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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 .
Indeed. One of the finished manuscripts resulted in this book. an impressive feat of concentration and energy considering Master Wang’s teaching workload. his high disciplinary standards and outstanding martial arts techniques serves as an inspiration to all Taiji learners in Japan and we greatly appreciate his tremendous contribution to Sino-Japan Taiji relations and the spread of Taiji knowledge all over Japan in years past. Tokyo. ‘to exist everywhere. In the spirit of Taiji’s original meaning. More than ever.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. as an expression of the profound spirit inherent in all human beings. I look forward to Master Wang’s future works with great enthusiasm. Atsuko Noguchi January 1998. we believe that Taiji. to consist of everything’. newly written by Master Wang Xian. indubitably a result of the efforts of Taiji followers in both countries. is to be published. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . belongs not only to China but to the rest of the world. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
................... Fist Practice ................................................................................84 7.....................................................16 2................10 5.................................... Leg Practice ............................................ Introduction ............................................ Zhan Nian Techniques...........................................21 4........38 2............ Dongjin – Realization of Energy ... Opening and Closing .........................97 8.............................................29 8............................................. Misleading and Transforming Techniques ..................................................................................... The Relationship Between Three Stages of Taijiquan Practice and Tuishou .........25 6....................18 3...26 7...................................................................................... Reeling Silk ... Palm Practice ................... Elbow Practice ................................................................................................... Listening to Energy .. Kao (Push) Practices......................105 9........................................ Ti (Raising) Energy ..............34 10....................................23 5......................................................... 4...............72 6..................................................................... 3.................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix ........... Energy Explosion . Na (Seizing) Techniques ......................55 4.......................31 9...................................................................................Table of Contents Chapter One: Introduction 1.....................................3 Tuishou Practice – Going Inward.......................13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1.................................................................................................................................................................................. Tuishou: the Only Criterion to Judge the Gongfu of Taiji....................................... Lian Sui Energies ....63 5................4 The Core of Tuishou ...........40 3................................................................................................ Na (Seizing) Practices .................................... Jietuo (Escape) Practices.................................................. Step by Step ...........................................................35 Chapter Three: Single Form Practice 1.................. Feet Practice ....................................................... The Origin of Taijiquan Tuishou ................................ 2...........................................................................
....................... Solo Danren Da Lü Tuishou ......175 4.....................................................................179 5....................239 9...................................................................... Chan Si Zhuang (Reeling Silk Posture) .......................149 7................................................ Hunyuan Zhuang (Circle Posture) ............................................... Pair Practice in Luan Cai Hua Tuishou...........187 3.................146 6...............220 5. Kai He Zhuang (Opening and Closing Zhuang) ...................................... Solo Luan Cai Hua Tuishou .........227 7.....203 8......... Shun Bu Tuishou ............................ Introduction .. Single-hand Horizontal Wan Hua in Pair Practice ............................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1........................................................171 3...................230 8............................ Pair Practice in Da Lü Tuishou ..... 133 3..............................................200 7...................................................186 2..... Solo Tuishou With Static Footwork ........ Solo Wan Hua .... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) .......... Pair Practice in Shun Bu Tuishou.... 138 4....................................................... Solo Double-hand Wan Hua in a Vertical Circle ........................................ 157 Chapter Six: Chen Style Taiji Tuishou Categories 1................168 2....... Introduction ....132 2....................218 4...210 Chapter Eight: Pair Practice in Tuisho 1............... Wu Ji Zhuang (Wu Ji Posture).............................................................................193 4............... Solo Ping Yuanwan Hua ................................. Shuang Shou Ping Yuanwan Hua ............................. 215 3..............................154 Chapter Five: Practice for the Buttocks and Crotch ...................... Tuishou Handwork Techniques ........................................................................................................................................ Single-hand Vertical Circle Wan Hua in Pair Practice ......................................................................... Solo Double-hand Flat Circle Wan Hua ................ 183 Chapter Seven: Solo Practice in Tuishou 1.......240 王 西 安 x .........195 5........................................................ Introduction ................................... San Ti Shi (Three Postures)......197 6............... Tuishou Footwork Techniques..........................209 9................................................... Shuang Shou Li Yuan Wan Hua...................................................................................................................... He Bu-Tuishou .............................142 5.......................................................................... Classifications of Tuishou ..................................................................................................... Tuishou Steps ........ Hand Techniques in Tuishou Reeling...................................224 6..........214 2..................................................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
Its creator. Henan Province. transforming. Chen Wangting. as well as the principles of Yin and Yang. In doing so. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. the ‘Book of Changes’). it helps maintain fitness. reducing illness and prolonging a healthy life. catching. is a practical combat technique based on grabbing. agility and flexibility. (also known as Zouting) was a famous martial arts master. in the period between the Ming and Qing Dynasty. originally known as Jieshou or Dashou. and will continue to do so in years to come.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. As it is not stressful to the body. As a combat techniqiue. Taiji Tuishou practice is not restricted by a practitioner’s age. he drew on the theories of the Yijing (I Ching.1. location or access to equipment. was the creator of Taijiquan and 9th generation head of the Chen Family. ‘The Family Tree of Chen’. throwing and striking. Wenxian County. China. With the accelerated pace of modern life. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . the Huangdi Neijing (The Canon of Huangdi) and acupuncture. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. According to the book. gender. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. sword and stick routines. Chen Wangting. Tuishou. and he was recognized as the creator of Chen Family boxing. it helps build health and defence as well as to develop a sensitivity to movement.
and what it consists of. such as grasping. Literally. Tuishou practice should be soft and modest. pacing your learning step-bystep. catching. and striking. With sustained practice over a period of time. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. hard/ soft. Tuishou translates as ‘push hands’. throwing. you must know its significance.陈 氏 太 极 拳 推 手 技 法 1. and do not disconnect or oppose your partner’s energy. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. nor will you be able to intuit your opponent’s energetic intention. followed by the double hand horizontal and vertical practice. so much that you will be able to apply combat techniques. you will be able to release explosive energy to both small and large targets. Less well known is Tuishou’s other application as a technique for internal transformation. an athletic activity based on mutual pushing. 王 西 安 4 . Become familiar with the single hand horizontal and vertical practice.2 TuishOu pracTice – gOing inward. with greater efficacy and subtlety. that is. or appreciate the interplay of the slow/quick. Initially. enabling you to throw opponents meters away without hurting them. principles. be relaxed. transformation is the basis. Relaxation is fundamental. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. A Taijiquan proverb pertains also to Tuishou. As you reach the level of adept. to the Deity’. to the realization of Jin. sTep-by-sTep To practice Tuishou. Follow the circling movements with the whole body. ‘From the familiarity of forms. You will not realize inner transformation. listen to each other’s energy flow. from the realization of Jin. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. intuitive and subconscious.
your intention and commitment must be deeply held. imagine a partner practicing or competing with you. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . In solo practice. As long as you practice persistently and make progress. but never practice just in order to practice. force and speed in your actions. Practice makes perfect. be calm and concentrated in your demeanour. combining your heart. Skill arises from consistent and accumulated practice. you will ultimately enhance your health and combat techniques.Remember that ‘inner listening’ is the one essential skill required to improve your technique. To cultivate ‘inner listening’. mind and spirit with determination.
.陈 氏 太 极 拳 推 手 技 法 1. speed. gathering or exploding. Qing (light) and Zhong (heavy). Tuishou practice is based on thirteen ‘forms’ or energies. You will learn to follow your partner’s intention and forget your own. your partner’s weight. Nian. it will enable you to feel. Sui (stick. and so on. At a more advanced stage. actions to the left or right. adhere. When you can control these energies within yourself. opening or closing. 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. follow) and Chansi Jin (Reeling Silk). Lian. attacks or retreats. with the lightest of touches. upward or downward movements. continue. while its theoretical basis builds on the philosophies of Yin and Yang.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. Kuai (quick) and Man (slow). which are also the essential elements of Taiji. Movements alternate freely between Gang (hard) and Rou (soft). distance and direction of energy. you will develop the capacity to subconsciously anticipate quick or slow changes.
Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). expansion. concentrate on one direction at a time. stretching. Attack the opponent’s centre of gravity Use techniques such as ‘control a stronger opponent with weak force’ and ‘defeat weak points with a stronger force’. this energy refills automatically to its original ‘full’ state. it is the force of friction that enables you to hold and seize their arms etc. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. ‘if the opponent does not move. don’t move’. 王 西 安 7 . move before they do’ etc. or other deformation. When releasing explosive energy. be calm and relaxed To release bursts of energy effectively. Use the forces of elasticity and friction Use these forces when applying techniques such as ‘draw the opponent into one’s orbit to destroy their centre of gravity’. ‘if the opponent moves slightly. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. Like a balloon whose air has been exhausted. ‘follow slow attacks unhurriedly’. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically.
Even if attacked by a monster. push or strike. Similarly. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. none of your opponents can defeat you. 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).” This technique. and is worth remembering. whether they strike or twist. when you move forward in your turn to press. I follow my partner. also states: “No one knows when I gather or stretch. no matter how hard they press. the 14th generation master. 王 西 安 8 . The canon of Taiji teachings is rich with such sayings. I can conquer a force of a thousand jin with a tiny force of four Liang. 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. results in the shaking off of the opponent’s upper body and lifting of their lower body. I perform strictly to the principles so as to make me unassailable. Using this. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. I always follow their intention.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. utilizing the techniques of Kao.” Chen Changxing. whether ascending or descending.
One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. One with four Yin and six Yang is among the group of the adepts.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. 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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . requiring us to further our exploration and improve our practice of it. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. Only one with five Yin and five Yang is called adept. As a science. In order to inherit and develop this Chinese cultural heritage. Here.
‘Chen Style Taiji Laojia’ (Old Routine). ‘three-yin seven-yang. The three stages of Taijiquan are: 1. Zhong Quan (medium circle) At this stage. Zhao Shu (familiarity with the forms) Outer form drives Qi. is San Shou’. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. Dong Jin (realizing the inner energy) Qi drives outer form.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. still regarded hard’ turns into ‘fouryin six-yang. one comes into the group of the adepts’. 3. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. with fuller details available in Chapter Two of my book. . Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. 2.陈 氏 太 极 拳 推 手 技 法 1. Correspondingly. 2. as stiff as a stick’ evolves to ‘two-yin eight-yang.
along with the Tuishou practice of Da Quan (big circle). medium and small circles. That is to say. as well as the combination of the respective techniques applied in the big.3. along with the Tuishou practice of Zhong Quan (medium circle). in addition to a diligent assimilation of knowledge. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). an adept may say. enjoy a feeling of lightness. and does not mean total stillness. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. possess abundant internal energy. At the third stage of Shenming (deity). at the first stage. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). and be able to achieve constant internal changes between Xu and Shi (void and solid). By this stage. the complete fusion of external form and internal spirit. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. that is. one is regarded as a Deity’. At the second stage of Dong Jin (realization of energy). Following a correct program of practice as outlined above. ‘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. random alternations between states of energy gathering and releasing within a relaxed and elastic body. We must pay attention to different methods during different stages of practice. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. all parts of the body become as highly sensitized as finger tips so that when competing. that is.
Also known as ‘Five-Yin Five-Yang’. even though I don’t know how I do it’.” 王 西 安 12 . This is not unattainable. if you don’t make efforts to go forward. you surely go backwards. “Taiji practice is like rowing in the river. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void). as our ancestors tell us.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent.
four Liang defeats thousands of Jin’. It is this dynamic that we need to explore during practice. tough energy. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. hence it is essentially a competitive activity. no techniques can be executed. nor is it just a matter of pitting one’s physical force against others. Skilled practitioners rely on a highly developed sense of touch. It simply requires practitioners to have sufficient physical force for competition. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. Without the latter. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. Tuishou develops one’s sensitivity to others. Nevertheless. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. meaning ‘loss of energy’. These reflexes are faster than thought and only come with constant practice. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness.1.e. Remember too where your weight is placed to maintain control of your centre of gravity. 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. However. This is called. they are able to strike back instantly in response to an opponent’s movement using conditioned reflexes derived from highly sensitized skin alert to every minute stimulus. try to feel the extent and speed of your partner’s motions with your sense of touch while ‘listening’ to their stance and angles of movement. softness can break through hard. ‘thousands of Jin’ (i. ‘Weak side strikes strong side. Ding meaning ‘stiff resistance’). the stronger force) also can defeat the weaker force. In other words.5 TuishOu. Hence. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . Tuishou actually requires a strong sense of balance and an ability to combine energy and force. When forces are equally matched during competition. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. While appearing deceptively easy.
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 .
adhere. filled with abundant internal Qi. I know others and sweep all enemies aside.1 lisTening TO energy In the context of Taiji and Tuishou. Listening can be divided into three areas: listening with the bones. allowing both body and mind to enter into the level of deity and transformation. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. and taking Zhan Nian Lian Sui (stick. and a highly-tuned awareness of sensations in the heart and nerves as well. What is listening with the skin? It means following the command of the heart and mind. On receiving these signals. the act of ‘listening’ has profound resonances. sensing through the skin enables reaction in any manner within the rules. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. With your skin. 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. ‘Without being known. feel your partner’s movements. her body light and flexible. At this stage. her changes in rotation. During Tuishou sparring. no matter if the changes are in the opponent’s rotation. one’s force is injected into the marrow. One’s skin is the key weapon. squeeze and press. a practioner’s body can react instantly with great accuracy and flexibility.’ 王 西 安 16 . with the skin and with the fine hairs on the body surface. The entire body surface of a high level practioner is highly sensitive. Similarly. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). a rise or fall in height or changes in weight. continue. position and magnitude. the skin. when an opponent touches one’s fine body hairs. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. but also with the eyes. Hence the saying. alluding not only to listening with the ears. follow) as fundamentals.陈 氏 太 极 拳 推 手 技 法 2.
where every knot of one’s body opens and stretches without crude force. your listening untrue. You will look without seeing. until it is too late to repel danger. While the majority of practitioners are able to listen with the bones. your judgement confused. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . very few achieve the ability to listen with the skin.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. solidity. that is why it destroys the strongest of enemies”. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. ‘clear manifestation of emptiness and solidness’. let alone the attainment of energy for combat. listening would be impossible. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. Failure to do so will cause one’s energy to remain stuck in the chest. emptiness. special attention should be paid to ‘the intervals of fastness and slowness’. Only through accumulated practice can one’s sensations detect the smallest changes. Your reactions will become slow. rising to the upper body. which is essential for constant adjustments to frequently changing circumstances. defending and attacking blindly. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. ‘descending Qi and steady steps’. How good it would be to attain this level. As Sunzi Bingfa says. descending. you fight back. Nervously. slow. calm. leading only to failure. “The most super-human strategy is formless and soundless. Just as a deaf person is unable to comprehend a conversation as he cannot hear. listen without hearing. In all this. opening and closing (快、慢、沉、稳、虚、实、 开、合). Listening is essential to Tuishou. so a practioner cannot generate energy for sparring if he or she is unable to listen. blood and breath. making all one’s muscles stiff. Without this preparation.
发fa – explode) at the appropriate opportunity. An (press). Ting (stick out). Ling (pressing). hardness and softness. Tui (push). that is. Duo (escape). this skill may eventually be attained with diligent practice and a good teacher. Meng (sudden). Peng. Zhi (straight). 拿na – capture. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. await them. Gou (hook). length. Ying (stiff ). Zhan (chop). Ba (pull out). straightness and curvature. speed. You may find yourself being too stiff (Jiang). Bo (move with hand). It is the ability to note present or potential changes in emptiness and solidity. Pai (squeeze out). new challenges such as ‘being too fond of competing’. Hun (mix up). Di (resist) and Gun (roll).陈 氏 太 极 拳 推 手 技 法 2. transform. Ke (knock). Zhuan (cheat). 王 西 安 18 . Gua (hang on). Qi (insult). Ya (push down). Lou (hold). magnitude and hitting point. Even for those who achieve this skill. 化hua – change. Ji (hit). Cuo (rub). We call such shortcomings. Be warned that mistakes will occur on this learning path. Na. “faulty palms” or “faulty body”. you cannot note any of the above changes in the oponent.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. vertical axis and flexibility. direction. your posture too straight (Zhi). you cannot realize it. the ability to circle and the principles of Zhan Nian Lian Sui. Ba (seize by force). Without ‘hearing’ the energy of one’s partner. Failure to overcome these shortcomings would be to fail to realize energy. A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Shi (tight). Realizing energy is based on listening. Hua. Li (leave). Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. Dang (block off ). While beginners may find this difficult to achieve. Teng (jump). Qin (intrude). your energy too resistant (Ding) or being lost unnecessarily (Diu). Zhe (hide). Shan (dodge or flash). Fa (引yin – lead. Jia (stiff ).
with Taijiquan. Lü. the poplular stereotype of Taijiquan as a non-combat. jumping. Whilst all Chinese martial arts possess unique characteristics. utilizing the techniques of Kao in spiralling. In fact. ultimately. Cai. Ultimately. dodging. Hence. Sanda complies with basic Tuishou principles. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . I follow my partner. which is used not only in Tuishou. these eight techniques form the method for Tuishou. When attacking. is misleading and does not take into account its fundamental role across the Chinese martial arts. An. Concordant with the adage that ‘external forms are the method and the pathway’. form and quality of Tuishou. twisting. As Chen Changxing. I always keep remembering to follow their intention. and also in one’s facilitiy with the eight energies or techniques (Peng. look around and maintain an upright axis during Tuishou practice. but also in the combat arts and and Sanda (free sparring). angle. the Tuishou practitioner must aim to apply these techniques (seizing. grasping. 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. developed from further transformations of Tuishou routines. relaxation and health practice for the old and infirm. falling.The practice for ‘realizing energy’ also tests one’s position. says in a verse from his book. no matter if they use the technique of Kao or twist. changing one’s centre of gravity and flexibility) in synchronous movements. they share the common practice of ‘realizing energy’. 14th generation Taiji master from the Chen family. Sanda can simply be taken as a higher evolution of Tuishou. transforming. Lie. In effect. Ji. striking. hence its continuing ties with Tuishou and. Zhou and Kao). and shares many common principles with Sanda (free sparring). Tuishou is the combat application of Zhan Nian Lian Sui. Whilst acknowledged as a combat technique in its own right. rather than use them as disparate forces to enhance one’s attacking prowess. ‘The Taijiquan Formula’: No one knows when I gather or stretch.
until I come to the level of Deity”. press and hold back. and horizontal Cai are also irresistible. As mentioned. Li. The second sentence of the verse means to follow the other partner’s intention while circling them. to forget about one’s own intentions and follow the opponent’s. we can clearly see that in all movements. step by step. ward off. push or press. that is. “From the familiarity of forms. strike. Chen Xin once said. to act naturally and follow one’s intention. adaptable to both Tuishou and Sanshou. The author stressed the importance of ‘follow’. The attacks from me by twisting. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. Again. fourth and fifth sentences refer to the application of Taiji Sanshou. to the realization of energy. leading to a wider understanding of the profound benefits and applications of Taijiquan. ‘listening and realizing energy’. With the development of modern weapons. Everyone knows how to hook. the Chinese martial arts have evolved into health and fitness promoting practices. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. Indeed. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . The third. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. that is. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. this verse confirms Taijiquan as a profoundly practical Martial Art. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. In addition to applying Master Chen Changxing’s advice. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. Hence. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat.
to one’s opponent. extent. A practitioner. Nian means to chase and follow one’s opponent. and come to realize the laws of movement and force. the adhesive force that allows a practitioner to become strongly attached.3 zhan nian Techniques Zhan & Nian are forces directed forward. It is commonly used in attacking strategies. Zhan Nian energies work as a pair. Whilst it is said that form practice cultivates a capacity to know oneself.effectively. Conversely. on reaching the final stage of ‘deity’. 2. like glue. Zhan Nian techniques develop one’s capacity for high precision. so that he finds it hard to escape. and its natural and intuitive use. This is why it is said. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. Tuishou practice cultivates the capacity to know others. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . that is. the first being ‘familiarity with form’ and the last being ‘realizing deity’. will be able to instantly sense the delicate changes in the movement. Through reeling-silk practice. “Form practice is the essence of Zhan Nian training. with which one’s opponent will find difficult to escape.” Zhan literally means ‘stickiness’. Ultimately. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. Only with the awareness of both oneself and others can others be conquered. while Tuishou exposes the quality of Zhan Nian techniques. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. magnitude. in this way maintaining the upper hand at all times. this results in a deeper and more precise understanding of energy. At this point. direction and the position of a partner’s energy flow. capturing and transforming his energy and using it to attack at the first opportunity. This ability comes through great patients and a life-long perseverance of effort through the three stages.
Understandably. ‘I don’t move if they don’t move’. especially those who. inflexible muscles and joints. flow up the arms to the shoulders and back. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. yet arrives at the hitting point earlier than the opponent)’. ‘Fast reactions to fast attacks. but even many long-term practitioners find total understanding or realization elusive. Ultimately. It is Zhan energy that envelops the body. the practitioner can exert Zhan Nian forces towards the opponent. as reflected in their stiff bodies and tense. but certainly achievable for diligent practitioners with good teachers. one can never accomplish quality ‘chasing’ (Nian). Zhan Nian energies can only be realized through thorough theoretical understanding and careful. 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. 王 西 安 22 . Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. Not an easy task for ordinary practitioners. have failed to attain high proficiency in the art.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). and forget my own’. Simultaneously. ‘I move before them on feeling their slightest motion’. Zhan Nian energies can be detected by sensations that start at the palms. despite prolonged practice. victory or defeat is decided in an instant. continuous and diligent practice. and so on. and then through the entire body. This is why it is said that at this relatively high level. slow reactions to slow attacks’. an internal energy manifesting externally. ‘I win by striking after the enemy has struck (My fist starts late. When Zhan Nian techniques are applied. as indicated by these teachings: ‘Follow my partner’s intention. Once the whole body is enveloped. these techniques will lead the opponent into faulty moves. beginners find Zhan Nian energy difficult to comprehend let alone detect. During Tuishou.
In so doing. including consistency. adhesiveness.2. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. the opponent cannot escape because if one follows closely using Zhan Nian. Used in concert with Zhan Nian energies. moving effortlessly between quick/slow and forward/ backward movements. ‘to react while following’. Without Zhan’s adhesive force over the partner preventing escape. how can Sui be achieved? Sui technique means to react. slow reactions to slow attacks. non-forcing. continuity. and no chance to escape. so that ‘as one falls. there can be no Lian. can we execute Yin Jin Luo Kong efficiently. Sui. no resistance). ‘Bu Diu Bu Ding’ (no loss of energy. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. Lian is dependent on one’s use of Zhan. fast reactions to fast attacks. It can be summarized as ‘co-relating to the opponent’.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. Unless one follow’s the opponent with Lian (co-relation). Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. one observes and reacts to the opponent’s Zhan Nian techniques. that is. Once palms come in contact. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. taking any opportunity to attack. and can only exist in the presence of the latter. Lian has a rich amalgam of meanings. non-pressing. another rises’. emerges from the application of Lian. follow and move in the same direction as one’s opponent.
Lian and Sui can never function without the other. upper and lower coordinate any motion in the middle. whether through form practice or Tuishou”. Adepts. the basic ability to follow the opponent’s movements. following their energy flow without interruption.” Here we refer to the ability to keep every part of the body functioning as an integrated whole.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. “The lower body automatically follows any motions of the upper body. so that they can ascertain if their energy levels match the purpose and intention of their actions. As the teaching says. Beginners may attain the preliminary stage of Lian Sui. 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. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. It is vital that beginners are able to feel the movement of internal energy inside their bodies. without any break in flexibility or continuity. on the other hand. therefore it is advisable to practice the combined application of both. 王 西 安 24 . successfully use Lian and Sui to attack and prevent escape.
Note that while applying Yin and Hua forces. Literally meaning ‘to draw’ or ‘to lead’. using Lian Sui to follow their energy flow. the adept draws the opponent into his or her domain. and cannot exist without Yin first being applied. going up or down. turning left or right. Using these complementary techniques. I apply Shun reeling downwards. neutralizing any opportunity for attack.2. reeling my back inward before suddenly striking outward. Use these principles whether you are going backward or forward. When applying Yin. or feet to upset their centre of gravity. hence ‘misleading’ and transforming the opponent’s energy. “We strike by coordinating forces from different directions (Yin Jin Luo Kong).5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. When we feel the changes in our opponent’s energy flow. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). then gradually upwards. hands. I use Yin Jin Luo Kong to constrain my partner’s energy while simultaneously gathering energy carefully to prepare for an explosive release of energy at any angle or position. Hua is the transformative force. and in this way mislead and neutralize your opponent’s energy. palms. legs and so on”. A particularly effective combination is Luo Kong. one should avoid Diu and Ding (losing energy and resistance). we then use our shoulders. hips. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . While moving. knees. Yin is the ability to draw the opponent’s energy into one’s control. if my partner presses my right arm with their palms. As Chen Xin explains. elbows. I lower my body then stretch my right foot toward his or her crotch. we should apply She Ji Cong Ren without being detected. using our arms. Once neutralized. For instance. so as to mislead my partner’s energy and upset their centre of gravity.
王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. destabilizing their centre of gravity and transforming their energy in order to conquer them. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. just as one should attack forcefully without hesitation. using all these techniques to mislead my opponent. elbows. Any hard fan guanjie (joint twisting. In this way. dodge. Instead. rotate an opponent’s joint towards its unnatural direction. look one way and go another”. i. that of Taijiquan is accepted as the most refined. he or she can easily capture his opponent through the combined use of all . so as to accumulate and release energy effectively. That is to say. and their pain penetrates right to the marrow. the more one stretches the bow. wrists or hands to inhibit their rotation or movement. tie up. However. It is important to remember that one must gather energy well before misleading one’s opponent. Opponents will feel as if their tendons and bones are about to break.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. and hence the harder the opponent falls. depending on circumstances. As Chen Changxing advises. hence rendering them helpless. 2. sweep. shock. “gather energy as if pulling on the bow. When I attack.e. explode energy as if releasing the arrow”. In Tuishou and San Shou. I know my partner without being known. As Chen Xin suggests. touch.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. they are conquered. meaning the direction which hurts the natural structure of joint. one must cultivate the forces of Yin. I “roll over. the further one’s arrow flies. Hua and Xu (gathering). so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. my Taiji harmony within emerges so that even ghosts fail to predict my next move.
These recovery measures also depend on a light.their gathered forces. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . agile. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. so that I can strike them cleanly and successfully. In Tuishou. This is called ‘dual-utilization of seizing and gathering’. thus reaching their goal. you still have the opportunity to move in quickly and seize them by their palms before they move away. Tuishou accentuates Taijiquan’s martial power. The seizing technique in Tuishou is very important. There is a saying. a Tuishou practitioner can exert the invincible might of Taiji. Na (seizing). Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. To apply Na effectively.’ as Sun Zi Bing Fa says. you must react quickly and flexibly to any changes in your opponent. applying the energy smoothly and judiciously without over-exertion. agility. ‘Only this. Indeed. so that I may capture my opponent without hesitation or detection. With the combined application of seizing. This is why it is said that Na is the pre-condition of Da. ‘Na (seize) always goes with Da (strike). If you fail to attack lightly and skilfully and your intentions are detected. Shuai (throw). flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. in order to strike well. you need to seize first’. ‘is called the “best of the best”’. techniques such as Zhan Nian Lian Sui. transforming and striking. I move using the principles of Qing Ling Huo Qiao (lightness. Hua (transforming) are all preconditions for striking (Da). flexibility and skilfulness). I utilize Na to prevent my partner from escaping or from transforming their energy. If he or she succeeds in escaping. Zhua (grabbing). When utilizing Na. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. throwing. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques.
making sure your hitting points are clearly defined. Never let Qi float upward and never let your feet lose their roots. If Qi ascends. Common problems. with no part tense. you have no option but to relax your joints. Na technique works together with Cai technique. your centre of gravity destabilized and you will find it difficult to protect yourself. just as it is stated. When relaxed. both palms covering his right wrist. and sensing the amount of force the partner’s joints can withstand. Then strike directly forward in a spiral and hit your target accurately. your root will become unsteady. hence it is advisable to heed the teaching. twist his right arm inward with your left hand. By relaxing. especially amongst beginners. Na is the synchronous manifestation of the internal and external. How then can you hope to seize another? Indeed. Exert your energy first lightly then with force. During practice. every part of your body works in harmonious cooperation. In peace every part of my body moves at the time of movement’. ‘Never be rude and rash when you begin to practice Na. ‘No part of my body is not peaceful. shoulders and crotch all gather downward in concert. and all parts in a gathering motion. whether you exert Na by the co-ordination of your hand and chest or with your ribs. Using this will overcome the opponent without fail. and your ribs. use the Na technique carefully to avoid hurting your sparring partner. Miscalculations often result in injuries. he will be able to press forward. the targets for both being the arms. seize him then guide his pressing force into your territory using Lü energy. If you fail to Peng (ward off ) your opponent adequately. releasing your force like bullets rushing out of a gun. include controlling one’s speed and magnitude of attack. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. stomach and legs. stomach and the protruding and concaved parts of the shoulders.陈 氏 太 极 拳 推 手 技 法 When applying Na. Next. chest. if you want to seize your opponent. remember to maintain a relaxed state by lowering your whole body. application of appropriate angles and techniques.’ 王 西 安 28 . your chest rolls inward naturally. in which case.
2. are widely used in Tuishou. Gather the ribs. solid stomach and slightly concave chest. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness.7 Opening and clOsing In the martial arts. opening and closing illustrate the subtlety of Taijiquan. Closing (He) means to draw in. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. Inhale from the stomach so that it remains solid. Even masters of Chinese philosophy – Kungfuzi. every part of the body is engaged in the action of opening and closing. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. making sure all movements are steered by the waist. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. In all Tuishou and Taiji movements. As complementary opposites. relax the shoulders. one cannot ‘open’ without first being ‘closed’ and vice-versa. Opening (Kai) means to stretch and reach. OpeningClosing techniques. transform. Remember – to attack your target with agility and flexibility requires long accumulated practice. often meaning to ‘guide and attack’ in the martial arts. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing).Work on your technique step-by-step: develop a closed crotch. Indeed. gathering versus exploding. just as Chen Xin mentioned in his works. As Chen Xin says. This is an important concept which bears deeper contemplation. Keep every joint relaxed before you exert Na. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . Mengzi. preserve. bend and gather. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. Sanda and form practice.
The quality of the effort you put in to closing determines your ability to open with power and effect. sometimes appear before our eyes. you will find that Qi penetrates your whole body more smoothly and powerfully. if your energy is gathered and conserved well. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. so that your targets become accurately defined and attacks successful. Your heart acts as the guide and leader during energy explosion – when your heart opens. that is. and sometimes they disappear. Thus positioned.’ Only diligent practitioners have the opportunity to experience this phenomenon. Yi moulds changes in external shape while Jin (force) rises with Qi. the rebounding force exerted by the ground can be used to energise any upward movement. so that all parts of the body work together. these changing motions. but also to coordinate the heart (Xin). since Yi (intention) follows wherever Xin (heart) goes. 王 西 安 30 . your ‘opening’ explosion will be natural. Likewise. pressing the ground with your heels to empty the Yong Quan points. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. this means that one needs to be closed first before one can open. Kai (opening) energy originates in the root of your body. filling you with great vigor. The Opening-Closing technique starts from the closed state. swift and powerful. Closing not only means to bend and withdraw your upper body. the louder the explosion.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. ‘Opening-Closing. external shape (Xing) and spirit (Shen). As the saying attests. every part of your body follows suit. you will find your opening powerless. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. crude and slow. from the soles of the feet. grasp the floor with the toes and soles. Without closing well. In practice. muscle energy (Qi). with the qualities of both solidity and emptiness. While standing. forceful. your intention (Yi).
you need to train your muscles in relaxation and gathering.As you explode energy. or you may find your Kai technique lacking in power and precision. lower your waist and let Qi flow along the spine. Beyond this range.33 cm. your centre of gravity may be lost. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. The explosion should be short. then to every corner of the body. Exploding energy at close-range is best as Kai energy. is limited by its short duration and small coverage which extends only as far as your body. land on the ground on your in-steps. 2. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. To master this elastic force. spirals up the legs to the waist control-center. you will need to drop and relax the shoulders. then spiral your internal energy up the legs to the waist. The solution is to make your energy round. This energy originates from the soles of the feet. strikes may not find their mark. and to develop high sensitivity and rapid responses to external stimuli. keep your elbows down. roll your chest slightly inward. flexible and compact enough to mislead and upset your opponent’s centre of gravity. Practitioners also need to build-up a reasonable level of muscular strength. albeit swift and powerful. To gather energy of this quality. presenting your partner with opportunities to attack.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). After exploding energy. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. while being mindful of the adage. or worse still. the whole body returns to a state of softness and relaxation. the energy released unhindered. which then distributes it to the other extremities.
internal forces. Constant diligence. and exploding energy with elastic vibrations. and to explore the interactive relationship between them. counter forces. However. Transforming and gathering are complementary and cannot function without each other. horizontal forces and so on. Without these. transforming and attacking are closely related. Failure to counter your partner’s force means. Gathering. abundant internal energy and intense physical and energetic concentration. To do this. straight forces. not relying on rigid or crude force. though random wins may happen. one must explode energy smoothly. in effect. and with that outburst. To combine the power of the three. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. 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. spiral forces. Your performance in competition depends not only on the quality of your sensitivity. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. When doing Tuishou exercises. which manifests as our weight. utilize. not strength”. it is necessary to distinguish clearly the respective functions of internal force and external force. but also that of your internal energy and combat strategy. dissipate or absorb her external force. flexibly and harmoniously. there are also a myriad of other forces which influence our bodies – supporting forces. frictional forces. The main external force that we humans experience is gravitational force from the earth. skilfully. all these are prerequisites to “destroy something already in a state of ruin”. your opponent is vanquished. consistent good performances will not be achievable. The force that you and your partner exert on each other in Tuishou is external force. you must practice Changjin 王 西 安 32 . The external force of both parties affects each’s internal energy flow. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power.陈 氏 太 极 拳 推 手 技 法 “use thought and intention.
To reach this level. beginners need to do the following: do the big circle practice. imagine a line between the navel and Mingmen. An attack. easy conquest of the opponent does not necessarily follow. the whole body moves as a synchronized force to follow the slightest movement of intention. leading to very smooth and swift responses. instantaneous. as their attacks flow naturally from their heart and intention. At this level of Gongfu. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . quick. and the small or no circle practice.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. will find the opponent flung far and wide. By mastering the key points of energy explosion. there would be no striking the partner from one inch”. you will find it easier to hit targets more accurately and swiftly. below which energy flows downward and above which energy flows upward. the medium circle practice. elastic or vibrating variations. especially exhaling-inhaling and opening-closing motions. one should not attack at close target. At the transitional stage between ‘Three-Yin Seven-Yang. Continue developing these techniques step-by-step until the level of deity is reached. it is not advisable to exert Changjin (long energy). This means that if one finds it difficult to attack from a distance. For example. Only very high-level practitioners may achieve this. during Tiaozhou practice (upward strike with elbow). Good Hands’. Alternate between these three with slow. Close-range attacks require a high-level of competence. “Without striking the partner from a distance of three metres. while downward flowing energy helps maintain a firm and stable root. Upward energy and downward energy exist in opposition to each other. Still Tough’ and ‘Four-Yin Six-Yang. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. despite its ferocity. even with the slightest touch. and even when elastic cunjin (hitting a target at very close range) is executed. As it is said.
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. powered by upward spiralling energy. The arms and legs work together. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. while you maintain a state of relaxation. shadow your opponent with agile steps. Instead. Using Zhan Nian Lian Sui. keeping your axis upright and combine your eyes. Remember to maintain your centre of gravity with the coordination of the other leg. then your instant and precise attack can never fail”. As Qi flows up the spine. 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. while you keep your intentions and energy flow undetected. To lift your opponent up with Ti requires the combined effort of legs.9 Ti (raising) fOrce Ti means to ‘rise spirally’. Even if not thrown completely off balance. At the same time. never let your partner know your intention before you act. First. When applying Ti. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. waist and arms. and may lead to loss of control. This means that no matter what Tuishou techniques you use. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. Remember to maintain full concentration. To apply Ti successfully requires the whole body to work in coordination.陈 氏 太 极 拳 推 手 技 法 2. your opponent’s upper body will shift out of their control. combine your rising force with your elastic force. and intention into one entity. skilfully changing your tack to distract them from your true intentions until you have destabilized their centre of gravity and they are caught off-balance. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. heart. To conquer your opponent. The rising force is difficult to use if forced. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 .
Though undiscernible initially. reeling to the left or reeling to the right. you will lose awareness of your physical body and location. reeling upward. Attaining high-level skills will make you braver. but once attained. their root and they will certainly fall.10 reeling silk Reeling Silk is a spiralling. on the verge of losing their centre of gravity. you will come to sense it with practice. tie. until it reaches the fine hairs of the skin. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. When this happens. You roll. The Reeling Silk consists of great varieties: reeling inward. Adequate practice will naturally lead to success. follow the primary principles and develop your skills stepby-step. revolving energy which originates internally in the body. passes through the legs up the spine and arms. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . and manifests externally as it permeates through to the fine hairs on the skin. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. you will find it easier to follow. so you feel able to “protect your descendents and kill the rebels”. For beginners. your attacks will never fail. Do not try to strike others before you have attained a reasonable level of competence. transform and defeat your opponent’s attacking energy. mislead. You will attack like a flying dragon. go forward or backward. 2. you will be able to transform energy while striking. your force will reach its target just with intention. touch or sweep in response to the circumstances and you remain always observant and alert. walk with such assurance as to shock evil spirits. reeling outward. as it emerges from the feet.and power. Mastering this energy requires much effort and practice. whether you rise or descend. and not even know from whence your power emanates.
all these reeling movements are always comprehensively combined together and closely connected.陈 氏 太 极 拳 推 手 技 法 small circles. While reeling. The solution lies in the middle path: keep a balance between softness and toughness. and so on. reeling to the front or reeling aside. Keep a firm root. and thus renders you unable to react properly and to be easily manipulated by the opponent. reeling horizontally or reeling vertically. When using Reeling Silk energy. focusing your energy internally and guiding the flow of your responses from Yin to Yang. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. excessive toughness makes you get too rigid. Be humble and respectful during form practice. remain balanced. quiet and calm. misleading) always comes with Jin (approaching forward or attacking) and vice versa. maintain the interplay between solidness and emptiness. 王 西 安 36 . When being utlilized. Shun reeling (conforming) and Ni reeling (contrary). and apply opening and closing techniques. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. remember to keep your Zhongqi (energy to keep your axis upright). As for posture. collapse the waist and establish a stable centre of gravity in the legs. reeling forward and backward. Yin (guiding. one must avoid being too soft or too tough.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
goes through the Sanguan (Three Gates). so the Single Form Practice and Erlu help to compensate for this disadvantage. Shan (dodge). This practice requires a solid foundation in preparatory exercises.’ In this way. Shuai (fall). 王 西 安 38 . An. Zhan (battle). where ‘Qi spreads to the whole body. Faji (attack) effectively under any conditions. Ji. who is then inevitably conquered. A wide variety of single movements must be practiced repeatedly. It also demands a period of diligent practice to ascend gradually through the primary. Qi will flow around the body to the extremities and skin. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. movements gradually become agile and flexible. for example. as well as techniques focussing on various target areas of the body. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. Lü. you need to execute Jin (go forward). Tui (go backward). Kao. Because Yilu lacks speed and Gang (tough) energy.1.1 Yilu cultivates Qi. Da. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. relaxed and soft. medium and high-level stages. Erlu explodes In this technique. Ti. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). keeping your energy tracks undetected by the opponent. This means that Yilu fosters Zhongqi so that. and exerting energy too forcefully (Ding) while exploding energy. As we know. Lie. Cai. full relaxation of the joints. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Zhou. 3. Erlu and Single Form practice help to accumulate and strengthen Gang. Single Form practice is vital for hand-to-hand Gongfu combat.1 inTrOducTiOn This is a practical lesson in combat practice.陈 氏 太 极 拳 推 手 技 法 3. To win. if practice is diligent. Hua (transform) and Na.
Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. 拴Shuan (tie). each have their own unique combat style drawn from continuous tempering in their practice. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. you harvest. Significant gains may be attained by practicing the single forms step-by-step. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . you fail’ and so on. legs and hips using relevant principles. you don’t. If prolonged. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. To do otherwise would be to ‘attend to trifles and neglect the essentials’. such as: ‘Profound principles emerge by themselves. He was known to say that he found throwing partners too easy. resulting in loss of vigor and effectiveness. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting).Gongfu masters. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. elbows. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. more like a relaxing stretch to enjoy the subtle. be they exponents in internal Gongfu or external Gongfu. Hence. so that the path to deeper understanding and realization may be paved. we have Master Feng Zhiqiang who is venerated for his steady. they always got hit and thrown to the ground. No matter how steady his partners stood in the beginning of a fight. ‘Skills come naturally when you are familiar with forms’. 搭Da (touch) and 扫Sao (sweep). back. Single Form practice is of vital importance. sober movements and his relaxed yet vigorous energy explosions. Lastly. Well known examples include the foot techniques of Li Bantian. These clearly advise diligent practice of the shoulders. inner meanings of the mysterious art rather than a competition. Chen Zhaopi was the undisputed master of 滚Gun (rolling). the seizing techniques of Eagle Claw King. ‘You practice. hands. neglectful practice becomes increasingly difficult to rectify. Though widely differing in style. after you practice the form ten thousand times’.
2 feeT pracTice Feet practice includes the following movements. pedalling forward.1 . 王 西 安 40 Fig. alternating between both legs: kicking forward. upwards and sideways.1 Exercise One • • Squat slightly. With one hip relaxed and the opposite foot slightly touching the ground. face to the front. trampling. horizontally. stomach gathered and head suspended from above. bend and raise your knee slightly. swinging up and down and so on.陈 氏 太 极 拳 推 手 技 法 3. 3. 3. chest rolled slightly inward.2.
sideways. feet hanging backward and so on. pedaling. • Kicking smoothly.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. 3. up and down. make sure your in-step is stretched moderately tightly. horizontal. collecting the energy at the abdomen. • Relax the feet so energy can reach the toes where it is required.3.2 41 .2. 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. stepping. upward and downward swing. Descriptions of some of these exercises are provided below. • Roll the chest inward and aggregate energy with the whole body.
for example. 3.3 • This technique is applicable to the toes. they will be able to direct energy explosions to targets with precision and ferocity.陈 氏 太 极 拳 推 手 技 法 Fig. It should be practiced with both feet so that. 3. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. your left foot prepares to kick with the toes or instep as the right foot lands. .5). 3.4. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). if you kick with the right leg. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. 3. On landing with either foot.3). Beginners should practice slowly. edges of the foot plate and the sole (Fig. use the rebounding force of the earth to bounce up and propel your kick (Fig. At this point.
3.Fig.4 Fig.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. 3.6 43 .
陈 氏 太 极 拳 推 手 技 法 Fig. The whole body must be kept balanced and straight when kicking upwards. usually the opponent’s chin. flexible and quick. • Switch your centre of gravity to the left foot. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. . Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. 3.7 The Upward Kick is used for high targets. a principle also applicable to the Double Kick (Er Qi Jiao). The kick should be light. The Upward Kick should match the rhythm of the hands’ movements. instead. practice kicking with each foot sequentially. There is no jumping in the Upward Kick.
3. 王 西 安 45 . all the while rolling the chest slightly inward. standing with left leg. 陈 氏 太 极 拳 推 手 技 法 Fig. feet firmly grasping the ground. exploding energy as quickly and fiercely as you can. cup your right fist and left wrist together in front of the chest.8 • • • Then stamp your right foot on the ground. grasp the ground with the left toes and. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. keeping the right foot at the same distance from the left foot as before. but try to keep some weight in the un-weighted side as well. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. raise the right knee gradually (Fig. Then empty the Yong Quan point.8). As your right foot explodes energy stamping downward.• Bend the left knee. 3.
王 西 安 46 . you can practice with the alternation of legs (after praciticing with the right leg for a while. Kick as high as your opponent’s stomach and chest. and then withdraws elastically like a rubber band springing back into shape.10). In Single Form exercise. The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. 3.9 Regardless of which leg steps forward first. including the alternating use of the legs (Fig. 3.陈 氏 太 极 拳 推 手 技 法 Fig. remember to follow instantly and quickly with the other leg.9). 3. practice with the left leg) (Fig. The key points here are the same as those for the previous segments. e) Forward Kick This consists of a straight kick forward with the sole of the foot.
12) and the Outward Kick (Fig. As you reach a higher level of skill. with hitting points mainly on the inside of the foot (with the occasional use of the outside).13).10 Fig. fierce and perfectly targeted. Before kicking. prepare well by relaxing the chest and stomach to ensure your kick is fast. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. 3. • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front.11). sometimes with the soles. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. 王 西 安 47 . Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity.Fig. 3. 3. 3.11 Kick mainly with the heels. 3.
Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. 王 西 安 48 • . This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. while the body becomes straightened when kick is streched). the whole body gathers together then opens up with an explosion of energy. with the hitting points mainly on the outside of the foot (occasionally inside). this reflects the relationship between Yin and Yang’.陈 氏 太 极 拳 推 手 技 法 Fig. In the Sideways Kick. 3.12 Fig. 3. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow.13 • The Outward Kick is executed outward and upwardly. explode energy like releasing the arrow”.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. Eye your target and prepare for the kick by gathering your internal energy and lowering it. Before kicking.14 49 . while your hands are targeted at the face. If kicking with the right foot. While swinging outward to the level of the shoulder. toes grasping the ground and all muscles of the body relaxed. Always coordinate the kick with your hands. then swing it outward in a natural arc.14). 3. which allows you to use quick and continous forward steps. use the Gen Bu (follow-on Steps). then bring it backward (Fig. be it with the right or left foot. smack the foot with your hand to ensure the integrity of the energy. 3. Your swinging foot is targeted at the back of the opponent’s head.15). turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. Squat slightly. Kick upward with the back foot.
.15 With openings and closings. And kick upward along with palms coordinated with Lü. 3. 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.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. I smack in the air by switching into the track of a swing arc. And smash enemies to pieces. I take the back of the opponent’s head as target.
palms facing outward. depending on the distance between you. During solo practice. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. • Hold the body in a squatting position for the next few movements. • The foot hangs to the calf suddenly to make the opponent lose his balance. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. The powers of hand and foot combine together. No matter which you use. • Hang one foot backward. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. Gua (hanging) and Gai (covering) in a second. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . rotating it slightly so that it slants to one side. • Pay attention to that you finish this action with the guiding of the waist and back. remember to balance upward Long (close) movements with downward Ti (raise). • Swing both hands backward to the side of the back hanging Foot. You should finish Lü. • The action must be quick and powerful. coordinating both with Tou Bu (sneaking steps).h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). • Use both hands to execute Lü on one arm of opponent behind the body. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. keep your footwork flexible and neat.
your face looking upward.陈 氏 太 极 拳 推 手 技 法 Fig. twisting the waist and rotating the back to exert more power (Fig. . I explode my energy with the rotation of my waist. And enemies fall to the ground with face to the air. 3. As a Tuishou poem states: With Yin and then Jin techniques. I take the opponent’s upper body and chest as target. And kick upward along with palms smashing downward.16). Hold your position and collect yourself enough to kick upward then swing downward.16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. Move forward with Tou Bu (Sneaking Steps). 3. 王 西 安 52 The secret of Back Hanging Foot is to plot the method to seize the opponent down and to fiercly bring him under your control without detection. Then lower your foot to the ground.
3. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 . since these are in a constant state of flux depending on the circumstances. 40:60.Fig.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. these may not provide an accurate picture of weight changes required in practice or combat. Use Front Bow Steps to practice this movement (Fig. 20:80).18. mindful that while one is in the air. Practice this transfer of weight by alternating the legs. the other should not leave the ground until the centre of gravity is transferred to the heel of the front foot to lighten its weight.17). Note that while weight distribution ratios may be used as a guide (e. The attacking leg must be flexible enough to swing to the left or right. 3.19).g. 30:70..
Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles.18 Fig. making your intention easily anticipated.19 Using Short Energy: Short energy should be used in both inward and outward kicks. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. As one master said: 王 西 安 54 I move my centre of gravity. I explode and shock the ghosts. so that the strikes are as rapid and powerful as possible. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’.陈 氏 太 极 拳 推 手 技 法 Fig. 3. Short energy attacks are often used to ‘give a shock to the lower limbs’. waist and hands. shock their lower limbs and unbalance their upper body with my feet. . 3.
Begin with slow practice. that is. Change your weight to the left. repeating the movements while keeping reeling from the left to right. 王 西 安 55 . 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. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. Xiacai Tui (Downward Cai energy). making sure your leg is no higher than 15 cm above the ground.3.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. As the toes touch the ground. Move the left foot half a step to the left. toward the target. When the right foot lands fully on the ground. Keep your legs reeling from left to right. Use intention (Yi) rather than physical force (Li). look in the direction of the moving leg. then squat and step out with your right foot. Practice continuously alternating both legs. just as in form practice. 3. ‘Yong Yi Bu Yong Li’. a shoulder width apart from the left foot. Lihe Tui (Inward Knee Strike). working up your speed in gradual stages.3. Lower the tip of the toes of your unweighted right foot to the ground. Nichan Tui (Legs Reeling in Ni Circles). step your right foot 40 cm forward to the right.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). Waibai Tui (Legs Swinging Outward).
2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. Step the right foot forward. 王 西 安 Fig. 3. transferring all your weight to the left. and then rotate 360o left stepping on the toes (Fig. transferring all your weight to the right. remembering that the inner side of the heel is the striking point. You also need to practice Nichan and Shunchan with both legs. rotate to the left forward at an angle of 360o. continuous practice. striking to both sides with each leg.陈 氏 太 极 拳 推 手 技 法 3. then step forward 40 cm to the left. step forward 40 cm with the right foot. Inner knowledge can only develop with concerted.20). Practice these steps in continuous alternating cycles. 3. Raise the left foot. Next. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner.20 56 .3.
3 Lihe Tui … Inward Knee Strike Lihe Tui is an inward strike using the inner side of the knee and is widely used in Qian Gong Bu (Front Bow Steps) and Ban Gong Bu (Half Bow Steps). then transfer your weight to the left before moving the right foot forward (Fig. we usually attack with Lihe Tui using the right leg. • While practicing.22 57 . whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg. change your weight to the front foot. 3.21 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. In Huobu Tuishou (Tuishou while walking). As such. attack with Lihe and then move 90% of your weight to the back leg (Fig.22). • Stand at attention. 3.21). 3. • Combine Lihe Tui with the rotation of the waist and spine.3.3. 3. practice with both legs and with change of directions.
24). 3. 王 西 安 Fig. Being content with a superficial understanding is fruitless. 3. Waibai Tui is usually applied during Da Lü (Lü in large scale movement) and the best way is to seek out opportunities for attack is while moving. 3. 3. and requires a sudden outward swing of the leg as weight is transferred. regardless of whether you practice day and night (Fig. Through diligent solo Tuishou practice.陈 氏 太 极 拳 推 手 技 法 3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps).24 58 .23 Fig. During practicing Waibai Tui.3. step forward with one leg and swing the other outward and then closing inward. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig.23). Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. practitioners will come to realize the deep significance of their efforts.
then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. 3.26 59 .3. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent.25 Fig. • To do Ni Cai: move the back leg forward. Xiacai Tui consists of Cai to the left. placing your toes slightly inward.3.5 Xiacai Tui … Downward Cai Energy Cai means to pull down. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). The outer side can also be targeted once your ability improves. placing your toes slightly outward. 3. Cai to the right. Shun Cai and Ni Cai are based on Front Bow Steps. • Start with your centre of gravity at the back leg. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles).
Deepen your understanding of Jin Li (energy and force distribution). keep ankles relaxed and Qi descending (Fig. striking to the front. 3. 3. bending consists of stretching’.26). 3.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right.28 60 . 王 西 安 Fig.3. you can enter the opponent’s territory (Fig. Bend your knees about 40o – more than this and you will lose your centre of gravity. Practice with alternating legs during Single Form practice. 3. Train your body to understand the meaning of ‘stretching consists in bending.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). striking inward and striking outward.27 Fig. 3.25). With a spiralling move forward.
• • •
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
Rotate the body to the right then strike downward with the back of the right fist. 3.37).陈 氏 太 极 拳 推 手 技 法 3.37 .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. at the same time hooking the left fist upward. change your weight to the right leg and step your left foot forward. However. fist centre facing inward. 3. Next. Hold the right fist close to the left side of the chest. 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. • • • • • • Take a half step to the right with the right foot. Rotate the right toes slightly outward as the foot lands. 王 西 安 66 Fig.4. Rest the left fist beside the left leg (Fig.
(Fig. 陈 氏 太 极 拳 推 手 技 法 In summary. 3. downwards on the right and upward on the left. 3. Then repeat with the other foot. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. 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. when the right foot steps forward (weight on the left).Fig. the left fist rises above the right side of the chest and smashes down to the left.39) 王 西 安 67 .38).39 • • • • • Again. both left and right fists rise and descend at the same time. the right fist is raised above the left side of the chest for more power and then smashes down to the right.38 Fig. Likewise. For each step. For example. step the left foot horizontally over the right one. 3. alternating both sides continuously (Fig. Practice these steps. After striking. and lower the left fist from its upward strike position back to the left side of the body). involve your whole body in the attack. stepping the right foot forward and exploding the fists before landing. 3.
avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig. 3.陈 氏 太 极 拳 推 手 技 法 3. Practice this technique on both sides. • Sink your weight into the right foot and rotate the waist to the right to gather energy.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.40). 3. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. This counter-balancing movement helps to accelerate the punch of the right fist. • Sychronise both arms so that while the right fist flings forward. • Step the left foot forward. 3. 王 西 安 Fig.4. 3. • Gather the right fist under the right rib (Fig. stretching the left hand upward.41). the left arm gathers inward and strikes backward to the left with the elbow. concentrating your power in the Quanding (the front of the fist).41 68 .40 Fig. • Then fling the right fist forward in Ni reeling. fingers vertical.
Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). so that the strike manifests within a narrow range yet internally it contains great power and flexibility.43 69 . the main difference being that in the former. 3. 3. 3. and practice alternating both sides. Instead.3. Repeat with the other side.43). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. simultaneously gathering the right fist beside the right ribs. only about 40% of the jin force generated is exerted as short rather than long energy.4. bringing the left palm to the front of the body (Fig.42 Fig. The power of this technique depends very much on the practitioner’s physical condition.6 Baokong Quan … Half-Moon Fist Baokong refers to the half-moon shape that is formed by the arms as you strike the centre of one palm with the other fist.42). Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. • • • • Step the right foot forward. energy does not manifest externally. Then step the left foot forward. 3.
3. This forms the ‘peak’ of the fist.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. 王 西 安 70 Fig. up or down. • Clench your fist so the middle joint of the middle finger protrudes. This makes the fist ‘peak’ stable and solid.44).陈 氏 太 极 拳 推 手 技 法 3. using small agile steps (Fig. • Strike with force and ferocity with this fist using short energy. • Attack to the left or right.4. • Brace the middle finger with the index and ring fingers.44 . and press the tip of the thumb against the middle fingernail. 3. like hammering a nail.
4. Practice both methods using both legs.46 71 . Form two nail-shaped fists and strike from both sides using short energy. 3.46). hence creating a dual attack with both fists and knee (Fig. Place your weight on one leg.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. Bend the other leg then strike both fists upward together. Method 1 • • Method 2 • • • Step forward with either leg. 3. Guanyang means to hit the temples with two nails. Bring the fists together in the middle about 25 cm apart. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. Roll the chest and shoulders slightly inward. 3.45 Fig.45). 3. gather the ribs and lower your energy to the Dantian (Fig.
1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. the ribs gathered.5. practice using long energy first.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. • Step forward with the other leg. the chest rolled slightly inward and the spine slightly lifted. • Strike forward with both palms. • Place your hands in front of the chest. fingers pointing up (Fig. 3.47 Fig. and lower the energy to the abdomen (Fig.5 palM pracTice 3.48). though in the initial stages.47). transferring your weight to the front.48 72 . • Prepare for the strike by ensuring your axis is upright. 3. palms facing forward. thrusting them forward with explosive force. • Step forward with either leg. 3. while making sure the chest is relaxed. 3.
陈 氏 太 极 拳 推 手 技 法 3.49). lower your energy abruptly and push forward with short energy using small steps.51. 3. 3. • Repeat using the left palm. The power. • Thrust the right palm forward or diagonally to the side.5. To be effective. 王 西 安 73 . 3. elbows and wrists are lowered. Make sure your shoulder. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy.Fig. Just before the explosive strike.50.52). thrust your arms out about 50% (Fig. 3. 3. a Double Palm Push needs to be sudden and exerted directly forward. using long or short energy (Fig. • At the same time step forward with the left leg. As the energy reaches the wrists. gather the chest and stomach like a cat stalking a rat. speed.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back).49 When practicing with short energy. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push.
50 王 西 安 74 Fig. Fig. 3. gradually increasing the speed. abruptness and power of the push.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly.51 Fig. 3.52 . 3. With continuous practice. and hence conquer your opponents without effort. you will be able to explode energy with natural ease by combining both external form and internal spirit.
3. enabling you to hit your target with more precision and power (Fig.54 王 西 安 75 .5.54).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. 3. Direct energy above the waist upward and energy below the waist downward. • • Step one foot forward and ward off an arm attack with one hand.3. 3. whilst using the other palm to push at the opponent’s chest or strike at their stomach. This creates an energy balance that stabilizes your centre of gravity.53 Fig. while gathering the other hand beside the ribs (Fig.53). 陈 氏 太 极 拳 推 手 技 法 Fig. 3.
55). Explode this energy through the right side of body out through the right palm. • Keep the hips relaxed. 3. 3. the stomach gathered and the chest rolled inward (Fig. first at an angle then vertically upward. • To push with the right palm: bend the right knee.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. and then straighten it while pushing the right palm upward. • At the same time. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line).4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward.5. while gathering energy on the left side. • As you push upward.55 76 . open the right side of the chest and stomach.
56 Fig.56).57). • At the same time. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.3. 3. stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’.57 77 . 3. Keep your body and energy lowered while doing this. rotate your body to the right. then quickly striking their chest with your right palm (Fig. 3. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. • Then swiftly draw the opponent into your domain by touching their back with your left hand. 3.58).5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. Shun means ‘sequence’) (Fig.5.’ Apply this technique during Single Palm practice.
lower the shoulders.58 • • Also apply the usual principles: roll the chest inward. Coordinate the movements of your body with those of the palms.6 Shunni Tuo Yao Zhang Push Partner’s Waist with Shun or Ni Reeling This technique enables you to push the opponent to either side using both Shun and Ni reeling. 3. This helps to concentrate energy in the palms.陈 氏 太 极 拳 推 手 技 法 Fig. For example. • As you lower the body. left and right. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right.5. 王 西 安 78 . 3. if the opponent seizes your right hand and twists it outwards with Shun reeling. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. and gather the ribs and dantian. moving the body quickly forward.
Fig. Next.60). • Again. respond in this way: • Step forward with the left foot. lower your body then extend it forward with Shun reeling. 3.59). thrust forcefully at the opponent’s ribs. Unify the three actions of stepping forward. this time at the left side with your right hand.60 • • • As you do this. 王 西 安 79 . thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. inclining outward and exploding with the left palm (Fig. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. 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. 3.59 Fig. 3. 3. • Key points are the same as with the left hand push above. extending the thumb and fingers (Fig.
61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. • As you seize.陈 氏 太 极 拳 推 手 技 法 Fig. goes through legs. especially when stepping forward and exploding energy (Fig. coordinate the waist and legs when exploding energy. as advised in an essay. “Energy comes from heels.61). roll your chest slightly inward and bend your right arm inward. 3.5. change your centre of gravity from the left to the right. so that energy flows to the very tips of the body. regardless of the technique or force used. 3. Relax your joints to enhance energy application.” 3. dominates the waist and penetrates to every part of body.7 Danzhang Shunni Chan Fa Shun or Ni Reeling with Single Palm 王 西 安 80 This technique consists of using either hand to seize the opponent using Shun or Ni short spiralling energy. Also. . • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles.
listening closely to your partner as you do so.5. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended. Change your right hand to Shun reeling and your left to Ni reeling. 王 西 安 81  ‘Dai’ means to lead. Thus. palm open.62). change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. guide or bring along . • At the same time. 3. you are able to use both palms to seize the opponent (Fig.63 • • • With your right arm.62 Fig. 3. practice alternating the seizing between right and left hands. To speed up your response. reach under your opponent’s front arm.8 Shuang Dai Zhang Danshi Yanlian Fa Double Dai Palms Single Form Practice Step your right foot forward and transfer your centre of gravity to the front.63). 3. If the opponent escapes.Fig. 3. 陈 氏 太 极 拳 推 手 技 法 3.
3.5. 王 西 安 82 3. Clench the left hand into a loose fist and push it forward.64).66). .65). As your step forward. face the left palm outward.64 Fig. Transfer your centre of gravity to the front. 3. 3. fingers up. Bend your right arm 90o inward and form a fist with your right hand. gather the right hand beside the ribs.65 • • • • • Extend your right arm forward. 3. Practice on both sides.陈 氏 太 极 拳 推 手 技 法 Fig. Then hit the opponent with the right arm (Fig. 3. fingers to the front (Fig. moving your arms to stabilize this rotation.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. palm up. Change your weight to the back and turn to the right. fingers pointing to the front (Fig.
67 • • • • • • Lift the left palm over the right. 3.Fig. reel the right hand in Shun reeling to the right and step the right foot forward. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. 3.67). move the left hand and foot quickly forward together. and then explode both palms forward with a piercing thrust. To increase the precision and power of the fingers. coordinate the waist and spine when shaking the right palm forward in Shun reeling. 王 西 安 83 . to increase the speed and power of the explosion. Next. Return the hands to their original positions before the next energy explosion. place the left thumb and little finger in opposition while the remaining fingers face forward.66 Fig. As the right foot lands on the ground. left under right and right under left (Fig. Also. 3.
1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot.6. As you change your weight to the front. 3.68 Fig. 3. 3. Practice striking with both elbows with corresponding weight changes to either side. In this case.69 84 .陈 氏 太 极 拳 推 手 技 法 3. strike forward with the right elbow while hitting backward with the left elbow. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. the left arm counter-balances the movement of the right.69).69). At the same time. Remember to apply long energy before you apply short energy (Fig. 王 西 安 Fig.6 elbOw pracTice 3. palms facing in (Fig. 3.
slap the right shoulder with the left palm. Alternatively. take a small step forward with the left foot. step the right foot forward again and extend the left arm forward. gather it close to the right ribs.3. 3. Step the right foot forward and strike the right elbow down forcefully as the foot lands.70). After the strike. Then strike the right elbow down for the second time (Fig.71 85 .2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. As the right elbow descends. return the elbow to the right side. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig.6. wrist turned inward and the palm facing backward. palm up. 3. bend the right elbow inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.71). At the same time. and clench the right hand into a fist. 3. 3. Lift the left hand when the right elbow completes 90o of its descent. At the same.70 Fig.
Fig.陈 氏 太 极 拳 推 手 技 法 3.73 Fig. then turn right with the right toes facing slightly out. 3. Rotate slightly to the left.72 王 西 安 Fig.6. 3. 3.74 86 .3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward.
Move the body to the left and transfer your centre of gravity to the right and back. raise the right hand across the front of the chest to the left in an upward arc. 王 西 安 87 . As you do this.75). Step the right foot to the left and bend the right arm.72). as if warding off (Fig. clench the right hand into a fist. 3.4 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. gather the ribs and lower your Qi. clasping the right forearm with the left palm.6. palm facing in. clasping the right forearm with the left palm. 3. Step the left foot forward. 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. • • • Practice with the other arm.74). transferring your centre of gravity to the left.• At the same time. Remember that the right leg moves forward with the right arm and vice-versa. so that both feet are approximately 50 cm apart. Lower right fist to the left side of the body so that the right arm is held at 900 while stepping the left foot forward (Fig. Gather the body by bending it slightly. Gather the body to prepare for attack by lowering the body slightly (Fig.73). 3. Turn to the left and strike out explosively with the right elbow. then step forward with the right foot. toe tips slightly touching the ground. 3.
3. 3. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block).76). step right with the right foot. balancing this movement with the left hand.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. palm down.陈 氏 太 极 拳 推 手 技 法 Fig. Next. practice with long and slow energy.75 Fig. gathering it horizontally in front of the chest. turning the body to the right. with the following differences: . Once familiar with the practice. Practice with both sides (Fig. • In the initial stages. Simultaneously. use short and fast energy.76 • Spiral the right arm forward with Ni reeling. 王 西 安 88 3. strike the right elbow to the right. the right fist lowered to front of the left armpit. 3.6.
landing approximately 50 cm apart from the left foot.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. • Turn the body to the right and reel the right palm across the chest to the right.78 3.78). 3. 3. • Simultaneously. • Jump the left foot half a step to the left. 3. palm facing right. jump slightly with the right foot.6. fingers pointing up. palm down. extend your left palm forward. Before the foot lands. 陈 氏 太 极 拳 推 手 技 法 Fig.• • Shun Lan Zhou is aimed slightly to the back. 王 西 安 89 .77 Fig. 3. while Xin Zhou is targeted to the front (Fig. Touch the right knee with the right palm. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. toe tips on the ground. • Stand at attention with the arms relaxed at the sides.77).
80). While striking on the right. clench both palms into fists. 3. 3. Move the right fist toward the right shoulder using Shun reeling. bending the wrist before striking upward quickly with the back of the right fist. 3.陈 氏 太 极 拳 推 手 技 法 Fig. Also. placing the left fist below the right. step the left foot to the left. 3. step the right foot forward.79). toe-tips on the ground. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). Return the left fist beside the right ribs (Fig. taking the waist as the dividing line. Instead. Practice on both sides. 3. As you change weight.79 Fig. . then transfer your centre of gravity to the right.81). starting with slow movements initially until the steps become familiar. After the strike.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. Next. balance the energy between the upper and lower body. Look to the right side of body while striking upward. followed by the right foot. then gradually using short and fast energy. toe tips touching the ground (Fig.80 Fig. 3. avoid letting all your energy flow upward as this will destabilize your root.
then strike with the right elbow.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. Practice alternating both sides. 3.83). • • • • Step to one side with either leg. 3.3. In this position. Change your weight to the left. 陈 氏 太 极 拳 推 手 技 法 Fig. Gather the fists close to the chest (Fig. 3. 3. If you stepped to the left. the right elbow executes the dominant attack. looking to the left and concentrating energy in the elbow tips (Fig. place the left arm inside the right.83 王 西 安 91 . while the left the supplementary strike.82 Fig.82). then exploding both elbows horizontally.6.
6. 3. Try to feel the effect of this preparation during practice (Fig.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows. 王 西 安 92 Fig. holding fists on either side of the ribs (Fig. 3. 3. 3.85 .84 Fig.84). • • Step one foot forward. prepare for the stike by gathering the wrists inward. This increases the force of your attack. As your weight transfers to the front. looking to the front and rolling the chest and shoulders inward.85).陈 氏 太 极 拳 推 手 技 法 3.
clench the right hand into a fist.87). palm to the front. 3. As your centre of gravity shifts to the left. palm facing inward and inclining backward.3. 3. At the same time. 3. clench the left palm into a half fist and place it beside the left leg.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig.86). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.87 93 . Simultaneously.86 Fig. then lift it so that the right elbow is positioned over the right knee (Fig.6. Practice alternating both sides. As the weight shifts to the left. rotate the body to the right. take a big step forward with the right foot in front of the left. 3. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side.
the legs should be parallel to each other. shifting your centre of gravity to the front. then lower it over the right knee. • After exerting Pie force. • All movements are guided by the rotation of the waist and spine. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. In this way. • Shift your weight abruptly to the right and form a half fist with the left palm. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). 王 西 安 Fig. • At the same time. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb.88 94 . • Extend the right hand outward.陈 氏 太 极 拳 推 手 技 法 3. • Change your weight to the left. • Step the right foot forward.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin).88). moving it beside the left ribs. Make sure both hands move and arrive at their destinations simultaneously. palm up.6. 3. strike forward explosively with the right forearm using a short-energy (Fig. As one of the Eight Forces. 3.
3. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. closing it slightly.3. palm up. 3. • Then. and extend the left hand forward to the right. 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. ring and middle fingers.89).6. using guiding energy from the little finger. In this way. • While lowering the left hand. bending the elbow. using downward Ni reeling. lower the left hand from the front of the chest to the left ribs. • Step backward with the left foot shifting your weight to the left. use Cai technique to strike out explosively with the outside of the right forearm and elbow. both internal and external movements are integrated with the movements of the body and limbs. • Raise the right hand from the right side.89 95 .11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. Shift your weight more to the left as you do this (Fig. The thumb and index finger form the character Ba ‘八’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
At the same time. and extend the right leg backward.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. the right thumb guides energy flow. moving your weight to the right (Fig. toes grasping the ground. While transferring weight.91 .6. Note: For maximum effectiveness. you raise the right hand in Ni reeling to descend the elbow (Fig.90). 3. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. 3. • • • • Bend the left knee. make sure power is gathered properly through the whole body and that your timing is correct before you strike.91). strike the right elbow backward at an upward angle (Shang Chuan Zhou). 3. especially useful as a defensive move when being attacked while in a passive situation. and then.陈 氏 太 极 拳 推 手 技 法 3. 3. 王 西 安 96 Fig.90 Fig.
3. 3. Ce Jian Kao. Xiong Kao. 3. 3.7. Ying Men Kao. The right foot and right arm should reach their positions at the same time (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. Shuang Bei Kao and Qi Cun Kao.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. As you shift your weight to the right.93 97 .1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward.92 Fig. 3.92). and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm.
93). As the body inclines forward significantly during this move. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. 3. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. Then take another big step forward with the right foot. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory.陈 氏 太 极 拳 推 手 技 法 • • • Then.7. . take care to maintain your centre of gravity by not stretching too far forward (Fig. Repeat these steps for both sides. After executing the above. 3. Note: Only push when you are in the correct position. step forward with the left foot and place it next to the right foot.94). if you find you get into an appropriate space for attacking. pushing it forward and down. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. 3. Then step the right foot forward again to execute Zai Kao for a second time. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. use the outside of the right shoulder to execute Qian Zai Kao. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). On completion of the shoulder push. As the heel touches the ground.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs.
94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks.3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors.Fig. then techniques such as Ying Men Kao can be used to penetrate defences and attack. conversely if one is able to ‘open’ the doors of the opponent. light but not floating” . lowering down but not stiff. arms are a defense against attacks. 3.7. Dai (lead and pull) and Ji (attack) energies together. 3. 王 西 安 99 . This only comes with closely combining the Yin (guide). When firmly closed. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose.
move both arms to each side of the body and push the right shoulder forward in attack (Fig. Separate the hands of the opponent to expose his chest (Fig. . 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. • You can use more of the shoulder surface in the attack. It is easier to hurt the partner using a narrower attacking surface.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot.95 Fig.96). cross the hands in front of the chest.95).陈 氏 太 极 拳 推 手 技 法 Fig. 3. Once the attack is completed. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. Next. fingers pointing up and palms facing the sides of the body. 3. 3. the right hand above the left. move the left foot forward parallel to the right foot and repeat the sequence for another attack. At the same time.
7. • To begin.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. Only with a thorough mastery of this technique. 3.97). using this shift to deliver a sudden push with the chest (Fig. Note: Focus on sharpening your sense of timing during practice.3. 3.97 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Step the right foot forward. 3.98). move the left foot parallel to the right. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above.98 101 . can you execute it in actual combat (because you may easily hurt yourself ). A good sense of timing is essential for defeating the opponent. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. the chest and waist are in a collapsed position. • After this move is completed. 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. shifting your weight to the front.
Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. as the shoulders deliver Bei Kao backwards (Fig. 3.100). • Stand with feet parallel. • When the weight moves forward the chest rolls inwards.100 102 . 王 西 安 Fig. remember to gather and withhold energy before delivering the strike. • When the whole body holds and collects to a moderate extent. Note: As mentioned in previous techniques. 3.7. take a sudden breath in and push the chest forward quickly. 3. You may lead with either leg.陈 氏 太 极 拳 推 手 技 法 3.99).99 Fig. and the shoulders execute Bei Kao to the right .5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. 3. shoulders slightly concave and with power guided by the thumbs (Fig. a capability that comes only with extended Quan practice. rebounding and shaking power). This technique also uses Duan Jing (short power). • Gently rotate backwards with both palms facing backwards.
extend the distance of your Kao slightly.3. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack.7. • Turn the body slightly to the left as the right hand rises. • Practice pushing from both the right and left sides. fingers pointing down. continue to transfer your weight to the right. • Once your root is stabilized.101 103 . and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. • Gradually move the right arm downward toward to the inside of the right leg. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. if further away. • Extend the right foot and arm forward. use short power in your push. Find a stable centre of gravity with the body and gather your body in this position. 3. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Note: If the opponent is at close-range.101).6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao.
3.102). 3. Note: Power applied in the initial stages should be slow rather than quick. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice. Place the elbow below the knee (Fig. Incline the body forward in the same direction. • • • • Take a large step diagonally forward with the left or right leg. 王 西 安 Fig.7.102 104 . Practice this sequence in rounds from left to right.陈 氏 太 极 拳 推 手 技 法 3.7 Qi Cun Kao … Seven Cun Kao The name of this technique indicates that the body should be seven cun (approximately 23 cm) above the ground.
Tui Na. • Relax the left side of the crotch and shift your weight forward to the left. Diao gai Na. • Rest the right hand near the right ribs. Xiong Na. Chan Rao Na. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. 3. 3. • At same time.103 Fig. Fu Na. and Shuang He Na. 3. 3. Shuang He Fu Cai Na.103).1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. 3.3.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na.8.104 105 . palm up (Fig. palm facing in. • Extend the left foot and left hand forward.104).
Seizing techniques are quite difficult to practice. lower the shoulders. in order to block the opponent’s energy path. After seizing. . Repeat the above sequence. changing the weight from left to right. this time reeling in Shun direction with the left hand and Ni direction with the right. then you must respond promptly by swapping the reelings to the opposite hands. if you practice each side diligently. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. but she evades your attack by ducking down. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. move the weight slightly backward then move forward again. i. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. and lower your waist and Qi. even though you deliver the power later than the partner. tighten the ribs. roll the chest in. When seizing. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. Shun reel with the right hand and Ni reel with the left. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. drop the elbow.e. 王 西 安 106 Closing with the left while seizing with the right and vice versa. you will be able to execute these changes quickly and smoothly. Try to relax at every step while applying the seizing action firmly. With practice.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. Your moves will become more effective as your internal Qi integrates more closely with the external movements. Note: Shun and Ni reeling are interdependent and cannot be separated.
3. 3. palm out.105 Fig.105). lower the Qi. At the same time.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. Relax the left side of the crotch. Then lower the right hand to the right ribs. 3.3. Again. 3. • • • • • 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. tighten the ribs. 3.107). The shift to the left enables you to hit the target clearly (Fig. 3. relax the left side of the crotch and shift your weight to the left. extend the left hand forward to rest in front of the body (Fig. and shift your weight to the right side. roll the chest in. and clench the right hand into a fist. placing it in front of the chest. As you do this.106). Then rotate the right hand and body to the right.8.107 王 西 安 107 . 陈 氏 太 极 拳 推 手 技 法 Fig.106 Fig.
3 Fu Nang … Seize with the Abdomen This technique consists of seizing with the abdomen filled with descending Qi with the assistance of the hands. 3. 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. roll the chest slightly inward and gather the ribs. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. reel with both hands in a Shun direction. 王 西 安 108 . rotate the body. 3. Move the whole body in a natural and relaxed state. The strike is actually applied by the left side of the chest. Draw the arc with the intention of meeting the opponent’s hand.108).109). • Step the right foot forward and pass the right hand across the left side of the body. while the two hands serve as supports. Make sure to keep your own axis when seizing the opponent. Match the speed of your movements to that of your partner. lower Qi to the abdomen in preparation for the inward roll and seizing.陈 氏 太 极 拳 推 手 技 法 Remember that Qi gathers in the Dantian and the Three Powers (Jing Qi Shen) unify to become one power. and gather energy in the ribs. palm facing right (Fig. • Step the left foot forward and extend the left hand to the front.” 3.8. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. palm facing left (Fig. Move quickly and follow your partner but do not lose power. • As the weight shifts to the left. The left hand leads by closing the power causing the right hand to follow. the palm forming a “八” (Ba) shape. • At the same time. • Close the crotch. Relax the crotch. Shift your weight forward and accumulate power well.
110 109 . clench the left hand. 3. The eyes look forward and to the left. The abdomen provides the main supporting element. the left hand moves lightly and assists the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.110). 3.Fig. whose movement is heavier (Fig. seize with the right and roll the abdomen – these three actions combine to become one power. 3. 3.108 • • As the Qi descends.109 Fig.
palms about 10 cm from the lower abdomen.112).111). roll the chest slightly inward. Both hands extend forward in sequence. As you seize. Concentrate your energies then pounce on your opponent like an agile cat. bending them at the elbows. extend both arms to the front. and commence shifting your weight forward. gather the ribs and lower Qi to the abdomen so that internal strength flows through the Dantian and the Three Powers (Jing Qi Shen) may unify to guide the attack. . Direct the eyes to the front. the right hand moving down while the left moves up. Continue to shift your weight forward. • • • • 王 西 安 110 • • Take a half step forward with the right foot.8. capture and immobilize the opponent. Move swiftly without hesitation. facing in so that the fingers are directed towards each other.陈 氏 太 极 拳 推 手 技 法 In summary. At the same time. 3. 3.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. and both feet standing steadily as the hands move. As your weight shifts. followed by the left. push the abdomen out suddenly (Fig. keep your intention firm for victory or failure will be decided in a second. and gather them towards you (Fig. do not be kind to the foe for the opportunity to attack comes just once. immobilizes their wrists by bending them outwards. 3. whereby the abdomen gathers power to support the hands. the right foot steps forward. while the hands use Na (seizing) power to collect inward. move the palms up to chest level and seize the opponent’s elbows using Na power.
113).8. 陈 氏 太 极 拳 推 手 技 法 3. Lower the right hand then cover it with the left.111 Fig. fending the opponent off upward to the right (Fig. supported by the warding right hand. 3. 王 西 安 111 . Step the left foot forward and shift your weight to the left. 3. so that you respond by moving your weight forward. and lower Qi in your abdomen before protruding it forward.Fig. Reel the left hand forward.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen.5 Chan Rao Na … Seize by Reeling This technique uses the gathering power of one hand to seize while the other reels from the inner side of the opponent. 3. • • • • Step the right foot forward and pass the right hand across the chest.
114). bones. 3. 王 西 安 112 Note: If Qi descends smoothly. 3. Alternate practice on both right and left sides. 3. by taking a step forward (Shang Bu) each time.114 • • • • Put your body in a squatting position by bending the knees slightly. not like a thug. But remember: practice like an adept. Collect the body by rolling the chest slightly inward. tendons and veins.113 Fig. Combine them with the power of chest to become one power (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. Collect the hands inward to about 15 cm in front of the chest. Step the right foot forward again and repeat the above steps. . gathering the ribs and lowering the waist and Qi. this technique can be used effectively to break wrists.
3. the Three Powers (Jing Qi Shen) combine to seize the opponent. • Bend the left arm inward to gather both palms. Lower your Qi. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni reeling to seize downward from the right side.115 Fig. relax the crotch. 3. • As you step. The powers of the left arm and right hand unify as one. • As soon as the right hand reaches the level of the left leg.3. fingers pointing forward. • Step forward with the left foot and extend the left arm to the front. In this way.116 113 . roll the chest in and gather the ribs (Fig. shift your weight forward and bend the knees slightly so that the body squats like a bent bow.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. and move both hands to assist the left leg.8. • As the knee swings inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.115). • As the weight moves forward.
The changing of the legs happens quickly. 3.118 114 . 3. guiding it to the right ribs for support (Fig. 3.117 Fig. 3.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. shift your weight quickly to the left and step forward with the right foot.8. • Step forward with the right foot. As you step forward. Then step forward with the left foot. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (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. • At the same time. 王 西 安 Fig. spiral the right hand up from the right side into an arc.117). gradually guiding it inward to rest in front of the right ribs.116). • Then lower the right arm by executing Lü downward in Ni reeling. 3. shift your weight to the front and extend the left arm again to repeat the steps and seize once more.
3.119 • • • • • • As soon as the right foot touches on the ground.118). As the hands move.Fig. 3. As the right foot touches the ground. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. shift your weight to the right and move the left foot and hand forward (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 . Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. 3.119). The intention is to have the whole body collecting and seizing together with the hands. When the right hand moves up. roll the chest slightly inward and bend the knees slightly into a squatting position. Continue to move the right hand and foot forward. 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. lower the shoulders.
3. then gather both hands and grasp the opponent’s wrist firmly downwards.121 116 .120). Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. 3.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. strengthed by whole body coordination. step forward with the left foot and shift your weight to the front. Combine this with the power gathered in both hands and seize with one force. Bend your knees so your body squats like a bending bow. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig.121). 3. 3.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize.8. rolling the chest inward and tightening the ribs. At the same time. Prepare for the seizing by lowering Qi to the Dantian.120 Fig. This step marks the transformation of Peng (ward off ) to Na (seizing).
the Guan Gong Jie Dai technique is said to be named after its creator.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. eyes looking forward. 王 西 安 117 . Diao Wan Qu Zhi Jie Tuo 3. Shuang Wan Zhi Jie 4. • Hang the hands naturally at the sides. and finally the index finger. Shan Jing Zhen Zhang Jie 8. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. Guan Gong. This technique enables a practitioner to avoid capture or break a hold.9. middle finger. shoulder-width apart. Shan Jing Ce Jian Jie 7. • Move Qi in from the outside and lower it to the Dantian. • Inhale. then exhale as you bend the knees slightly to put the body in a squatting position (Fig.122). 3. Chuan Zhang Jie 5. • Stand with both feet in parallel. Fan Na Cu Bu Jie 9. • Next. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. such as a waist grasp from the rear to throw you down. Guan Gong Jie Dai 2. then the ring finger.3. ‘Wars Among Three Countries’ by Guan Yu. Qu Wan Fan Na Jie 6.
This technique becomes effective only after extended practice. hook the wrist and bend the fingers to escape.9. the gathering of the ribs and the hooking of fingers should combine to become one unit. In this way. and also with the speed of Qi descending. 3. If the fingers are being held. the squatting of the body.123 • Synchronise the speed of this movement with that of the body.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 118 3.122 Fig. otherwise it is not easy to unfold (Fig. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip). 3.123).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. . 3.
124). By doing this. 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. relaxing the shoulders. 3.125 • • • • • If the fingers of one hand are seized by the opponent. By the end of your movement. 王 西 安 119 . 3. slowly bend the wrist and fingers. lowering the elbows. Move your body to transform the attacking power. unblocking the arm area being attacked.125). As you move. 3. your conjoined fingertips and knuckles should be able to escape with ease (Fig. so that Tuo (escaping) power can reach the fingers effectively. and lowering your Qi as you do so. join the fingers of your hand together and point them diagonally upward to the right (Fig. Practice these steps with both hands in turn. 3. rolling the chest inward.124 Fig. you relax and elongate your encaptured arm.Fig.
3. At the same time. lower the shoulders and elbows. 3.126). 王 西 安 Fig. then move your arms forward and upward as your weight shifts forward (Fig. roll the chest inward.126 Fig. It is not necessary to use large movements in this technique. closing your hands while opening the opponent’s. While doing this. 3. 3. Just focus on relaxing and lower the Qi.陈 氏 太 极 拳 推 手 技 法 3. tighten the ribs.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold.127). It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. clench both hands into fists. • • • Step one foot forward and shift your weight to the other leg (Fig. bend the arms.9.127 120 . and lower the Qi so that power can flow smoothly to the inner side of the wrists.
129 121 .128 Fig. 3. and Qi. and lower the shoulders.9.4 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. • Bend the knees slightly to place the body in a squatting position. 3. placing the right hand on the left (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Bend both arms 90o inward and cross them in front of the chest. elbows. • Two feet stand flatly and the body stands straight. and roll the chest inward. tighten the ribs.128). 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). two eyes look forward horizontally. 3.3.
陈 氏 太 极 拳 推 手 技 法 • • • If you choose to turn to the left: rotate the body to the left then right. and lock the palms of the opponent.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.131 122 . 3. If you choose to turn to the right: rotate the body to the right then left.130 Fig. It requires you to twist the captured fingers outward in Shun reeling. Do not rush forward but defend you territory in straight postures (Fig. 王 西 安 Fig. swapping the Shun and Ni reeling to the opposite hands. Then ward off (Peng) by pushing both palms outward.129). and move the right hand in Shun reeling while the left does Ni reeling. then rotate forward again. 3.9. 3. 3.
133 • • • • • Extend your right arm forward. step the right foot forward (Fig.132). 3.133). raise the elbows. Rotate the arm about 1800 outward in Ni reeling. As you do this. wrist bent inward in readiness to seize and fend off danger (Fig. then bend it about 450.131). 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. it will be difficult for opponents to overcome your attacks. Apply the principle of constant change and flexibility in Taiji circles. Your movements should be relaxed and executed with power at all times. extend the left hand forward to support the right hand as it seizes downward (Fig. palm facing left (Fig. 3. While rotating the arm.130). 3.132 Fig. 3. If you practice diligently. 王 西 安 123 . 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.Fig. As the right toes touch the ground. 3. 3. relax the shoulders.
coordinating it with the lifting of the back and the descending Qi. the palm gradually guided by Ni reeling to slant externally to the right.陈 氏 太 极 拳 推 手 技 法 3. In response. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). palm facing right. • Simultaneously. move the left hand rightward to the front of the chest. 3. right fingertips initially pointing downward. this sequence of movements make up the Shan Jing Ce Shen Jie technique.9. • As the right palm reels outward. 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. Next. 3. • Extend the right arm horizontally and bend it 900 inward. so that the power of the left hand combines with the right to become one. 王 西 安 Fig. you should rotate externally and upward in Ni reeling. • The right wrist bends inward with the arm to rotate the hand in Ni reeling.134 Fig.135 124 . Together. roll the chest inward.
So Shan and Jing serve as the pre-condition of escaping. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. 3. The above movements of both arms and the right foot should occur in one very smooth and swift motion.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. because with these. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy.135). Note: Move in Ni reeling while the opponent moves in Shun reeling. Almost at the same time. All the above movements of the hands. 王 西 安 125 . shift your weight to the left . touching the ground with the toe tips (Fig. 陈 氏 太 极 拳 推 手 技 法 3. 3. then quickly step the right foot forward (Shang Bu).• • • As your left hand moves.134). you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. and thus enabling one to evade capture. giving him a sense of losing of Qi. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. make a big step forward with the right foot. 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.9. If the opponent seizes your forearms: • Retreat half-a-step with the left foot.
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. As soon as you surprise and destabilize them with your moves. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. clench the hands into fists and place them at the sides of the body (Fig. and the extending palm reaches the right position at the same time.138 126 . 3. open both fists and shift them away from the sides of the body. At the same time. When the body and two hands send the Dou power. This power should be quick and strong. palms facing up and eyes looking forward. 3. Next.137 Fig. 王 西 安 Fig. palms facing up and the two little fingers placed on the middle of each arm. the body squats.136 Fig.138).136). 3. slowly raise both hands and bend them inward about 1800. and both palms draw inward. 3. then the whole body sends a Dou in a circle in Shun reeling (short power). 3.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time. 3. then Shang Bu (take a step forward).137). Simultaneously.
and attacking by the Cu Bu or Dun Bu technique (stomping). With Shan and Jing.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. thumb separated from the fingers (Fig. At the same time. Bend the knees slightly to place the body in a squatting position. 3. fingertips slanting up (Fig. then shift your weight to the left and inclining the body to the right to hold and collect. holding and collecting a quicker speed. since he or she can easily twist your fingers and get you caught’. 王 西 安 127 . palm facing out.It is just like the poem reads: ‘It is not a failure if you retreat your pace. It is not wise to grasp the opponent’s elbow with your fingers. which is against principle. extend the right hand diagonally forward to the side. the partner cannot reach you though his attacking power is strong. extend the left hand from left to right. you find escaping easy. Then push the left palm to the right. As the right foot steps on the ground.139). 3. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm.9. Two elbows draw inward and hands move outwards. first bending it inward then moving it outward to the right. Step diagonally right with the right foot. 3.140). because sometimes appropriate retreating gives one a closing power.
paying attention to the upper and lower body and your surroundings.陈 氏 太 极 拳 推 手 技 法 Fig. from slow to quick. side pushing with the left palm and exhaling at one time. 3. Even if you sense the opponent’s intention to move. from long power to short power.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. Stand rooted like a big tree. the body should move from high to low. 王 西 安 128 . only by this will you increase in strength.139 Fig. Be patient and diligent with practice. 3. do not react or become anxious but remain confident in your prowess. Incline your body and explode the energy with great unity by stomping with the right foot. Then you will free yourself from capture. This power can only be gathered with greatly unified power. During the practice.
separate the hands to the sides of the body.141). • Then bend both wrists inward.142). palms facing in (Fig. 3. exhale. the hands wrest free of the opponent’s wrist grip.9. • Extend both arms forward.142 129 . bending inward about 90o. eyes looking forward (Fig. roll the chest in.3. 3. 3. • Next. As you do this. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.9 Shuang Shou Wai Fen Jie Escaping by separating hands This technique is used to wrest free of a double wrist grip by separating the arms. breathing in as you do this. • In this way. tighten the ribs and lower Qi to the Dantian. the left hand in Ni reeling and the right in Shun reeling. palms facing each other. 3. lower the shoulders and elbows. • Step the right foot forward.141 Fig.
then separate them to each side. then you transform and eliminate the seizing on your wrists.144). 3.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 130 .143 Fig. insert both palms downward (Xia Cha Zhang. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling.143). During practice. keeping both arms tightly together like pincers.144 Notes The extent to which you separate your hands depends on the opponent’s grip. Palm Inserting Down) (Fig. You can escape from seizing by one closing and one opening. If you still can’t free your wrists with this technique. finally returning them to the front of the chest to repeat the cycle (Fig. 3. 3. If you cannot push the opponent’s hands away. then raise your hands. 3.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
unblocking the whole vessel system by enhancing Qi and blood flow through the body and helping the accumulation of Qi in the Yong Quan point (known as the ‘Bubbling Spring’ located on the sole of the foot). Ji and An. San Ti Shi (Three Postures) 5.陈 氏 太 极 拳 推 手 技 法 4. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. rising and falling. As Qing Dynasty Taiji Master. Lü. Peng. states: “If a tree has deep and strong roots. These movements are applied throughout the whole system of Taiji and Tuishou practices. its leaves and branches must flourish. Kai He Zhuang (Opening and Closing Posture) 4.1 inTrOducTiOn Taiji Yangsheng Zengqi Gong is a collection of health and Qi enhancement practices essential for the formation of robust Taiji and Tuishou techniques. opening and closing. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. each of which can be practiced individually or in sequence: 1. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). . Wu Zhuang Huan Yuan Zhuang (Returning to Wu Ji stance) Diligent practice and application of all the postures in these six groups of Qigong practices will yield great results for Taiji and Tuishou practitioners. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. Chen Xin. Wu Ji Zhuang (Wu Ji Posture) 2. Chan Si Zhuang (Reeling Silk Posture) 6. Taiji Yangsheng Zengqi Gong can be divided into six postures.
eyes closed.2 wu ji zhuang (wu ji pOsTure) 4. Hang both arms at the side of the body and relax. 4. feet parallel and shoulder width apart. Open your eyes gradually. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Concentrate your intention (Yi) in the Dantian. keeping your mind relaxed. breathing gently and slowly.4.2.1 Postures a) Posture 1 • • • • Stand upright.1 133 .
the right hand rotating in Shun reeling and the left in Ni reeling. 4. the reverse for females (Fig. 4. Try to expand your arms moderately. the right over the left for male practitioners. do not do it so gently that Qi becomes too soft and weak to reach every part of the body.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. 4. 王 西 安 Fig.2 Fig.3 134 . Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. when it should actually be solid.2). Lower the hands onto the abdomen. Maintain the hands at shoulder height. On the other hand. 4. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. Take care of these points and you will not lose power (Diu Jin) unnecessarily.3). palms facing downward and slanted diagonally (Fig.
3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). so that the waist descends naturally. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. 4.2 The requirements for every part of the body 1. lower it when exhaling. 4. guiding the Qi and saliva through to the middle Dantian. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. until they reach the lower Dantian. Your elbow joints should be lowered. bend the knees slightly and grasp the ground gently with the toes. The neck should be firm and straight. The whole body will be steady if you gather the internal organs consistently. Gather the chest and ribs inward.2. Lift the buttocks and anus up a little.4. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. 2. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. 3. Your shoulders should be loose and slightly lowered. the mind and facial muscles naturally relaxed. inhale and then swallow saliva down into the stomach. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed.2. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 . Pay attention to the following points when practicing the Zhuang posture: 1.
you will enlarge your vital capacity and exercise the diaphragm muscles. until it reaches the Bai Hui point. so that they all have the same rhythm. leading to Qi filling and blocking the chest. through the Wei Lü Guan point. lower the waist and gather the Qi in the Dantian. 王 西 安 136 . While lowering the internal Qi. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. While inhaling Gather your chest and abdomen inward while breathing in Qi. Feel the sensation of all the body joints. Maintain your vertical axis. 3. While exhaling Lower every part of the body. skin and fine hairs opening as the Qi rises. including the internal organs. Practice also enhances your ability to guide Qi with Yi (intention). roll the chest slightly inward. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian).陈 氏 太 极 拳 推 手 技 法 2. across the Yu Zhen point. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. which will help with the distribution of Qi around the body. keeping your body upright and lifting your back slightly. Raise your Yi (intention) from the Hui Yin point (perineum). By practising the above key points. up along the spine.
can the mind obtain full rest and be adjusted so that every organ system may be well promoted. The key requirements for practice are relaxation. external movements) follows Qi. quietude and concentration. Qi cannot be separated from Yi (intention). Practitioners should modify the scope of their practice according to their level and progress. During Wu Ji Zhuang. and achieve the smooth Zhoutian circulation and help with body combat.4.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. Qi follows Yi. Only these can guarantee normal and healthy internal Qi circulation. thinking. 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. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . and emotions. However. consciousness. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). just as Xing (posture.2. these can be accomplished only by hard learning. patients and the correct mastery of key points.
” Hence. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills. 4.4 Fig. 4.5 138 . also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation. is an important basic skill in Chinese Martial Arts. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill.1 Postures 王 西 安 Fig.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.3.3 hunyuan zhuang (circle pOsTure) Zhuang skill. 4.陈 氏 太 极 拳 推 手 技 法 4.
a little more than shoulder-width apart. Leave your eyes naturally open or close them. then lower the waist (Fig.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. waist and back straight. then move them back to the middle.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. Bend the knees so that the body is squatting a little. Keep the head naturally erect. with practice duration increasing gradually from short to long. focus on a static object at the same level as your eyes.4). The upper body should be kept upright. Lower the elbows and shoulders slightly. 王 西 安 139 .5). 陈 氏 太 极 拳 推 手 技 法 4. The palms face each other.3. focus your attention on the Dantian (Fig. Relax the shoulders. fingers pointing at their counterparts about 30 cm apart. 4. if closed. Keep the fingers evenly open and slightly bent as if half grasping a sphere. b) Posture 2 • • • Separate the hands when the left foot reaches ground. waist and crotch. Execute the posture as if embracing a big tree. Stand with your feet parallel. mid-level and low. If your eyes are open. Next. shift your weight to the right and lift the left foot and take half a step to the left. the neck. The old and weak may practice using a high body stance. 4.
increasing to thirty or forty minutes at later stages.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. until it reaches the Baihui point. 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. becoming gradually longer. when doing Standing Zhuang at a high stance. 王 西 安 140 . Wei Lü Guan. and guide the saliva down to the middle and lower Dantian. then lower your body again. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. Que Qiao. through the Ren Mai. Beginners will find that the thighs may ache after two weeks of practice. inhale slowly first. In this case. past the Yu Zhen point. swallowing your breath with saliva. For example. At the same time. graduating to midlevel. touch the palate with the tip of the tongue. Should this happen. the thigh muscles and even the whole body may tremble rhythmically. Practice duration can last just a few minutes in the initial stages. and slight trembling may occur. then bend the knees to lower the body until the buttocks are at the same level as the knees. although this may become more obvious with prolonged practicing at mid or low stances. then a low stance. Inhale again as the body rises. you should raise your stance slightly to rest. Now lower the tongue and inhale. At this point. The trembling may only be detected by touch or by close observation of the leg muscles. raise Qi from the heels up the legs. This relieves or may even stop the trembling for a period. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). up the spine. Du Mai.
the body quivers in a relaxed and peaceful state of mind.3 Breathing Breathing is an important element of Zhuang skill. Practice this process repeatedly. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath.3.As you exhale slowly. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. but the apparent non-activity is misleading. Zhuang skill is actually a practice using static strength and tension. It rises and falls like a boat in the ocean. 4. breathing motions and digesting processes. like a wild goose flies off and falls. as it responds to the circulating blood. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. 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.
relax and open the internal organs. The navel and Ming Men are in the same rhythm. In the initial stages of practice. 4. 4. the breath is usually short. extend your breath slowly through the practice process. the palms face inward and the eyes are slightly closed (see Fig. At the same time. 4. 王 西 安 Fig. The only difference is that in this posture.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. the body rises slightly with the inhalation.陈 氏 太 极 拳 推 手 技 法 4.8). Gather the chest and abdomen.6 Fig. 4. as are the requirements and key points for the body parts.4. The distance between both arms starts short then grows longer. the middle fingers connect.7 142 .4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang.
4. the navel and the Ming Men Mai swell out. Qi appears between finger tips of both hands like a magnetic force. Relax the body. Do this practice slowly. crouch down and lower the elbows. At the same time. b) Posture 2 • • • • • • Exhale and gather the organs. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. lower the waist and gather the rib muscles. Drop the wrists and hold the palms facing inwards in a concave shape. Focusing on your intention (Yi).8 143 . Roll the chest slightly inward. using your intention (Yi). use your intention to guide the current outward. Acting slowly.Note: when you inhale and open up. 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. All internal organs are filled with strength.
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. Lastly.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 the internal Qi moving in the body with the guidance of your intention. the ebb and flow of Qi and strength (or power) are in synch with each other. as well as breath control. For thought (or attention) to combine with intention. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax.2 The relationship between Thought. one’s thoughts need to implement intention consistently. For example. Qi here refers to the fresh air exchanged between the lungs and the outside. and when Qi rises – the body and internal organs gather slightly. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. This practice also strengthens the practitioner’s ‘root’. For example. intention and Qi. when extending the hands. and also helps the practitioner build skills in relaxation and quietness. if you require the breath to be slow. it also helps increase internal strength and distributes Qi around the whole body. Qi and strength. “the internal Qi moves inside”. In this way. . 4. then your strength must be soft.4. This is called. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques.
and are one of the main requirements in Zhuang skill. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . With practice. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. Its purpose is to stimulate the nerve system by muscle movement. Guided by intention. abdomen and back. the chest. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. 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.
The length of inhalation should match the speed of the weight shift.陈 氏 太 极 拳 推 手 技 法 4. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. then breathe it out slowly as you move forward (Fig. inhale and move your weight backward. This posture could also be called a sideways Bow Step (Fig. Gather the Lao Gong points of both hands inward. 4. the right hand in front of the left.10). Next.9). 4. Start the posture with your eyes closed. raise both hands above the right leg. make sure your eyes are drawn inward to looking internally. then shift your weight forward from the left foot to the right knee. When the weight shifts completely to the left leg. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. When inhaling. Swallow the fresh air inhaled. The fingers are poised as if grasping the air. Expand the crotch like a circle. then open your eyes and look into the distance. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. At the same time. Purify this saliva with your intention. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. focusing your intention in the Dantian.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. .
4.10 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. As you exhale and shift your weight forward. lower the waist. 4. close and fold your strength into your chest and waist. then push both hands forward slowly (Fig. 4.11 147 . Repeat this process alternating the left and right sides.11). You need to have the feeling of closing before opening.9 b) Posture 2 • • As Qi is lowered into the Dantian. 4.Fig.
with confidence and determination. practitioners are required to cultivate their Three Spirits when they begin practice. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. and hold firm to these attributes throughout path of practice and study. With confidence comes determination. and great determination. So where does confidence come from? From practice. 王 西 安 148 . Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. In sum. You can persevere only if you firmly believe in the benefits of Zhuang skills. your belief is half-hearted. Confidence in Zhuang skills grows with practice as difficulties are overcome. confidence is a critical prerequisite. on the contrary. then your progress will be poor. persistence may be engendered. leading to progress and experience of the benefits. determination. Indeed.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. your practice hesitant and inconsistent. If. Only after prolonged practice can confidence be nurtured. confident and diligent practice. practioners will make the expected progress. and persistence. Through serious dedication.
extend both hands forward with the right hand before the left.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. • At the same time. Peng force is maintained while the foundation of the body is reinforced as well. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. In this way.12). • The fingers of the both hands point to each other. 陈 氏 太 极 拳 推 手 技 法 The difference of this posture from that of San Ti posture is: • Both hands extend outward with Peng energy to prepare for the opponent’s Lü gesture. 4. 4. As you step forward.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. both palms facing forward.6.4. inhaling all the while (Fig. 王 西 安 149 .
12 王 西 安 150 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.13 Fig.14 . 4. 4. 4.
When this happens. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. lower the shoulders. turn the waist and twist the crotch. withdraw the right hand so it intersects the left. As the weight shifts. 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. otherwize. At the same time. 4.b) Posture 2 • • • • • • • Next. keeping the left hand inside and the right outside (Fig. relax both arms. 王 西 安 151 . drop the elbows. you will lose your weight and axis). When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. suffusing it with Qi before lowering it down to the middle and then lower Dantian. relax the right crotch and shift your weight gradually to the right.13). inhale and crouch the body slightly. 4.14). you start to repeat the sequence. Both hands make a half fist when reeling. the right hand in front of the left. Inhale and swallow saliva. As you shift your weight. open both fists into palms facing inward. As this happens. rotate the left hand in Shun reeling in front of the lowered abdomen. When the left hand executes Lü (roll back) to the middle of the body. step the right foot on the ground. gather and close the whole body so it forms a posture prepared for opening activities.
陈 氏 太 极 拳 推 手 技 法 4. Therefore. inhalation/exhalation being one breath. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). then to five times per minute. After mastering the key principle of natural breath. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. the breath can become slower and longer. This phenomena of “connected arteries. and even to one or two times per minute. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. and comes only after accumulated practice.6. Only by this can you avoid errors and side effects. you will feel your key joints and your arteries and veins become unblocked and re-connected. Inhalations and exhalations should be of proper length. Ren Mai starts 王 西 安 152 . decreasing to seven or ten breaths per minute. This helps in the exchange of carbon dioxide and promotes metabolism in the body. The normal breath frequency of adults is six to twenty times per minute. 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”). After practicing Zhuang skills for a period. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. your breath should be natural and of the proper duration so that it enhances body combat and health. you should focus on increasing the duration and depth of your breath.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. This is a primary sign of beneficial Zhuang practice. Dual practice with Yi (intention) and Qi connects the whole body. When you practise Zhuang skills to a certain level.
then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. In Da Zhou Tian. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. Du Mai starts at the perineum. more gentle. except that the breathing in the former is longer. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. The Qi of Da Zhou Tian originates from the Yong Quan point. even and quiet. reaches the Bai Hui point through Wei Lü Guan. then infusing Qi into the Dantian. the five sense organs internally gathered. The whole process of moving Qi through Ren Mai and Du Mai. the difference being that Da Zhou Tian extends Qi to the lower limbs. For both. all channels extended and unfolded. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. the body should be relaxed. and Yu Zhen Guan. Jia Gu Guan. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. and Yi and Qi should move in the required routes.from the tip of the tongue. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. reaches the perineum through the Dantian and then connects to Du Mai. deeper.
7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. 4.陈 氏 太 极 拳 推 手 技 法 4.15 Fig. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang.15). then bring in the right foot so that both feet are a shoulder-width apart. 王 西 安 Fig. At the same time. 4. then infuse it into the lower Dantian. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. bring in the arms and place both palms in front of the abdomen (Fig.16 154 . close your eyes and inhale. 4. a) Posture 1 • • • Shift your weight gradually to the left leg. Swallow Qi down with saliva and guide it down to the middle Dantian.
b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow.16). Relax the whole body and raise it up slightly to open the joints throughout the body (Fig.17). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. pointing the fingertips upward.18 155 . separate the arms to the sides. swallow Qi and saliva and infuse them into the lower Dantian (Fig. lift both arms upright. Then using the little fingers to guide the energy. Clench both hands into fists and lower them to ear level as the body lowers. palms facing in (Fig. 4. 4. palms facing each other. 4. 4. finally placing them in front of the shoulders.17 Fig. fingertips pointing obliquely down.18). As the body lowers. 4.
陈 氏 太 极 拳 推 手 技 法
c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
陈 氏 太 极 拳 推 手 技 法
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5.1 pracTice fOr The buTTOcks
The requirements for positioning the buttocks in Taijiquan practice are very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the end of spine) in an upright position when practicing, gathering and raising it naturally so that the buttocks do not protrude nor swing too much, otherwise the buttocks will be unable to rise and lower naturally. Taijiquan novices sometimes err on over-gathering or raising the buttocks, which can result in various negative effects. For example, if the buttocks are gathered too far forward, the posture will become unnaturally stiff and not follow the natural straight alignment of the body; in addition, this posture may also impede natural breathing as it blocks smooth circulation of Qi throughout the body and may even destabilize the firmness of the weight of the lower limbs. Gathering or raising buttocks in routine and Tuishou practice must be applied in accordance with each specific practice and not generalized. For example, while relaxing the the joints and muscles in the Lan Zha Yi posture (Lazily Tying One’s Coat), the buttocks should be raised slightly as the waist is lowered so that Qi can descend smoothly into the Dantian. If the buttocks are pushed too far forward, the lowering of the waist is impeded and consequently, Qi cannot cannot descend through the Dantian and separate into two streams to flow through the Yong Quan point through to the legs.
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5.1.2 Application to Sparring: Bei Kao
An example of applying this principle in Tuishou sparring is as follows: if the opponent executes Lü on you, you need to relax, lower your Qi and gather your buttocks before executing the Bei Kao move (Kao with the back). In this move, gathering the buttocks helps to concentrate power drawn from the heels and transported up the legs before it is unleashed at the target. In contrast, raising rather than gathering buttocks at this point will hinder full release of striking power and thwarts any attempt to transform the opponent’s energy. Bei Kao is an opening-closing move, consisting of lightening-quick power exertion and rebound, during which you need to guide Qi upward to explode energy. To do this, you need to roll the chest slightly inward and bend knees a little, then stamp on the ground to generate rebounding power and ascending Qi. The gathering of buttocks at this point is essential so that Qi can descend instantaneously after energy release. Protruding the buttocks will impede Qi flow downwards, resulting in Qi blockage at the chest which affects the stability of a practitioner’s stance and may even be harmful to health. These key points in the above example need to be practised and applied assiduously during routine and Tuishou practice.
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陈 氏 太 极 拳 推 手 技 法
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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王 西 安 161 . womb and so on. After humans evolved to the upright posture and started to walk. and it became difficult for vena blood to flow to heart. In ancient times. are described below: 陈 氏 太 极 拳 推 手 技 法 5. the weight distribution is 3:7. Yuan Dang. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. anus contraction should only be slight and done in a natural way. For example.2. To help you master correct Dang postures in routine and Tuishou practice. Jian Dang and Tang Dang. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. In Taiji practice. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. the left knee and ankle vertically aligned to each other and the ground.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. Doing so over an extended period can have a positive effect in curing hemorrhoids. a short introduction of key Dang movements. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. 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. rectocele.The Anus In the same way that the positioning of Dang is very precise. the positioning of the anus also needs careful attention. womb prolapse and so on. A brief introduction is provided below. advocating contraction of the anus during physical exercise as a remedy. Ding Dang. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. This requires the left leg to be solid with the lower leg standing upright. This realization caused the ancients to suggest that “the ground door should be always closed”.
“closing in opening” and that “Dang should open in a full circle”. If a practitioner is advised to relax. 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. These traditional teaching methods should be changed as implied by the adage. when the right leg moves to the side. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. 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. As for practitioners. This should be corrected at the earliest stages of learning. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. “It is easy to teach but hard to change what is learnt. 王 西 安 162 .2. That is. the body crouches as the right knee moves outward. innate talents. Some perform better than others due to learning abilities. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. the right knee should incline outward. there are many opportunities and responsibilities. and at this moment Dang should open in a circle so that both legs can support all parts of the body.” Indeed. 5. Hence. at the end of the Dan Bian (Single Whip) posture. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. In traditional teaching methods.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. the root of Dang should be relaxed.陈 氏 太 极 拳 推 手 技 法 In this way. For example. energy in the legs is strengthened and the body is well supported. which means there will not be opening-closing power if he or she crouches in the Horse Stance.
and quality and length of practice, rather than due to a teacher’s attention. Some practitioners are happy to help the teacher out and teach others, their intention being to allow the teacher more rest. Students are also happy to learn from co-practitioners as this may help to accelerate learning.
5.2.4 Jian Dang … Sharp Crotch
In Jian Dang position, the Dang area is shaped like an inverted “A”, the bottom tip of the Dang area is tight and not relaxed. In this case, Dang cannot be lowered during routine and Tuishou practice, and Yuan Dang cannot be formed at all. Moreover, the Bow Step is hampered, one’s gait becomes unsteady, and the upper body becomes heavy while the lower body is unrooted, swaying to the right or left, while the feet are also unsteady. This mistake may be tolerated by the old and weak if their aim is just to improve health, but cannot be ignored by younger practitioners who want to improve combat skills. Because with Jian Dang, some get easily unrooted, some find they can’t get clear distribution of weight, some find it so hard to shift the weight because they put exceeded weight onto one leg. If the habit of Jian Dang is allowed to form over a period of time, practitioners will become used to it and feel comfortable in this incorrect stance, which should be avoided. On the contrary, one must learn to identify and cultivate the twin qualities of emptiness-solidity in the legs through the practice of Taiji routines. Novices practicing Dang will inevitably develop aching feet. This is no cause for worry, as these are normal physical indications of body development and they will disappear when you reach a certain level. For example, after a bout of Tuishou sparring, novice practitioners may feel a little ache in the arms and legs, and indeed, the whole body may ache after a little rest. This is because you are not used to the intense exercise and some capillary blood vessels may have been strained. This ache will lessen gradually after extended practise, as the body becomes stronger, blood circulation improves and lung capacity is increased. At this stage, any additional
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muscle ache resulting from further increase in practice will ease off more quickly. Hence, do not be deterred by any aches and apply Yuan Dang when practicing Taiji and Tuishou, so that Jian Dang may be prevented from developing. Without patience, Taiji skills cannot be improved.
5.2.5 Tang Dang
Tang Dang happens when the legs are spread too far apart, out of proportion to the weight distribution required on the legs and the lowered Dang. As a result, the movements of the legs are hampered as they are not able to move forward and back or turn to the sides with natural ease. This situation is also called Ta Dang, meaning collapsing Dang. The Taijiquan routine is a whole body practice, suitable for people of all ages, body constitutions and those engaged in mental and physical work. Typically, practice methods for Taijiquan routines start from large circle movements to smaller ones, then from smaller circles to no-circle movements. However, the opposite is true for Dang practice, which starts with smaller scale movements, growing to larger-scaled practice. This requires Dang to be positioned a little higher in the beginning before becoming lower and wider gradually. As with Ding Dang and Jian Dang, be careful not to form the habit of committing to Tuishou movements that bring a lot of pressure to the knee joints, as Tang Dang not only increases pressure, but may also cause harm. This results in chronically tight muscles which will eventually cause bad blood circulation in the legs. The Tang Dang posture has particular impact on the stimulation of the on the nerves in the knee joint, so hindering the supply and renewal of blood in the leg muscles. Prolonged Tang Dang positioning will result in aching knee joints and a very heavy feeling in the legs. In some large-scale movements, Tang Dang
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may actually be intentionally applied, such as in the Seven Cun Kao movement, that is Kao applied in the Xie Xing or oblique walk where the distance between the ground and shoulder is seven cun (about 23 cm). Yet even in this movement, heavy pressure on the legs last only an instant and the legs can recover quickly, so Tang Dang poses no real issues. However, large-scale movements cannot be applied to the whole practice; hence Tang Dang is considered harmful to health and body combat if applied for extended periods in routine and Tuishou practice. Generally speaking, Dang practice should begin modestly with a slight lowering of the body, gradually growing to bigger movements. Most importantly, it should match the physical conditions of the practitioner and the requirements of body combat so that the practitioner does not incur any injury.
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陈 氏 太 极 拳 推 手 技 法
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Chen sTyle Taiji Tuishou CaTegoRies
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While the combinations of Tuishou moves are infinite. 王 西 安 168 . For example. we will describe how to apply these eight Tuishou techniques in sparring practice. since both the attacking and defensive movements are interrelated and cannot be separated. with attackers changing to defensive roles in an instant and back again without warning.陈 氏 太 极 拳 推 手 技 法 6. In this chapter. the attack-defense stances change dynamically. you can defend using An (pressing). if the opponent attacks using Jian Kao (Kao with shoulder).1 Overview Within the Chen style Taiji routine. practitioners may master its secrets and principles with serious study. if you advance using Ying Men Kao (Kao diagonally to the front). For example. your opponent may respond defensively with Xiong Kao (Kao by chest). Tuishou is commonly divided into eight categories. Indeed. then strike back with Jian Kao.
Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. and any movements can be exerted by intention. i.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Luan Cai Hua (Picking Flower. silk reeling in the shape of a flower) 2. which is regarded as the highest level of Tuishou. while Tuishou) 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 .e. He Bu Tuishou with static footwork.1. Shun Bu Tuishou (Tuishou with movable footwork. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5.6. 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. Dan Wan Hua (Coiling Flower with Single Hand. Da Lü (larger scale movements) 7. where the the practitioners are no longer oblidged to the sequences or fixed routines. Jin San Tui San (both parities advance and then retreat for 3 steps. normally a forward step then a backward step) 6.
Dan Tuishou (Tuishou with single hand) 2. novices should start by learning one set at a time.陈 氏 太 极 拳 推 手 技 法 6. Huo Bu (moving footwork) 3.1. as follows: 1. Zou. Si Yu Shou hand techniques are always used. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. However. Shuang Tuishou (Tuishou with double hands) 3. including: 1. Xuan Wan (rotating wrists) 4. Bing Bu (step touch. Ding Bu (static footwork) 2. There are many categories of footwork techniques. these consist of the Cai. An) is usually applied. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. and not be limited to one or the other. i. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. Bie.e. Lü. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. Duli Bu (standing on a single foot) 8. Cha Bu (inserting steps) 6. During sparring. Qie Zhang (palm chop) In static footwork. Si Zheng Shou (Peng. or Kao hand techniques.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. feet placed together ) 7. Dian Bu (stepping on toe-tips) . Ji.
1 Fig. 6. 6. with the wrist lowered and fingers relaxed. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. When cutting downward. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. the four fingers extended and joined together to form a slightly concave palm (Fig. 6.1). In single practice.6. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig.2.2). The roots of the fingers are relaxed. one arm is extended horizontally sideways.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. In this posture. roll the chest slightly inward and lower the waist and shoulders. you need to place the body in a crouching position. Shuan (bind).2 171 .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. 6. palm facing in.2 TuishOu handwOrk Techniques 6. it is also applied to Gun (roll). with the forearm bent toward the upper arm at an angle of 450. 6.2. The elbow must be dropped. when both players retreat after being mutually warded off.
3). As you rotate the hand downward or outward. 6.3 Fig.2. if the opponent executes Lü on you. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). During sparring. 王 西 安 Fig. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. 6. For example. 6. the little finger is used to guide energy and draw inward toward the thumb. In this instance.4 Xie Tuo Zhan In this technique. the hand is stretched upward to the sides (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.2. The palm posture during this direction change is called Xie Tuo Zhang.陈 氏 太 极 拳 推 手 技 法 6. where the raised hand lies above the middle of the upper arm. one player may guide the other to reel first in the Shun direction.4). Xie Tuo Zhang is also applied in the process of Big Lü. then reverse to the Ni direction when the hands arrive at his or her body. 6. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. 6. when hands are rotating horizontally in a circle. the power lies in the root of the palm.4 172 .
Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). 6. fingers slightly parted (Fig. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. as the hands insert downward. Cha Zhang is widely used in Tuishou.5 173 . This technique is called Diagonally Upward Cha. 6.5). separate them and switch to Cha Zhang.5 Cha Zhang … Slanting Palm In this technique. • In Luan Cai Hua (palms reel in non-predictable angles.2. insert your hand downward and rotate it in the Shun direction. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. for example: • When you rotate both hands in vertical circles. see above). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and gradually press your hands toward the opponent. then lower your shoulders and drop the elbows. see above). the hand is inserted upward or vertically/diagonally downward.6.
and the little finger bending inward. 6.6). while the thumb and the index finger form a “ 八” shape.陈 氏 太 极 拳 推 手 技 法 6. This way. you can rotate your arm with the middle finger. Fig. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation. 6. When you guide your partner via Shun reeling to the front of your chest. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle.6 王 西 安 174 . the ring finger.2. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. and your partner exerts An to your hand.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape.
1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground.7 王 西 安 175 . This knee is turned slightly outward to provide a frame for all parts of the body.3. The other leg bends with the intention to straighten. 6.3 TuishOu fOOTwOrk Techniques 6.6.7). In this posture. the sole fully touching the ground. 6. The toe tips point slightly inward. One knee is bent so that the body is in a half crouch. 陈 氏 太 极 拳 推 手 技 法 Fig. following the principle of ‘closing in opening’. the thigh nearly parallel to the ground. the knee positioned approximately above the tip of the foot (Fig. the Yong Quan point should be empty while the Dang is open with the intention to close. toe tips bent slightly inward. following the principle of ‘straightening in bending’.
3 Qian Dian Bu … Forward Tipping Step In this step.3. straighten the front leg so that the back leg becomes the Bow leg. toes grasping the ground.2 Hou Zuo Bu … Back Seat Step In this posture. 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. 6. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. knee bent slightly over the toe tips. 王 西 安 176 .8 6. big Lü and Luan Cai Hua. the heel touches the ground with the toes pointing up at about 450 (Fig. 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. • This step is always used in Shun step. Position both feet fully on the ground.陈 氏 太 极 拳 推 手 技 法 6. When the weight is completely transferred. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles). 6. if the opponent presses on any part of your body with his or her hands or arms.9). Fig.8).3. It is applied widely in Tuishou. 6.
6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6.10 177 . and Luan Cai Hua For example.10). move your weight back and withdraw the front leg backward by stepping the toe tip back first. if an opponent applies Lü on you.Fig.9 6. followed by the sole then heel (Fig.3.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü. 6.
For example. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. Lü applied through large-scale movements) (Fig.e. Hence the name ‘Falling Step’. 6. 6. 王 西 安 178 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. which now lies close to the ground.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. 6. in the ‘Dragon sweeps ground’ form. and is widely used in forward or backward movements (Fig. 6. This posture is applied to Shun step. When the opponent applies Big Lü on you. 12).12 . Big Lü and Luan Cai Hua. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg.11).
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. For example. with the other fingers slightly turned outward.13 179 . while simultaneously executing Kao on the opponent. where it returns to its original position of circulation. the term ‘reeling’ means to spiral energy. the shoulders guiding the elbows and the waist guiding the shoulders.4.1 Shun Chan … Conforming reeling In Taijiquan. Shun Chan means to spiral energy from the outside to the inside. 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. spirals around the waist and shoulders.e. you can use Shun Chan to gather energy and edge into the opponent’s territory. The principle of Shun Chan is that with the elbows guiding the hands. in Bei Zhe Kao (Lean with back). It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. power rises from the heels up the legs. you draw the opponent inward into your territory. In Silk Reeling technique. 6. enters the bone marrow through gaps in the scapula and travels down the arms. In addition.6. when the opponent executes Lü on you. This move is called Shun Ji Shun Fa (i. exerting Ji and Na in confronting reelings).4 hand Techniques in TuishOu reeling 6.
shoulders and elbows. 6. Here. 6. the thumb gathers inward and guides the little finger.陈 氏 太 极 拳 推 手 技 法 6. 6. roll your chest slightly inward and lower your waist. In Ni Chan.14 Fig.15 180 . Note: to apply this technique precisely.4. the shoulders to urge on the elbows and the elbows guiding the hands. Ni Chan is used to open outward.4. by using the waist to urge the shoulder. 王 西 安 Fig. 6.3 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. concentrate you energy in the wrist. In horizontal circle rotations with single hand.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’.15). 6. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent. while the other fingers turn out slightly (Fig. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside.14). Zuo Wan (descending wrist) technique is adopted (Fig.
your right hand rotates at 90o towards the right side of body in Ni reeling.4. by holding on to the opponent by the hand. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. Lie. Diao Wan is also widely applied in response to a Lü attack.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. and adhere to him or her. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6.16 181 . to provide a closing and opposing force with the three fingers (Fig. At this point. while trying to ‘listen’. Lü. 6.16). the Shun hand changes to Diao Shou (Hooked Hand). The wrist is drawn inward to form a Diao Wan (Hooked Wrist). in case of single hand rotation in the horizontal circle. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. Cai. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. Zhou. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). which is formed by pointing the little. Ji. Kao). Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent).6. • For example.
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6.4.5 Shun Chan Yang Zhang Raised palm in conforming reeling
This can be divided into inward Yang (palm rising) and outward Yang (palm rising), which are always used in the four front oriented techniques (called ‘Si Zheng Shou’ in Chinese, i.e. Peng, Lü, Ji, An) and four side oriented techniques (called ‘Si Yu Shou’ in Chinese, i.e. Cai, Lie, Zhou, Kao). First, if the partner executes Lü on your right arm, you insert loosely in Ni reeling, and then advance and press inwards by Shun reeling, raising the hand while advancing. It is called Yi Yang Zhang (palm raised inward), because at this time the palm is facing inward and upward. Second, if you guide the partner and withdraw your step, the partner will likely expose some weak point after you raise your palm in Ni reeling. To lift the partner in this ‘openning’ provides preparation for your ‘closing’, i.e. to capture your partner in Shun reeling quickly. At this time your palm is facing upper outward, so it is called Wai Yang Zhang (palm raised outward) Internally, whether in outward Yang or inward Yang, you should coordinate whole body movements coherently. Yang is a kind of opening, so at this time the body should close, so as to support each other and not be separated. Practitioners must pay attention to these principles in practice.
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6.5 TuishOu sTeps 6.5.1 Shang Bu … Forward Step
Shang Bu is a forward step with one foot, and begins with both a step forward and the bending of the knees so that the body is slightly crouched, five toes grasping the ground (Fig. 6.18). This preparatory posture resembles a cat ready to pounce on a rat, and allows you to step forward lightly and flexibly. Like a cat, you should prepare first by gathering energy, then extending the foot while listening and feeling intently. Step first with the heel then uncurling the rest of the foot flat on the ground. This procedure will limit your vulnerability.
6.5.2 Tui Bu … Retreating Step
The Tui step consists of moving one leg backward in an arc, and it can consist of more than one step (Fig. 6.19). Key to the Tui Bu is the bending of the weight-bearing knee. How much this knee bends and hence how much your body squats depends on the size of the Tui step. The bigger your retreating step, the lower you will have to bend your knee. However, it also depends on your body condition. Whatever the case, the Tui step has to be done flexibly and lightly and not with stiffness.
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Fig. 6.18 Fig. 6.19
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6.5.3 Gen Bu … Following Step
The Gen Bu can also be called the Dian (adding) Step (Fig. 6.20). This step is used in the situation where one normal step is too small to reach the target while two steps too excessive. In this instance, one is said to Gen (follow) or Dian (add) a small step after a normal step to reach the target distance. Gen is applied to the four front orientated techniques, Si Zheng Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua. The main purpose of Gen Bu is to get closer to the opponent to decrease their chances of escape. However, note that the Gen step is completed without the opponent’s awareness, a technique called Die Fa (a general concept of body combat techniques, referring to the comprehensive techniques and strategies to defeat the opponents, on the basis of quality ‘listening’ to their speed, weight and power in Tuishou). The importance the Gen step in Tuishou is reflected in the saying, “You cannot reach the depth and secrets of Tuishou without understanding Die Fa.”
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solo pRaCTiCe in Tuishou
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Solo Tuishou practice consists of individual practices useful for improving flexibility, agility and responsiveness to combat. Typically, body movements are initially executed at a high stance, gradually lowering to mid then lower stances. However, practitioners should practise according to their body condition. Likewise, beginners should start with practicing at slow speed, gradually working up to faster then very swift movements. At each stage, slow movements should not become blocked, fast movements not energy-losing, and very fast movements not chaotic. In other words, you should not lose energy in slow practice, nor be obstructed in fast movements. On the contrary, you should keep the consistency, coherence and Liu He (the Closing and Consistency of six parts of the body), and avoid any disorder and energy loss.When one part of body moves, all other parts follow and coordinate. In solo Tuishou, you should act as though following your partner neatly, and always keep attention concentrated, shoulder blades relaxed, and movements flexible. Execute solo practice as if you were actually fighting with a partner, with the fight so vivid that it brings you more interest in your practice. As a result, after thorough sole practice, the whole body moves flexibly, neatly and smoothly, and you are able to do well in actual paired Tuishou.
王 西 安
eyes looking forward (Fig. Step the right foot forward. Your step should be light. straightening the neck and lifting the top of the head.1). 7. Continue relaxing the crotch. empty the Yong Quan point. the left toes grasping the ground.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7.2.e. Shift your weight slowly to the left leg.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position.2). Relax the arms and hang them at the sides.2. As your weight shifts. 王 西 安 187 .3). heel first with toes pointed up.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape.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. precise and full of intention of listening. relax the crotch and lift the right knee.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. 7. 陈 氏 太 极 拳 推 手 技 法 7. Maintain the vertical axis. so as to avoid empty stepping (i. then slowly roll down the rest of the foot to the ground. 7. 7. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. in preparation for the right leg step forward lightly. stepping without thought) (Fig. palms lightly touching the sides of the legs.2.
7.1 Fig. the left elbow and the right hand should move coherently in collaboration with each other. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders.2 Fig. As the weight shifts. thumb behind the fingers (Fig. 7. 7.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step.陈 氏 太 极 拳 推 手 技 法 Fig. . relax the left arm so that the left hand hangs down.3 7. Complete the movement by raising the right fingers to form the Li (erect) palm.4). While the right arm moves. 王 西 安 188 Note: in later movements.2. 7. right elbow and wrist.
7. As you reel.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. 王 西 安 189 .4 Fig. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.2.5).5 7. 7. 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.
the elbow in a slightly warding off (Peng) position in coordination with the little finger. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs. At this point. 7. The other fingers reel outwards in coordination with the elbow (Fig.6 Fig. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. 7.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. right palm facing down and wrist bending 450 inward using the little finger as a guide. When the right arm moves downward.2. 7.陈 氏 太 极 拳 推 手 技 法 Fig.6). 7. Step the right foot either flatly on the ground or with toe tips pointing up.7 7. the weight shifts completely to the left. The right forearm now moves transversely in front of the abdomen. .7).
Then place the palm downward (Fig. three Shun reelings and two Ni reelings. 7. Ni. 7. Ni. While the right arm reels. 7.9 Part 9 • • Now using Ni reeling. draw the chest slightly inward and relax the right side of the crotch. 7.2.2. Shun. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. The 3600 rotation of the arm follows this sequence of changes: Shun. shift your weight to the right.9). that is. As the arm changes to Ni reeling. a 900 arc to the right side of body. Rotate the waist to the right.2. pointing the right knee slightly outward and moving it in a helix.8). using it as a pivot to rotate the right shoulder rightward. followed by the hand. power is most concentrated and exerted on the external side of the thumb and index finger. Use the rightward rotation of the waist and torso to steer and guide the partner’s power into your territory towards your right side so you can eliminate it.7 Part 7 • • • • Using the little finger to guide the energy. bend the knees slightly to place the body in a squatting position.7. extend the right hand slightly forward. Return the bent arm and the bow leg to their original positions (Fig. changing into Ni reeling. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. until it reaches the front of the right ribs. 王 西 安 191 . Shun. At this point.
Relax the waist and shoulders. Notes In these horizontal-circle rotations. The movement of every part of the body should be continuous and synchronised – when the upper body moves. all parts moving together collectively. and ensure your body weight moves back and forth in synch with the body movements.陈 氏 太 极 拳 推 手 技 法 Fig. that is. Practice alternating rotations with both arms so that there is a feeling of balance. that is. 7. The middle body moves in coordination with the upper and lower bodies. rotate the wrist. the upper body guides the lower body’s movement. the lower body follows.9 • The left arm rotates from the left. practice on the left by switching to the left leg and the left hand. the arms rotate with the waist and the axis while the hand guides the energy. 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. Ni. three Ni reelings and two Shun reelings. Ni. the reeling sequence being Ni. Shun. Shun. 王 西 安 192 . 7. When you feel tired practicing on the right.8 Fig.
Next. palm slanting upward with intention to gently guide and draw in. • • • • • Keep your body weight on the left leg and step forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. then turn the body to the left and raise the right hand in Shun reeling. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. The whole movement is mainly guided by the rotating waist and relaxed shoulders. switch to Ni reeling.12). relax the left side of the crotch. heel first with the right foot.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. drawing an arc of about 90o to the left. with the rest of the foot gradually fully touching the ground. It only requires vertial hand revolution and very small shifts in weight. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice.10). with eyes looking forward (Fig. Bend the left leg so that you squat slightly.11).7. 7. Focus the eyes on the right palm (Fig. then switching to 90o Shun reeling. 7. Finally. lower your Qi. 7. drawing an arc of about 180o which goes downward and then up to the right. Next. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig.
Vertical arm rotation is guided by spiraling movements of the waist and back. Finally.陈 氏 太 极 拳 推 手 技 法 Fig.11 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. then reel in Shun. 7.10 Fig. 7. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. 7. reel in Ni to the right at 90o. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward. 王 西 安 194 .12 • • When rotating in the opposite direction. Practice rotating both arms in turn.
Also. 7. then raise the right foot. 7. otherwise the shape of the posture will be lost (Fig. eyes facing the front (Fig. the forward shift of the body should stop once the palms reach their natural end position. in preparation for action (Fig. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. toes relaxed and pointing downward (Fig. Shift your weight gradually to the left leg. shift your the weight gradually forward. Raise the forearms 90o upward.14 Fig. palms facing to each other.7. pushing both palms forward (Tui Palm) at the same time.16). This body posture is now one of holding and collecting. Bend the left knee to put the body in a crouching stance. Note: when applying Tui Palm.13).14).4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed.15 195 . 7.15). the palms should move forward at an inclined angle (see picture). 7. Relax the left crotch and while focussing on the right crotch.13 Fig. 7.
16 Fig. palms vertical. 7. 7. 王 西 安 196 . then pushing both hands forward.陈 氏 太 极 拳 推 手 技 法 Fig.15) by drawing a circle by the sides of the body. imagining the hands seizing the opponent’s wrists by Diao (Fig.17). 7. then lowering to the front of the abdomen. 7. Practice this cycle.17 • • • Next. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. this time relaxing the right crotch and focussing on the left crotch. shift your weight backward and separate both hands to the sides of the body. Repeat the Tui Palm movement again.
7. Bend the left knee to put the body in a crouching stance. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.7. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua.19). Grasp the ground lightly with the toes and face the eyes forward (Fig. Shift your weight gradually to the left leg. This body posture is now one of holding and collecting. draw the chest inward. toes relaxed and pointing downward (see Fig.19 197 .18 Fig.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. 7. 7.18). drop the elbows and sink the Qi downward. lower the waist and shoulders. stated as follows: Stand at attention with the body upright and relaxed. 7. palms facing to each other. 7.14). While raising the hands. then raise the right foot. Raise the forearms 90o upward. eyes facing the front. in preparation for action (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
stopping at shoulder level (Fig. As both hands separate upwards. . At the same time. cross both hands slowly in Shun reeling.20). palms facing forward. 7. During this process. both palms facing inward. Then. 7.陈 氏 太 极 拳 推 手 技 法 Fig.20 Fig. continue to draw your chest inward. step the left foot on the ground and shift your weight forward (Fig. after another small Ni reeling upward. 7. push the crossed palms over the head in Ni reeling. Extend both hands forward in an ‘offering’ stance. finish the weight shift to your right leg. 7. extending the hands forward so that the left hand crosses over the inner side of the right wrist. with the intention of supporting something upward. the palms descend to the sides. Next. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands.21 • • • • 王 西 安 198 • Next.21).
Note: as both hands separate outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . while weight totally switches to the left. palms cross together. Closing form: palms continue to Shun reel. finger-tips pointing down. only that palms in the latter move horizontally. You will feel the power after long practice. palms facing each other. • • Now the left hand reels in Ni while the right hand reels in Shun. shoulders. forearm. that is. With body gathering. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. the chest. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. upper arm. then hands. strike out in succession to the sides so that the arms become a pulled bow. Both hands then draw a downward arc to fall to each side of the abdomen. so as to start a new cycle.
23 200 . • As the weight shifts. and An. eyes. palm facing in. Ji. palm facing forward. Note that one should practice with intention rather than by force. heel first. with the foot gradually stepping fully on the ground. body and steps. The key points are the same as those of solo Tuishou. • Stand at attention.陈 氏 太 极 拳 推 手 技 法 7. 王 西 安 Fig.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng.22 Fig. When practicing. • Shift your weight to the left leg and lift the right foot to step forward. act as if sparring with a partner. thumb pointing down and the little finger pointing upward. Coordinate the movements of your hands. Open every body part to make your rotations natural and flexible. Extend the left hand transversely and place it on the middle of the right upper arm. Lü. 7. extend the right hand diagonally forward to the right. 7. then bend it inward 45o.
Move the right hand in Shun reeling. 7. Meanwhile. At the same time. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. and the eyes look forward to the right (Fig. lower the right shoulder and drop the right elbow. As the left hand rises. Shift your weight to the left slightly then to right. and so continue to Peng upward before executing Lü. 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. shift your weight left and focus your eyes on the front of the right hand (Fig. 7. the wrist bent slightly inward and palm facing inward. Relax the right crotch and turn the body to the right. raise both hands in Ni reeling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the left hand ahead of the right. relax the left crotch.• • • • • The left arm intends to Peng outward. 7.24). as the left hand moves inward in Ni reelings.24 Fig. the arm opens like a circle.22). Next. During this process.23).25 201 . focus your intention on meeting and holding the opponent’s hand. 7. 7.
visualize your left hand pressing down on the hand of the opponent. 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. 7. You will also need to use your left shoulder to push and use the right hand to help press forward. As this happens. eyes looking forward. Note: In this movement. 7. pushing it outward. alternating left and right sides. The edges of the hands become power-exerting points.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.22). the right hand executes Peng. The right hand reels in Ni direction also with the intention to push outward (Fig. At this point. If the left leg is in the front. Repeat the process. and the left hand helps the right to execute Lü.25). shift your weight forward to the right leg. an instant. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. This is the same as the starting posture of Da Shou posture.
27 203 . sink the shoulder downward and drop the elbows. As the weight moves forward. moving backward uses Peng and Lü hand movements.7. 7. Lü. Ji and An. 7. Step the left foot on the ground with the inner side of the foot touching the ground. Face the outer hand edges. In practice. These actions drive two the hands forward.26 Fig. • • • • Step forward with the right foot then shift your weight forward. draw the chest inward. Hand movements consist of four Zheng hands: Peng. outward. raise both hands to attack by pushing them to the front right of the body.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. moving forward is combined with Ji and An hand movements. where the pushing power is exerted. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. Lower the waist. Keep the eyes looking to the front right (Fig.26).
7.28). 7. rotate the right hand slightly downward in Ni reeling. turning the right elbow out and upward. Push the shoulder forward. tiptoe first. At the same time. withdraw the left hand gradually and place it on the middle of the right upper arm. thumb pointing down and palm facing down. As the arm moves. Eyes look to the front right (Fig.27). The body moves forward following the shift in weight. Relax the left crotch after pushing and shift the weight to the left. with the intention to close before opening.29 • • • • • 王 西 安 204 • • • After the pushing attack. Bend the left leg to squat further and extend the right foot forward. At the same time.29). shift your weight to the left and lift the right foot.28 Fig. followed by the arm and the hand (Fig. Raise the right hand in Shun reeling. 7. and in preparation for moving. 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. 7. toes pointing down (Fig. As this happens. Note that Qi should not be allowed to float upward.陈 氏 太 极 拳 推 手 技 法 Fig. . 7.
the upper and lower body form a balanced block of strength with the waist as the boundary. 7. Visualize sending the opponent’s right hand out to the left side of your body. then shift your weight to the right. gradually squat the body. raise the left hand in a spiral to form a Lü movement with the right hand.31). 7.30). The front push of the right hand provides an instant defense. 7. then in Shun direction downward to the left. Eyes look to the front left (Fig. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. As the weight shifts. raise the right hand quickly to push forward together with the left hand toward the left side of the body. Both hands are about 33 cm apart (Fig. 7.33). While the right hand switches to Lü. Then the right hand switches to Lü. Raise the right foot and take a step backwards to the right. Eyes look to the front left (Fig. thumb pointing down and palm facing forward. Eyes look to the left (Fig. Next.30 Fig.31 • • • • • • Relax the left crotch and shift your weight to the left. Reel the left hand first in Ni direction.Fig.32). then draw a circle downward. The outer edges of the hands are power-exerting points. Next. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . 7.which takes place in an instant. 7.
until the left hand reaches the middle line of the body.35 206 .33 • • • Both hands execute Lü from left to right following the body. 王 西 安 Fig. 7.34).32 Fig. Eyes look to the front left (Fig. 7. 7. the right arm then bends to 450 inward. As the weight shifts. extend the right hand to the right front of the body following the right foot. Raise the body gradually and slowly shift your weight to the left leg.34 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 7. take a step forward with the right foot. At the same time. 7.
7.36). 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. 7. 7.Fig.35).37 • • Simultaneously. Eyes look to the front right (Fig.36 Fig. 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. place the left hand on the right upper arm. Then shift your weight slightly rightward.39 207 . thumb pointing down. Eyes look to the front right (Fig. 7.
then move it out to the right. 7.37). At the same time. Relax the right crotch and shift your weight to the right. then execute Lü movement with both hands to the left side of the body until the right hand moves in front of the right breast. 7.39).陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. execute Lü downward with the left hand. Eyes look to the front right (Fig. Next. Eyes look to the right (Fig. visualizing that you are pushing the opponent’s hand outward to the right.38). 7. 王 西 安 208 . As soon as both arms finish pressing forward. move the right hand in front of the left hand quickly. Start a new cycle (Fig. raise the right hand quickly and exert An forward with power.
Kao with large-scaled body movements. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. One is Da Pu Bu. Zhou. a major weakness with which you cannot even hope to attack the opponent.7. The other picture demonstrates the big Frontward Bow Step. The circulating of steps in Da Lü when practicing Peng. It is not easy to practice Cai.41 209 . literally meaning “big falling step”. the whole body will become stiff when you try to squat down in the big body movements. the only difference being that the extent of the steps in Da Lü is bigger. and Kao. Bie Zou. In this chapter. then the fives methods of solo Tuishou practice. whereby Player B executes Lü on Player A. Lie. Lü Ji and An. 7.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. and Kao. Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. As such.40 Fig. If not. The other movements are the same as the movements in Shun Step (forward or backward step). 7. It uses the combat techniques of the four hand techniques in corner directions – Cai. Bie. we will only refer to two main Da Lü postures as shown in the pictures which follow. Zou. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. beginners should first practise the routines. Ji and An is the same to those in Shun Step (forward or backwards Step). Furthermore.
Ji. The body movement and gait should be neat and swift. and also uses the Si Zheng Shou. you should pay attention to the following points. In the Luan Cai Hua Tuishou practice. precise rotation. and An. 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. Lü.42. and flexible. Luan Cai Hua is also built on the foundation of Peng. 7.42 210 . You need to rotate neatly when executing a step forward as the partner changes his or her direction. 王 西 安 Fig.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.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.
In this technique. getting close to their upper body while causing them to raise their lower body or slant it. and entice the partner to advance and show his or her weak points. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. You should practice listening repeatedly. Lü. Do not just practice at fast speeds or you will lose your energy or get stiff. Your movements should be quick but not chaotic. you feel the partner’s energy as you rotate. the steps are small but the speed is fast. the only difference being in the stances of the body. It is not easy to apply Die Fa. light but not empty and floating. When you apply Luan Cai Hua in Tuishou sparring. heavy but not stiff. When circulating the four Zheng hand techniques (Peng. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . Ji. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. looking for the attacking opportunity. and thus impede any progress in Tuishou. An). If you are able to put the partner in a passive position you can fullfil your intention without being noticed.
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 .
Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. Pair practice Tuishou improves combat skills. Lian (connecting) and finally Sui (following). whereby your actions should be precise. pair practice becomes beautiful to watch. then pair Tuishou may be described as “acting as if there is no partner although you have one”. If possible. Faster progress may be made if your partner is proficient in Taiji.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. Nian (sticking). gathering speed in the later stages.陈 氏 太 极 拳 推 手 技 法 8. development should follow the stages of San Shou to Zhan (coherence). An introduction to Tuishou pair practices has been provided in the following pages. 王 西 安 214 . like a flowing river: smooth. the practice stance should start high. lowering to mid-height then low stance. Lastly. In addition. flexible and rapid. agile. pair practice should start slowly. Pair Tuishou embodies the essence of Taiji Tuishou. moving as the partner moves. similarly. so you must strive to concentrate. I hope that the reader will use this to practice diligently and master the key points. Like solo practice. If both partners have Taiji proficiency. flexible and without weaknesses. try to choose a partner of similar level for pair practice. movements in pair practice should start simply before gaining in complexity. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”.
gradually forming a front Bow Step. Their bodies are upright. These may be shortened to ‘A’ and ‘B’. 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. 陈 氏 太 极 拳 推 手 技 法 Fig. 8.1 Both players take a step forward with their right feet. toes pointing slightly outward to form a 八 shape. 王 西 安 215 . an arms length from each other so that their fists touch when arms are outstretched.8. arms hanging relaxed by the sides. The distance between both right feet should be about 10 cm.1 Posture 1 Both players stand at attention facing each other. 8.2.
Fig. A’s weight shifts backward.2. Both players watch their hands throughout this step.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. the left hand can also be placed naturally along side the body. using the middle line of the nose as the boundary. corresponding with the rotation of the waist. B’s weight continues to move forward to form a single-hand An (pushing) power. with the middle fingers at nose level.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. As both players draw this arc. The back of the palms touch each other.2 8. 8. . and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. eyes focussed on the right hands. both players raise their right palm and extend it forward. and his body crouches slightly to form a closing power. The right hand extends forward with the left hand akimbo. Alternatively.
3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. 8.Fig.2. then she guides A’s hand to the front of his abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3 8. B shifts her weight gradually backward while her hand draws an arc following Player A. 8. Repeat this cycle. then Ni reels 90o to the front of Player B’s abdomen.4 217 . At the same time.
Both players then rise.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).5 8.3. Player A guides Player B to move first in Shun reeling. .3.陈 氏 太 极 拳 推 手 技 法 8.3 single-hand verTical circle wan hua in pair pracTice 8. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. Fig. 8. both hands perpendicular to each other and eyes looking forward.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation. then then draws a 90o arc to the left. the only difference being that here the Da Shou (meet partner with hand) position is higher.
During the above process. when A draws an arc to the right side. 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. For example.3.6 8. guiding Player B to Ni reel 900 to his right side. B always adheres to A. turning to the right (B’s left side).7 219 . 8. Partner B relaxes the left crotch.3 Posture 3 Player A relaxes his right crotch and turns his body to the right.Fig. with eyes looking at the same direction.
1 Posture 1 Both players stand at attention facing each other. placing them outside A’s hands.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. Both right feet start to uncurl to the ground. While waiting. 8. 王 西 安 Fig. Now both players wait in a defensive mode. toes turned up (optional). Then Player B extends her hands forward. with aim to form a front Bow Step. lower the shoulders and drop the elbows.陈 氏 太 极 拳 推 手 技 法 8. eyes looking forward. Player A raises two hands in front of his chest.4. they lower their waists. Both players step forward simultaneously with their right foot.8 220 . ready to move and attack if hands touch. having first shifted their weight onto the left leg. draw their chests inward and gather their ribs. heel first.
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. B’s little fingers “stick” to A throughout the process. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. In other words. 陈 氏 太 极 拳 推 手 技 法 Fig. her hands reel in Shun.9 王 西 安 221 . Here. He stops pushing when his hands are 20 cm away from Player B’s chest. As Player A pushes his hands forward. 8. A’s weight shift to the right foot has been fully completed.8.4. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks.
Fig. 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. While A draws arcs.4 Posture 4 Player A switches to Shun reeling and draws an arc inward.10 8. 8. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. He shifts his weight backward.陈 氏 太 极 拳 推 手 技 法 8. 王 西 安 222 . using the outer edges of his palms. B moves her weight forward to form a Bow Step. Then both players return to the original position.4. While Player A separates.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. She relaxes her chest as her hands separate. then separates Player B’s hands to the sides of her body at shoulderlevel.4.
8.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .Fig.
all eyes look forward. 8. B has been shifting her weight to the left.5. Now. A’s weight is all at the right foot.陈 氏 太 极 拳 推 手 技 法 8. the weight for both parties starts to shift to the right.12 王 西 安 224 8.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward.5.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8.1 Posture 1 Player A and B stand facing each other. with the inner sides of both feet facing each other and 10 cm apart. Both players extend and raise their hands in front of their bodies with Player B’s hands placed on the outer edges of Partner A’s hands. Now. . The two parties’ eyes always follow their movements. and separate hands to the sides of the body at shoulder level. Fig. then step their right feet forward simultaneously. guiding Partner B to raise her hands. The positions of all hands are higher than the eyes. draw a vertical circle outward.
she shifts her weight forward to form a front Bow Step. his little fingers slightly catching Player B’s wrists.13 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.5. 8. while he shifts his weight backward. Both players’ eyes face forward. While Player B rotates her arms downward following Player A.3 Posture 3 Player A switches to Shun reeling.Fig. 8.14 225 . Player A draws outwards while Partner B draws inwards. and draw arcs to the lower abdomen.
王 西 安 226 . Player B follows Player A closely and feels his change. the body squats to prepare for openning. Repeat this cycle. Then Player A returns to the original position by Ni reeling and separating his arms outward.陈 氏 太 极 拳 推 手 技 法 8. whether Player A separates B or vice versa.4 Posture 4 Player A continues Shun reeling. his hands crossing before the chest with both palms facing in. Both players face forward. Both players can practice this in turn. and continues to move her weight forward.5. Note: The steps are the same.
and then extend their right hands forward so they cross each other.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. with the inner sides of both feet facing each other and 10 cm apart. yet start to shift to the right. 陈 氏 太 极 拳 推 手 技 法 Fig. Now.8. 8. then step their right feet forward simultaneously. the weight for both parties are both in the left. eyes looking forward. Player A and B stand facing each other. Both players then shift a little more weight to the right.15 王 西 安 227 . backs of the hands touching.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands.6.
陈 氏 太 极 拳 推 手 技 法 8. While the right arm turns. Fig. then extends forward to press against A’s left forearm.6.2 Posture 2 Player A shifts his weight forward. 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. Player B places her left hand on the right upper arm of Player A as he moves. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. 8. During this process. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. then turns his right hand left in Shun reeling following the turn of his body. gradually switching from Peng (ward off ) to Lü leftward. he places his left hand on the middle of the right upper arm. . Her right hand presses Player A’s right hand slightly downward. both of B’s arms form an An (Pushing) power.6. In this way. At the same time.16 8.
8.Fig.18 229 . Player A executes Lü on B’s hand and presses it downward. In response. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. Player B switches from An (push) to Peng (ward off ). shifting his weight forward to add more pressure.4 Posture 4 Player B executes Ji (press) on Player A. and executes Lü (roll back) again. In response.17 8. Repeat this cycle. Then Player B wards off Player A’s left hand upward.6. 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Partner A withdraws his pressing hand and places it on his own right upper arm. thus returning to the original position.
then places his left hand on the middle of his right upper arm. Player A steps his right foot forward to form a front Bow Step. bending it 450 inward. Player A raises his right arm as his right leg moves.19 230 . Player B’s right hand crosses the outside of A’s right hand. Both players look at each other from the side. palm facing outward. placing it on the outside of A’s right leg. and places her left hand on the middle of A’s right upper arm. so that both knees touch (A’s inner knee and B’s outer knee). 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 8.1 Posture 1 Both players stand at attention.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. A’s left hand then crosses with B’s left hand.7. Player B steps her right foot forward at the same time. 8.
he lowers his left shoulder and left elbow. This switch from Peng to Lü happens in an instant. raises his left hand. 陈 氏 太 极 拳 推 手 技 法 Fig. Both players look to the front. he places his right hand on the middle of B’s left upper arm. 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.2 Posture 2 Player A then relaxes his right crotch.3 Posture 3 Player A relaxes his left crotch first. Player B continues to move her weight forward when Player A applies Lü. executing Lü (roll back) with his right hand. 8. Simultaneously. shifts his weight slightly to the right.7. and then wards off Player B’s left hand upwards. turns his body to the right. and switches both hands to double-hand Shun reeling to ward off outward gradually. Player B shifts her weight forward to double her pressing power. At the same time. 王 西 安 231 .7. As Player A’s body turns right.8. and moves his weight leftward.20 8. Both players look to the front and gather themselves to prepare for futher movements.
22 232 . 8. 王 西 安 Fig. forming an An force. with the aim of getting her to fall to his right side. At the same time. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand.21 8.7. When Player A presses downward. then pushes her left hand rightward. he presses Player B’s left hand downward to the front of her lower abdomen. A then extends his left hand up and forward and presses the middle of Partner B’s right hand.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. 8.陈 氏 太 极 拳 推 手 技 法 Fig. with the coordination of his right hand.
Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages.23 8. then her foot gradually steps on the ground fully. 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.7.8. At the same time. 8.6 Posture 6 Player A shifts his weight back to the left leg after pushing. A’s upper and lower body move as one. his right hand switches to Ni reeling to force Player B to step backward.7. 王 西 安 233 . At the same time. tiptoe first. Player A moves his weight first to the left and lifts his right foot quickly to step forward. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. As Player B executes Lü. In this move.5 Posture 5 Player B’s left foot steps on the ground. 陈 氏 太 极 拳 推 手 技 法 Fig. her right crotch relaxes and she shifts her weight to the right.
陈 氏 太 极 拳 推 手 技 法 At the same time. Player B wards off slowly outwards with both hands in Shun reeling.24 8. Both players look diagonally to the front. Player B relaxes her left crotch. B steps forward in synch with A’s guiding hand. Fig. palm out. . then takes a step forward with her right foot. and steps within A’s left leg so that their two knees connect. to form Ji (press) power with her right arm. turns his body slightly left and shifts his weight slightly leftward. B also places her left hand on the middle of her right upper arm. In response. shifts her weight leftward. Simultaneously. then pushes Player B’s right hand first down then left using the pressing power of his left hand.7 Posture 7 王 西 安 234 Player A relaxes his left crotch.7. so as to form Peng and Lü with both of his hands. 8. Both players look to the side at each other. Player A places his left hand on B’s right upper arm. shifting her weight gradually rightward. While this happens.
Fig. At the same time. Simultaneously. B also places her right hand on the middle of A’s right upper arm. 8. then switches her left hand instantly from Peng to Lü. then raises her left hand in an upward Peng on A’s left hand.25 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.7.26 235 .8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. 8. Player B lowers her left shoulder and left elbow.
Player A continues to shift his weight forward.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. she presses Player A’s left hand first down to the front of his lower abdomen. His right hand then comes into contact with B’s right hand. both A’s arms form an outward Peng power. then quickly forms a pushing power towards B. 王 西 安 Fig. then withdraws his right hand to place it on the middle of his left upper arm.27 236 . Both players look diagonally to the front. Both players look to the sides.7. then raising his left hand upward onto B’s right upper arm to warding off (Peng). she presses forward on the middle of A’s right lower arm. In this instance. A responds first by flowing downward. then to her left. Then with her left hand. Both B’s hands work together to form an upward pressure pose.陈 氏 太 极 拳 推 手 技 法 As this happens. As Player B pushes A’s left hand downward. At the same time. 8. 8.
relaxes his left crotch. 8. He moves in Lü until his left hand reaches the mid-line of his body. Both players should defend and stick to defend their own territory. 王 西 安 237 . leading to increased exposure to attacks. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. following A’s Lü power. 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. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest.7. In response to A’s Lü.10 Posture 10 Both players keep moving and rotating. 陈 氏 太 极 拳 推 手 技 法 Fig.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. taking care not to go beyond their territory as this would mean that the transferring and changing of movements would not be as quick and flexible. Player A steps his left foot on the ground. Player B shifts her weight first to the left.8.
At the same time. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. 8. her right hand changes to Ni reeling to force Player A to step back. Ji and An.陈 氏 太 极 拳 推 手 技 法 8. tiptoe first.11 Posture 11 After pushing forward. shifts his weight leftward. Lü.7. both players return to their original positions. Player B shifts her weight backward to her left leg. and 8.27. her two hands forming a Lü posture. one full cycle consists of one step forward and one step backward. 8. B places her left hand on the middle of A’s right upper arm.28.26. Finally. and are ready to start a new cycle. Both their knees connect. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. to form a Ji power with his right arm. At the same time. A relaxes his left crotch. Simultaneously. You may have found that. As B shifts her weight backward. foot gradually steps fully on the ground.25. Both playesr look diagonally to the front. The rotating methods are the same as those on Figures 8. for both of the two players. 王 西 安 238 . Player A places his left hand on the middle of his right upper arm. palm out. as well as an accomplishment of one cycle of Peng.
In this low body movement. 8. which is Cai. and is based on Shun Bu Tuishou. This technique consists of larger scale body movement. 陈 氏 太 极 拳 推 手 技 法 Fig. you should combine Si Zheng Shou practice with Si Yu Shou.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.29 王 西 安 239 . Zhou and Kao. which is aimed at reinforcing your lower body stance and leg power in this technique.8. Bie. 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. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground.
This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. Gun Shuan is an extension of Da Sao. depending on the circumstances. If you choose not to attack under some circumstances. try to feel the Gongfu level gap between you and your opponent by listening. With this method.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. so as to transform the opponent’s power. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). reel them in Shun and Ni directions. use your elbow or Kao (shoulder strike) to attack when you find a weak point. the opponent cannot discern your target. 王 西 安 240 . Only this way. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). In Da Sao. Bi Ya (push and press) and so on. up and down. Sao means to sweep or clear away. push and press against the opponent to force them into a defensive mode. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). Gun Shuan (roll and seize).陈 氏 太 极 拳 推 手 技 法 8. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. nor the location of your body weight. can you win consistently. During combat. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. left and right. From this position. Instead of sweeping the arms horizontally. or power direction.
32 Fig. 8. Combine the power of both your hands so that they become one indivisible power. if the opponent retreats one step. flexible. 8.30 陈 氏 太 极 拳 推 手 技 法 Fig. there are no restrictions in the application during practical body combat. direction and angle of changes. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). 8. Your footwork should be based on the speed. For example. Actually. Your Dian Bu should be light.31 王 西 安 241 . transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. Fig.Your footwork should be coordinated with your handwork. Apply Ti (lift) and Long (holding close) unpredictably and precisely. agile and swift. These are the main methods and purpose of Luan Cai Hua pair practice. coordinated with Shang Long Xia Ti. which you think harmful to your opponent. This is an example of the Die Fa. you can advance two or three steps to gain a territorial advantage.
the philosophy of Taiji attempts to explain the workings of the universe. opposing and complementary.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. Yang. of two fundamental forces: Yin and Yang. that is. According to this philosophy. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. one of the pre-eminent representatives of Yang Taiji family. our world and the human body through the interactions. we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. Earth or Human realms. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. Taiji Philosophy is most easily expressed and understood through the use of body language. much of the theory in this book is based on the guidelines written by Yang Chengfu. Sun and Wu Styles. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. At its foundation. culminating in the modern-day Chen. For this reason. . While the Taiji form has undergone many changes through the ages. through Taiji forms and postures.
com . A work of intense scholarship which took over fourteen years to complete.CHEN XIN The illustrated Canon of Chen Family Taijiquan “The Illustrated Canon of Chen Family Taijiquan” is universally acknowledged by the Taoist community and Taiji practitioners as the seminal sourcebook of Taiji philosophy and techniques. this tome was intended by its author to be both the first ever written repository of Taiji lore. including his meticulous inscriptions for over 400 illustrations.inbiworld. www. The English translation of this canon marks the first ever attempt to translate into English Chen Xin’s highly esoteric and detailed technical explanations of Chen-style Taijiquan techniques. and a referential resource for Taiji instructors and practitioners for generations to follow.
What is the Chen Changxing - Chen Village Restoration Project? A. Q. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. www. China. Q. How do I purchase calligraphy or make a contribution A. Henan Province. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide.com . An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. How is the project being funded? A. founder of the Yang style. Who was Chen Changxing? A.chenxiaowang. Q. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. All people who buy calligraphy or make a direct contribution will have their name and the amount carved into a stone tablet to be displayed in Chen village.Chen Village Restoration Project • Q. Wenxian.
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