves inward in Ni reelings. At the same time. raise both hands in Ni reeling.25 201 . and so continue to Peng upward before executing Lü. the arm opens like a circle. Move the right hand in Shun reeling. As the left hand rises. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
If the left leg is in the front. Peng and An are transitional actions executed in 王 西 安 202 . Execute An forward with both hands the palms facing each other about 33 cm apart. and the left hand helps the right to execute Lü. 7. visualize your left hand pressing down on the hand of the opponent. At this point. This is the same as the starting posture of Da Shou posture. pushing it outward. the right hand executes Peng. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig.25). The edges of the hands become power-exerting points. 7. You will also need to use your left shoulder to push and use the right hand to help press forward. shift your weight forward to the right leg. an instant.22).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. alternating left and right sides. As this happens. eyes looking forward. The right hand reels in Ni direction also with the intention to push outward (Fig. Repeat the process. Note: In this movement.
7. Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.26). moving backward uses Peng and Lü hand movements.7. Step the left foot on the ground with the inner side of the foot touching the ground. where the pushing power is exerted. • • • • Step forward with the right foot then shift your weight forward. outward. Face the outer hand edges.26 Fig. As the weight moves forward. 7. draw the chest inward. 7. sink the shoulder downward and drop the elbows. moving forward is combined with Ji and An hand movements. Lower the waist. In practice. These actions drive two the hands forward. Keep the eyes looking to the front right (Fig.27 203 . raise both hands to attack by pushing them to the front right of the body. Hand movements consist of four Zheng hands: Peng.7 shun bu TuishOu (sOlO TuishOu wiTh a fOrward and backward sTep) Shun Bu Tuishou consists of two basic steps – one moving forward and one moving backward. Ji and An.
tiptoe first.29 • • • • • 王 西 安 204 • • • After the pushing attack.28 Fig.27). 7. Raise the right hand in Shun reeling. toes pointing down (Fig. As the arm moves. . withdraw the left hand gradually and place it on the middle of the right upper arm. thumb pointing down and palm facing down. At the same time. As this happens. Push the shoulder forward. followed by the arm and the hand (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 7. Eyes look to the front right (Fig. 7. 7. with the intention to close before opening. Relax the left crotch after pushing and shift the weight to the left. Note that Qi should not be allowed to float upward. The body moves forward following the shift in weight.28). the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. turning the right elbow out and upward. At the same time. shift your weight to the left and lift the right foot. 7. Bend the left leg to squat further and extend the right foot forward. and in preparation for moving. rotate the right hand slightly downward in Ni reeling.29).
31). Eyes look to the front left (Fig. then shift your weight to the right. Eyes look to the left (Fig. Both hands are about 33 cm apart (Fig. 7. Next. 7. 7. thumb pointing down and palm facing forward.Fig. Then the right hand switches to Lü. gradually squat the body.32). then draw a circle downward. 7.30). The outer edges of the hands are power-exerting points.30 Fig.31 • • • • • • Relax the left crotch and shift your weight to the left. raise the left hand in a spiral to form a Lü movement with the right hand. Visualize sending the opponent’s right hand out to the left side of your body. The front push of the right hand provides an instant defense. 7. Eyes look to the front left (Fig. Next. Reel the left hand first in Ni direction. the upper and lower body form a balanced block of strength with the waist as the boundary.which takes place in an instant. Raise the right foot and take a step backwards to the right. While the right hand switches to Lü. As the weight shifts. 7. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm.33). 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . raise the right hand quickly to push forward together with the left hand toward the left side of the body. then in Shun direction downward to the left.
35 206 .34). As the weight shifts. 7. Eyes look to the front left (Fig. 7.32 Fig.33 • • • Both hands execute Lü from left to right following the body. 7. until the left hand reaches the middle line of the body. take a step forward with the right foot. the right arm then bends to 450 inward. 7. Raise the body gradually and slowly shift your weight to the left leg.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 Fig. extend the right hand to the right front of the body following the right foot.34 Fig. At the same time. 7.
36 Fig. Then shift your weight slightly rightward. Note that the waist power descends to the left first then the right.38 Fig. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. 7. 7. place the left hand on the right upper arm.37 • • Simultaneously. thumb pointing down. 7. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.35).39 207 .Fig. Eyes look to the front right (Fig. 7. Eyes look to the front right (Fig. 7.36).
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. Start a new cycle (Fig. 7.37). move the right hand in front of the left hand quickly.39).38). 7. Relax the right crotch and shift your weight to the right. Eyes look to the front right (Fig. execute Lü downward with the left hand. At the same time. As soon as both arms finish pressing forward. then move it out to the right. Eyes look to the right (Fig. 7. Next. 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. 王 西 安 208 . raise the right hand quickly and exert An forward with power.
7. As such. In this chapter. The circulating of steps in Da Lü when practicing Peng. Kao with large-scaled body movements. One is Da Pu Bu. 7. a major weakness with which you cannot even hope to attack the opponent. Lü.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. Ji and An is the same to those in Shun Step (forward or backwards Step). Lie. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. beginners should first practise the routines. we will only refer to two main Da Lü postures as shown in the pictures which follow. It is not easy to practice Cai. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai.40 Fig. literally meaning “big falling step”. whereby Player B executes Lü on Player A. The other picture demonstrates the big Frontward Bow Step. the only difference being that the extent of the steps in Da Lü is bigger. Bie. 7. and Kao. the whole body will become stiff when you try to squat down in the big body movements. Zhou. It uses the combat techniques of the four hand techniques in corner directions – Cai. then the fives methods of solo Tuishou practice. Bie Zou. Zou.41 209 . The other movements are the same as the movements in Shun Step (forward or backward step). Furthermore. and Kao. If not. Lü Ji and An.
42. and An.陈 氏 太 极 拳 推 手 技 法 7. See how to execute Dian step in Figure 7. It’s features include free movement with no fixed direction. and flexible. precise rotation. and also uses the Si Zheng Shou. you should pay attention to the following points. You need to rotate neatly when executing a step forward as the partner changes his or her direction.42 210 . Ji. 王 西 安 Fig. Luan Cai Hua is also built on the foundation of Peng. 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). This way you will not lose energy unnecessarily nor become stiff. 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. The body movement and gait should be neat and swift. In the Luan Cai Hua Tuishou practice. Lü.
In this technique. the steps are small but the speed is fast. You should practice listening repeatedly. the only difference being in the stances of the body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . Your movements should be quick but not chaotic. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. Do not just practice at fast speeds or you will lose your energy or get stiff. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. heavy but not stiff. light but not empty and floating. Lü. you feel the partner’s energy as you rotate. When you apply Luan Cai Hua in Tuishou sparring. getting close to their upper body while causing them to raise their lower body or slant it. Ji. When circulating the four Zheng hand techniques (Peng. It is not easy to apply Die Fa. An). and entice the partner to advance and show his or her weak points. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. and thus impede any progress in Tuishou. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. looking for the attacking opportunity.
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 .
I hope that the reader will use this to practice diligently and master the key points. In addition. flexible and rapid. movements in pair practice should start simply before gaining in complexity.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. Like solo practice. so you must strive to concentrate. 王 西 安 214 . the practice stance should start high. moving as the partner moves. similarly. Nian (sticking). Lastly. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. Pair Tuishou embodies the essence of Taiji Tuishou. lowering to mid-height then low stance. whereby your actions should be precise. agile.陈 氏 太 极 拳 推 手 技 法 8. flexible and without weaknesses. like a flowing river: smooth. try to choose a partner of similar level for pair practice. Pair practice Tuishou improves combat skills. gathering speed in the later stages. If possible. then pair Tuishou may be described as “acting as if there is no partner although you have one”. pair practice should start slowly. An introduction to Tuishou pair practices has been provided in the following pages. Faster progress may be made if your partner is proficient in Taiji. Lian (connecting) and finally Sui (following). If both partners have Taiji proficiency. development should follow the stages of San Shou to Zhan (coherence). Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. pair practice becomes beautiful to watch.
8. 8. gradually forming a front Bow Step.8. 陈 氏 太 极 拳 推 手 技 法 Fig. Their bodies are upright. 王 西 安 215 .2. toes pointing slightly outward to form a 八 shape. The distance between both right feet should be about 10 cm.1 Posture 1 Both players stand at attention facing each other. an arms length from each other so that their fists touch when arms are outstretched.1 Both players take a step forward with their right feet. These may be shortened to ‘A’ and ‘B’. arms hanging relaxed by the sides. Player B refers to the female practitioner dressed in red.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue.
eyes focussed on the right hands.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left.2. and his body crouches slightly to form a closing power. Fig. A’s weight shifts backward. . using the middle line of the nose as the boundary. with the middle fingers at nose level. The back of the palms touch each other. Alternatively. the left hand can also be placed naturally along side the body.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. The right hand extends forward with the left hand akimbo. both players raise their right palm and extend it forward. 8. As both players draw this arc. B’s weight continues to move forward to form a single-hand An (pushing) power. corresponding with the rotation of the waist. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen.2 8. Both players watch their hands throughout this step.
Fig. 8. 8.2.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. At the same time. Repeat this cycle. then Ni reels 90o to the front of Player B’s abdomen. then she guides A’s hand to the front of his abdomen.3 8.4 217 . B shifts her weight gradually backward while her hand draws an arc following Player A.
陈 氏 太 极 拳 推 手 技 法 8.5 8. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation.3 single-hand verTical circle wan hua in pair pracTice 8.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand). the only difference being that here the Da Shou (meet partner with hand) position is higher. Player A guides Player B to move first in Shun reeling.3. then then draws a 90o arc to the left. both hands perpendicular to each other and eyes looking forward. Both players then rise. 8. . Fig.3.
8. with eyes looking at the same direction. Partner B relaxes the left crotch. guiding Player B to Ni reel 900 to his right side.7 219 . During the above process. when A draws an arc to the right side. B always adheres to A. turning to the right (B’s left side).3 Posture 3 Player A relaxes his right crotch and turns his body to the right.Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position.6 8. For example.3.
ready to move and attack if hands touch. heel first. 8.8 220 . toes turned up (optional). Now both players wait in a defensive mode. draw their chests inward and gather their ribs. having first shifted their weight onto the left leg. with aim to form a front Bow Step.1 Posture 1 Both players stand at attention facing each other. lower the shoulders and drop the elbows.陈 氏 太 极 拳 推 手 技 法 8. Player A raises two hands in front of his chest. eyes looking forward. placing them outside A’s hands. 王 西 安 Fig. Then Player B extends her hands forward. Both right feet start to uncurl to the ground.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. they lower their waists. Both players step forward simultaneously with their right foot.4. While waiting.
Here.9 王 西 安 221 . A’s weight shift to the right foot has been fully completed. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks. He stops pushing when his hands are 20 cm away from Player B’s chest. In other words. 陈 氏 太 极 拳 推 手 技 法 Fig. As B’s weight moves backward.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance.4. B’s little fingers “stick” to A throughout the process.8. 8. her hands reel in Shun. As Player A pushes his hands forward.
8. She relaxes her chest as her hands separate.4.10 8.陈 氏 太 极 拳 推 手 技 法 8. While A draws arcs. Fig. then separates Player B’s hands to the sides of her body at shoulderlevel.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. 王 西 安 222 . While Player A separates.4. He shifts his weight backward. 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. Then both players return to the original position. using the outer edges of his palms.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. B moves her weight forward to form a Bow Step.
Fig. 8.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .
B has been shifting her weight to the left. The positions of all hands are higher than the eyes.5. Now.12 王 西 安 224 8. guiding Partner B to raise her hands. .2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward. The two parties’ eyes always follow their movements. then step their right feet forward simultaneously.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. with the inner sides of both feet facing each other and 10 cm apart.1 Posture 1 Player A and B stand facing each other. 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. Fig. A’s weight is all at the right foot. the weight for both parties starts to shift to the right. and separate hands to the sides of the body at shoulder level.5. draw a vertical circle outward.陈 氏 太 极 拳 推 手 技 法 8. Now. 8. all eyes look forward.
While Player B rotates her arms downward following Player A. 8. Both players’ eyes face forward. while he shifts his weight backward. she shifts her weight forward to form a front Bow Step. Player A draws outwards while Partner B draws inwards.14 225 . his little fingers slightly catching Player B’s wrists. 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig.13 8.3 Posture 3 Player A switches to Shun reeling. and draw arcs to the lower abdomen.5.
4 Posture 4 Player A continues Shun reeling. his hands crossing before the chest with both palms facing in.5. Both players can practice this in turn. Repeat this cycle. Then Player A returns to the original position by Ni reeling and separating his arms outward. whether Player A separates B or vice versa.陈 氏 太 极 拳 推 手 技 法 8. 王 西 安 226 . the body squats to prepare for openning. and continues to move her weight forward. Both players face forward. Note: The steps are the same. Player B follows Player A closely and feels his change.
6. eyes looking forward. then step their right feet forward simultaneously. yet start to shift to the right. 8. with the inner sides of both feet facing each other and 10 cm apart.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. Player A and B stand facing each other. Now. backs of the hands touching. 陈 氏 太 极 拳 推 手 技 法 Fig. the weight for both parties are both in the left. and then extend their right hands forward so they cross each other.8.15 王 西 安 227 .6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. Both players then shift a little more weight to the right.
8. While the right arm turns.6.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. gradually switching from Peng (ward off ) to Lü leftward. Her right hand presses Player A’s right hand slightly downward. both of B’s arms form an An (Pushing) power. During this process. Player A relaxes his left crotch and moves his weight slightly leftward. . he places his right hand on the middle of B’s left upper arm.2 Posture 2 Player A shifts his weight forward. Fig. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture.6. In this way. he places his left hand on the middle of the right upper arm. then turns his right hand left in Shun reeling following the turn of his body.陈 氏 太 极 拳 推 手 技 法 8.16 8. At the same time. Player B places her left hand on the right upper arm of Player A as he moves. then extends forward to press against A’s left forearm.
17 8. 8. In response. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. In response. shifting his weight forward to add more pressure. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Then Player B wards off Player A’s left hand upward. thus returning to the original position. Repeat this cycle. Player A executes Lü on B’s hand and presses it downward.18 229 .Fig. Partner A withdraws his pressing hand and places it on his own right upper arm. Player B switches from An (push) to Peng (ward off ).4 Posture 4 Player B executes Ji (press) on Player A. 8.6. and executes Lü (roll back) again.
王 西 安 Fig. placing it on the outside of A’s right leg. then places his left hand on the middle of his right upper arm. and places her left hand on the middle of A’s right upper arm.1 Posture 1 Both players stand at attention. bending it 450 inward. so that both knees touch (A’s inner knee and B’s outer knee).7. Player A raises his right arm as his right leg moves. Player A steps his right foot forward to form a front Bow Step.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. Player B steps her right foot forward at the same time.陈 氏 太 极 拳 推 手 技 法 8. 8. Both players look at each other from the side. A’s left hand then crosses with B’s left hand. Player B’s right hand crosses the outside of A’s right hand. palm facing outward.19 230 .
2 Posture 2 Player A then relaxes his right crotch.20 8. 8.7.3 Posture 3 Player A relaxes his left crotch first. and moves his weight leftward. he places his right hand on the middle of B’s left upper arm. 陈 氏 太 极 拳 推 手 技 法 Fig. 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. he lowers his left shoulder and left elbow. Simultaneously. shifts his weight slightly to the right. This switch from Peng to Lü happens in an instant. and then wards off Player B’s left hand upwards. Both players look to the front and gather themselves to prepare for futher movements. raises his left hand. turns his body to the right.7. As Player A’s body turns right. Both players look to the front. executing Lü (roll back) with his right hand. At the same time. 王 西 安 231 . Player B continues to move her weight forward when Player A applies Lü. and switches both hands to double-hand Shun reeling to ward off outward gradually.8.
8. with the aim of getting her to fall to his right side.21 8.22 232 . with the coordination of his right hand.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right.陈 氏 太 极 拳 推 手 技 法 Fig. 8. then pushes her left hand rightward. he presses Player B’s left hand downward to the front of her lower abdomen. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand.7. 王 西 安 Fig. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. When Player A presses downward. forming an An force. At the same time.
his right hand switches to Ni reeling to force Player B to step backward. In this move. At the same time.5 Posture 5 Player B’s left foot steps on the ground. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. A’s upper and lower body move as one. then her foot gradually steps on the ground fully.7. 王 西 安 233 .7. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü.8.23 8. 陈 氏 太 极 拳 推 手 技 法 Fig. 8. As Player B executes Lü. At the same time.6 Posture 6 Player A shifts his weight back to the left leg after pushing. 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. her right crotch relaxes and she shifts her weight to the right. tiptoe first. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. Player A moves his weight first to the left and lifts his right foot quickly to step forward.
7 Posture 7 王 西 安 234 Player A relaxes his left crotch. Simultaneously. shifts her weight leftward.24 8. 8. Fig. B also places her left hand on the middle of her right upper arm.7. to form Ji (press) power with her right arm. . and steps within A’s left leg so that their two knees connect. Both players look diagonally to the front.陈 氏 太 极 拳 推 手 技 法 At the same time. then pushes Player B’s right hand first down then left using the pressing power of his left hand. Player A places his left hand on B’s right upper arm. Player B relaxes her left crotch. Both players look to the side at each other. then takes a step forward with her right foot. so as to form Peng and Lü with both of his hands. palm out. Player B wards off slowly outwards with both hands in Shun reeling. While this happens. shifting her weight gradually rightward. B steps forward in synch with A’s guiding hand. In response. turns his body slightly left and shifts his weight slightly leftward.
8. Simultaneously. B also places her right hand on the middle of A’s right upper arm. then switches her left hand instantly from Peng to Lü.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. then raises her left hand in an upward Peng on A’s left hand.Fig. Player B lowers her left shoulder and left elbow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.25 8.7. 8. At the same time.26 235 .
then to her left. 8. 8. Both B’s hands work together to form an upward pressure pose. Both players look to the sides. His right hand then comes into contact with B’s right hand. then raising his left hand upward onto B’s right upper arm to warding off (Peng).27 236 . As Player B pushes A’s left hand downward. A responds first by flowing downward. both A’s arms form an outward Peng power. Player A continues to shift his weight forward.陈 氏 太 极 拳 推 手 技 法 As this happens. In this instance. Then with her left hand. then withdraws his right hand to place it on the middle of his left upper arm. At the same time.7.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. 王 西 安 Fig. Both players look diagonally to the front. she presses forward on the middle of A’s right lower arm. then quickly forms a pushing power towards B. she presses Player A’s left hand first down to the front of his lower abdomen.
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. leading to increased exposure to attacks. Both players should defend and stick to defend their own territory. following A’s Lü power. 王 西 安 237 . 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. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. Player A steps his left foot on the ground. relaxes his left crotch.10 Posture 10 Both players keep moving and rotating. 陈 氏 太 极 拳 推 手 技 法 Fig. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. In response to A’s Lü.8.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. Player B shifts her weight first to the left.
You may have found that. foot gradually steps fully on the ground. At the same time. Player B shifts her weight backward to her left leg. As B shifts her weight backward. and 8. Both their knees connect. and are ready to start a new cycle. 8. A relaxes his left crotch. 王 西 安 238 . her right hand changes to Ni reeling to force Player A to step back. Finally. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. Simultaneously. Player A places his left hand on the middle of his right upper arm. for both of the two players. as well as an accomplishment of one cycle of Peng.11 Posture 11 After pushing forward. Lü.28. The rotating methods are the same as those on Figures 8.27.7. At the same time. 8. both players return to their original positions. to form a Ji power with his right arm. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. palm out. tiptoe first. shifts his weight leftward.陈 氏 太 极 拳 推 手 技 法 8. one full cycle consists of one step forward and one step backward. B places her left hand on the middle of A’s right upper arm.25.26. Ji and An. Both playesr look diagonally to the front. her two hands forming a Lü posture.
requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. and is based on Shun Bu Tuishou. 陈 氏 太 极 拳 推 手 技 法 Fig. 8.29 王 西 安 239 . which is aimed at reinforcing your lower body stance and leg power in this technique. In this low body movement. Bie. which is Cai.8. Zhou and Kao.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. 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. you should combine Si Zheng Shou practice with Si Yu Shou. This technique consists of larger scale body movement.
Bi Ya (push and press) and so on. Only this way. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. up and down. nor the location of your body weight. Instead of sweeping the arms horizontally. can you win consistently.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. try to feel the Gongfu level gap between you and your opponent by listening. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. reel them in Shun and Ni directions. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. push and press against the opponent to force them into a defensive mode. or power direction.陈 氏 太 极 拳 推 手 技 法 8. 王 西 安 240 . hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). left and right. the opponent cannot discern your target. During combat. so as to transform the opponent’s power. Sao means to sweep or clear away. With this method. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). Gun Shuan is an extension of Da Sao. depending on the circumstances. In Da Sao. If you choose not to attack under some circumstances. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). Gun Shuan (roll and seize). From this position. use your elbow or Kao (shoulder strike) to attack when you find a weak point.
For example. there are no restrictions in the application during practical body combat.32 Fig. Your Dian Bu should be light. Your footwork should be based on the speed. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). which you think harmful to your opponent. if the opponent retreats one step. direction and angle of changes. This is an example of the Die Fa. Apply Ti (lift) and Long (holding close) unpredictably and precisely.30 陈 氏 太 极 拳 推 手 技 法 Fig. Combine the power of both your hands so that they become one indivisible power.Your footwork should be coordinated with your handwork. flexible.31 王 西 安 241 . 8. These are the main methods and purpose of Luan Cai Hua pair practice. 8. 8. Actually. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. agile and swift. you can advance two or three steps to gain a territorial advantage. Fig. coordinated with Shang Long Xia Ti.
At its foundation. While the Taiji form has undergone many changes through the ages. opposing and complementary. the philosophy of Taiji attempts to explain the workings of the universe. much of the theory in this book is based on the guidelines written by Yang Chengfu. of two fundamental forces: Yin and Yang. For this reason. Earth or Human realms. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. that is. . Yang. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. through Taiji forms and postures. Sun and Wu Styles.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. culminating in the modern-day Chen. one of the pre-eminent representatives of Yang Taiji family. we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. Taiji Philosophy is most easily expressed and understood through the use of body language. According to this philosophy. our world and the human body through the interactions.
this tome was intended by its author to be both the first ever written repository of Taiji lore.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. A work of intense scholarship which took over fourteen years to complete. and a referential resource for Taiji instructors and practitioners for generations to follow. 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.inbiworld. www.com . including his meticulous inscriptions for over 400 illustrations.
Henan Province. China. Q. What is the Chen Changxing - Chen Village Restoration Project? A.com . Q. Wenxian. How do I purchase calligraphy or make a contribution A. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. www. founder of the Yang style. All people who buy calligraphy or make a direct contribution will have their name and the amount carved into a stone tablet to be displayed in Chen village. Q. How is the project being funded? A. Who was Chen Changxing? A. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan.Chen Village Restoration Project • Q. 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.chenxiaowang.