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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 .
In the spirit of Taiji’s original meaning. Atsuko Noguchi January 1998. indubitably a result of the efforts of Taiji followers in both countries. belongs not only to China but to the rest of the world. to consist of everything’. an impressive feat of concentration and energy considering Master Wang’s teaching workload. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii .Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. Indeed. ‘to exist everywhere. One of the finished manuscripts resulted in this book. 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. More than ever. is to be published. as an expression of the profound spirit inherent in all human beings. Tokyo. we believe that Taiji. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. newly written by Master Wang Xian. I look forward to Master Wang’s future works with great enthusiasm.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
................................. Step by Step ............................................................................................................................. The Relationship Between Three Stages of Taijiquan Practice and Tuishou ................................... Fist Practice .......................................................16 2.................................................... Dongjin – Realization of Energy ...................... Feet Practice ..................................................................105 9.............3 Tuishou Practice – Going Inward.. Kao (Push) Practices............. Na (Seizing) Techniques .....26 7.................55 4...................... 3........................ Na (Seizing) Practices ...........18 3. Opening and Closing ............23 5................................................10 5...... Zhan Nian Techniques... Palm Practice ..................................................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix .......................................................35 Chapter Three: Single Form Practice 1........................................72 6...................................................................................... Elbow Practice ....................................................................................................... Lian Sui Energies .....................34 10........84 7........................................................97 8.................................29 8...............................................................................31 9.............................................................. Tuishou: the Only Criterion to Judge the Gongfu of Taiji....................................... Leg Practice .........................................................................................................................................................................................21 4........... Reeling Silk .................................................4 The Core of Tuishou .................................................. 2............................... Jietuo (Escape) Practices........ Introduction ..................................................... Ti (Raising) Energy ...............13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1..............................................................................38 2.................. Misleading and Transforming Techniques ....Table of Contents Chapter One: Introduction 1......................................... The Origin of Taijiquan Tuishou ...............25 6........................ Energy Explosion ....... 4.................................... Listening to Energy .......................40 3..........................63 5...................................................................
....................................................................... Hunyuan Zhuang (Circle Posture) ....................................214 2...............................218 4...................................... Introduction ....... Tuishou Handwork Techniques .......................................................... Pair Practice in Luan Cai Hua Tuishou.................................................................................................................168 2....................195 5............................ Solo Double-hand Wan Hua in a Vertical Circle ......................................186 2.....................................................................................171 3.142 5........................................................... Tuishou Footwork Techniques.........................................................................203 8...... Solo Tuishou With Static Footwork ...........239 9.............210 Chapter Eight: Pair Practice in Tuisho 1..................227 7...... Solo Luan Cai Hua Tuishou .. Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ................................................................. Pair Practice in Da Lü Tuishou .... Pair Practice in Shun Bu Tuishou............................................ 133 3........................230 8................................................. Introduction ...209 9................ Single-hand Vertical Circle Wan Hua in Pair Practice ................................................................................ Shuang Shou Li Yuan Wan Hua......... Kai He Zhuang (Opening and Closing Zhuang) ........................................................................................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1........... 138 4........................................................224 6...........187 3...............132 2...... 215 3................ 183 Chapter Seven: Solo Practice in Tuishou 1............179 5................. Solo Danren Da Lü Tuishou ............. Wu Ji Zhuang (Wu Ji Posture)...................... Single-hand Horizontal Wan Hua in Pair Practice .......................146 6...................... Chan Si Zhuang (Reeling Silk Posture) ........ 157 Chapter Six: Chen Style Taiji Tuishou Categories 1.......................149 7..................... Solo Wan Hua ................................................................................ Shuang Shou Ping Yuanwan Hua ............................... Hand Techniques in Tuishou Reeling..197 6...................................................................... San Ti Shi (Three Postures)...................... Solo Ping Yuanwan Hua ... He Bu-Tuishou ........ Classifications of Tuishou ...........................220 5................................................................................................................................... Introduction .. Shun Bu Tuishou .......................................................... Solo Double-hand Flat Circle Wan Hua ......................................154 Chapter Five: Practice for the Buttocks and Crotch ......200 7..............240 王 西 安 x .......... Tuishou Steps ..............193 4......................175 4................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
throwing and striking.1. ‘The Family Tree of Chen’.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. in the period between the Ming and Qing Dynasty. Its creator. sword and stick routines. According to the book. Wenxian County. Chen Wangting. he drew on the theories of the Yijing (I Ching. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. gender. as well as the principles of Yin and Yang. transforming. catching. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . reducing illness and prolonging a healthy life. Tuishou. In doing so. it helps maintain fitness. China. and he was recognized as the creator of Chen Family boxing. is a practical combat technique based on grabbing. As a combat techniqiue. and will continue to do so in years to come. location or access to equipment. With the accelerated pace of modern life. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. As it is not stressful to the body. it helps build health and defence as well as to develop a sensitivity to movement. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. (also known as Zouting) was a famous martial arts master. Henan Province. was the creator of Taijiquan and 9th generation head of the Chen Family. Taiji Tuishou practice is not restricted by a practitioner’s age. Chen Wangting. the ‘Book of Changes’). originally known as Jieshou or Dashou. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. agility and flexibility.
intuitive and subconscious. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. Tuishou translates as ‘push hands’. enabling you to throw opponents meters away without hurting them. and do not disconnect or oppose your partner’s energy. Relaxation is fundamental. With sustained practice over a period of time.陈 氏 太 极 拳 推 手 技 法 1. principles. pacing your learning step-bystep. You will not realize inner transformation. nor will you be able to intuit your opponent’s energetic intention. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. so much that you will be able to apply combat techniques. from the realization of Jin. catching. Less well known is Tuishou’s other application as a technique for internal transformation. and striking. As you reach the level of adept. Tuishou practice should be soft and modest. Literally. listen to each other’s energy flow.2 TuishOu pracTice – gOing inward. throwing. an athletic activity based on mutual pushing. that is. with greater efficacy and subtlety. Initially. hard/ soft. Become familiar with the single hand horizontal and vertical practice. A Taijiquan proverb pertains also to Tuishou. you must know its significance. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. ‘From the familiarity of forms. sTep-by-sTep To practice Tuishou. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. such as grasping. to the realization of Jin. transformation is the basis. and what it consists of. be relaxed. 王 西 安 4 . or appreciate the interplay of the slow/quick. followed by the double hand horizontal and vertical practice. to the Deity’. you will be able to release explosive energy to both small and large targets. Follow the circling movements with the whole body.
Practice makes perfect. imagine a partner practicing or competing with you. your intention and commitment must be deeply held. but never practice just in order to practice. combining your heart. mind and spirit with determination. To cultivate ‘inner listening’. be calm and concentrated in your demeanour.Remember that ‘inner listening’ is the one essential skill required to improve your technique. In solo practice. force and speed in your actions. you will ultimately enhance your health and combat techniques. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . As long as you practice persistently and make progress. Skill arises from consistent and accumulated practice.
adhere. distance and direction of energy. with the lightest of touches. which are also the essential elements of Taiji. and so on. opening or closing. . Sui (stick. it will enable you to feel. your partner’s weight. When you can control these energies within yourself. At a more advanced stage. Lian. speed. actions to the left or right. continue. Nian. while its theoretical basis builds on the philosophies of Yin and Yang.陈 氏 太 极 拳 推 手 技 法 1. upward or downward movements. Movements alternate freely between Gang (hard) and Rou (soft). follow) and Chansi Jin (Reeling Silk). The thirteen forms are: • Ward off • Roll back • Press • Push • Pull down • Split • Elbow strike • Shoulder strike • Advance forward • Retreate back • Look backward • Gaze forward • Central equilibrium Peng Lü Ji An Cai Lie Zhou Kao Jin Tui Gu Pan Ding 王 西 安 6 Tuishou flows seamlessly between the application and combination of opposites. you will develop the capacity to subconsciously anticipate quick or slow changes. Kuai (quick) and Man (slow). Tuishou practice is based on thirteen ‘forms’ or energies. attacks or retreats.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. Qing (light) and Zhong (heavy). gathering or exploding. You will learn to follow your partner’s intention and forget your own.
or other deformation. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. Use the forces of elasticity and friction Use these forces when applying techniques such as ‘draw the opponent into one’s orbit to destroy their centre of gravity’. 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’. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. it is the force of friction that enables you to hold and seize their arms etc. Like a balloon whose air has been exhausted. expansion. ‘follow slow attacks unhurriedly’. 王 西 安 7 . ‘if the opponent does not move. ‘if the opponent moves slightly. don’t move’. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. stretching. be calm and relaxed To release bursts of energy effectively.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). this energy refills automatically to its original ‘full’ state. move before they do’ etc. When releasing explosive energy. concentrate on one direction at a time.
I follow my partner. Using this. also states: “No one knows when I gather or stretch. 王 西 安 8 . Even if attacked by a monster.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.” This technique. results in the shaking off of the opponent’s upper body and lifting of their lower body. when you move forward in your turn to press. whether they strike or twist. whether ascending or descending. 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). push or strike. and is worth remembering. Similarly. none of your opponents can defeat you. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. I perform strictly to the principles so as to make me unassailable.” Chen Changxing. 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. The canon of Taiji teachings is rich with such sayings. I always follow their intention. utilizing the techniques of Kao. no matter how hard they press. I can conquer a force of a thousand jin with a tiny force of four Liang. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. the 14th generation master.
Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. Here. Only one with five Yin and five Yang is called adept. In order to inherit and develop this Chinese cultural heritage. As a science. I sincerely hope Taijiquan followers will embark on a serious study of this art and strive toward the as yet unbounded acme of this science. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. requiring us to further our exploration and improve our practice of it. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . One with four Yin and six Yang is among the group of the adepts. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds.
‘three-yin seven-yang.4 The relaTiOnship beTween The Three sTages Of Taijiquan pracTice and TuishOu A brief description of the three stages of Taijiquan practice will be provided here. Correspondingly. one comes into the group of the adepts’. as stiff as a stick’ evolves to ‘two-yin eight-yang. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. is San Shou’. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. The three stages of Taijiquan are: 1. 3. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. Zhao Shu (familiarity with the forms) Outer form drives Qi.陈 氏 太 极 拳 推 手 技 法 1. 2. with fuller details available in Chapter Two of my book. still regarded hard’ turns into ‘fouryin six-yang. 2. ‘Chen Style Taiji Laojia’ (Old Routine). . Zhong Quan (medium circle) At this stage. Dong Jin (realizing the inner energy) Qi drives outer form.
we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). 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. We must pay attention to different methods during different stages of practice. possess abundant internal energy. that is. one is regarded as a Deity’. At the second stage of Dong Jin (realization of energy). ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. and does not mean total stillness. an adept may say. medium and small circles.3. along with the Tuishou practice of Da Quan (big circle). By this stage. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). At the third stage of Shenming (deity). along with the Tuishou practice of Zhong Quan (medium circle). Note that ‘no circle’ denotes a state of subtlety and skilfulness. enjoy a feeling of lightness. Following a correct program of practice as outlined above. random alternations between states of energy gathering and releasing within a relaxed and elastic body. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. and be able to achieve constant internal changes between Xu and Shi (void and solid). as well as the combination of the respective techniques applied in the big. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). that is. at the first stage. in addition to a diligent assimilation of knowledge. all parts of the body become as highly sensitized as finger tips so that when competing. That is to say.
This is not unattainable. as our ancestors tell us.” 王 西 安 12 . you surely go backwards.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void). “Taiji practice is like rowing in the river. even though I don’t know how I do it’. if you don’t make efforts to go forward. Also known as ‘Five-Yin Five-Yang’.
It simply requires practitioners to have sufficient physical force for competition. 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. nor is it just a matter of pitting one’s physical force against others. 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. ‘Weak side strikes strong side. meaning ‘loss of energy’. tough energy. the stronger force) also can defeat the weaker force. However.e. Without the latter. In other words. Remember too where your weight is placed to maintain control of your centre of gravity. These reflexes are faster than thought and only come with constant practice. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. no techniques can be executed. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. Tuishou develops one’s sensitivity to others. This is called.5 TuishOu. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . Nevertheless. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. it doesn’t imply Diu (a common defect due to failure in Zhan Nian.1. 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. four Liang defeats thousands of Jin’. Hence. softness can break through hard. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. While appearing deceptively easy. Ding meaning ‘stiff resistance’). When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. It is this dynamic that we need to explore during practice. ‘thousands of Jin’ (i. hence it is essentially a competitive activity. When forces are equally matched during competition. Skilled practitioners rely on a highly developed sense of touch.
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 .
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. With your skin. Hence the saying. but also with the eyes.1 lisTening TO energy In the context of Taiji and Tuishou. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. One’s skin is the key weapon. the skin. one’s force is injected into the marrow. ‘Without being known. continue. a practioner’s body can react instantly with great accuracy and flexibility. I know others and sweep all enemies aside.’ 王 西 安 16 . When Wu-Yin Wu-Yang (energy equal and balanced) is attained. and a highly-tuned awareness of sensations in the heart and nerves as well. Similarly. sensing through the skin enables reaction in any manner within the rules. During Tuishou sparring. no matter if the changes are in the opponent’s rotation. and taking Zhan Nian Lian Sui (stick. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). when an opponent touches one’s fine body hairs. her changes in rotation. Listening can be divided into three areas: listening with the bones. filled with abundant internal Qi. alluding not only to listening with the ears.陈 氏 太 极 拳 推 手 技 法 2. On receiving these signals. adhere. squeeze and press. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. position and magnitude. allowing both body and mind to enter into the level of deity and transformation. follow) as fundamentals. What is listening with the skin? It means following the command of the heart and mind. At this stage. the act of ‘listening’ has profound resonances. The entire body surface of a high level practioner is highly sensitive. her body light and flexible. feel your partner’s movements. a rise or fall in height or changes in weight. with the skin and with the fine hairs on the body surface.
where every knot of one’s body opens and stretches without crude force. very few achieve the ability to listen with the skin. As Sunzi Bingfa says. listening would be impossible. In all this. rising to the upper body. your judgement confused. You will look without seeing.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. “The most super-human strategy is formless and soundless. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. ‘descending Qi and steady steps’. calm. until it is too late to repel danger. you fight back. Just as a deaf person is unable to comprehend a conversation as he cannot hear. ‘clear manifestation of emptiness and solidness’. let alone the attainment of energy for combat. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. solidity. slow. While the majority of practitioners are able to listen with the bones. special attention should be paid to ‘the intervals of fastness and slowness’. Failure to do so will cause one’s energy to remain stuck in the chest. Listening is essential to Tuishou. so a practioner cannot generate energy for sparring if he or she is unable to listen. Nervously. making all one’s muscles stiff. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. which is essential for constant adjustments to frequently changing circumstances. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . your listening untrue. defending and attacking blindly. opening and closing (快、慢、沉、稳、虚、实、 开、合). Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. Only through accumulated practice can one’s sensations detect the smallest changes. that is why it destroys the strongest of enemies”. Your reactions will become slow. Without this preparation. descending. How good it would be to attain this level. listen without hearing. blood and breath. emptiness. leading only to failure.
发fa – explode) at the appropriate opportunity. Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. Ying (stiff ). Tui (push). Peng. length. Ya (push down). It is the ability to note present or potential changes in emptiness and solidity. your energy too resistant (Ding) or being lost unnecessarily (Diu). Hua. Be warned that mistakes will occur on this learning path. that is. 化hua – change. Ba (seize by force). Ting (stick out). Ke (knock). Li (leave). vertical axis and flexibility. You may find yourself being too stiff (Jiang). It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. Jia (stiff ). While beginners may find this difficult to achieve.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. straightness and curvature. Qin (intrude). Shi (tight). the ability to circle and the principles of Zhan Nian Lian Sui. Zhuan (cheat). Shan (dodge or flash). your posture too straight (Zhi). transform. Qi (insult). Zhi (straight). this skill may eventually be attained with diligent practice and a good teacher. Pai (squeeze out). Gua (hang on). you cannot realize it. Ji (hit). Cuo (rub). direction. Dang (block off ). 王 西 安 18 . hardness and softness. Realizing energy is based on listening. Fa (引yin – lead. Na. Failure to overcome these shortcomings would be to fail to realize energy. you cannot note any of the above changes in the oponent. Gou (hook). 拿na – capture. Zhan (chop). “faulty palms” or “faulty body”. new challenges such as ‘being too fond of competing’. A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Meng (sudden).陈 氏 太 极 拳 推 手 技 法 2. Duo (escape). Even for those who achieve this skill. Ba (pull out). Di (resist) and Gun (roll). We call such shortcomings. Zhe (hide). Teng (jump). Hun (mix up). await them. speed. Bo (move with hand). Lou (hold). Ling (pressing). Without ‘hearing’ the energy of one’s partner. magnitude and hitting point. An (press).
dodging. jumping. and also in one’s facilitiy with the eight energies or techniques (Peng. Hence. ultimately. rather than use them as disparate forces to enhance one’s attacking prowess. Ji. 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. twisting. transforming. Concordant with the adage that ‘external forms are the method and the pathway’. Sanda can simply be taken as a higher evolution of Tuishou. ‘The Taijiquan Formula’: No one knows when I gather or stretch. grasping.The practice for ‘realizing energy’ also tests one’s position. As Chen Changxing. Ultimately. with Taijiquan. In fact. developed from further transformations of Tuishou routines. but also in the combat arts and and Sanda (free sparring). Cai. I follow my partner. the poplular stereotype of Taijiquan as a non-combat. In effect. Tuishou is the combat application of Zhan Nian Lian Sui. When attacking. Zhou and Kao). says in a verse from his book. look around and maintain an upright axis during Tuishou practice. relaxation and health practice for the old and infirm. which is used not only in Tuishou. the Tuishou practitioner must aim to apply these techniques (seizing. hence its continuing ties with Tuishou and. 14th generation Taiji master from the Chen family. Lü. and shares many common principles with Sanda (free sparring). Lie. An. utilizing the techniques of Kao in spiralling. no matter if they use the technique of Kao or twist. is misleading and does not take into account its fundamental role across the Chinese martial arts. Whilst all Chinese martial arts possess unique characteristics. striking. Whilst acknowledged as a combat technique in its own right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . changing one’s centre of gravity and flexibility) in synchronous movements. these eight techniques form the method for Tuishou. falling. form and quality of Tuishou. they share the common practice of ‘realizing energy’. angle. I always keep remembering to follow their intention. Sanda complies with basic Tuishou principles.
to act naturally and follow one’s intention. that is. the Chinese martial arts have evolved into health and fitness promoting practices. we can clearly see that in all movements. step by step. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. strike. Li. “From the familiarity of forms. fourth and fifth sentences refer to the application of Taiji Sanshou. Indeed. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. In addition to applying Master Chen Changxing’s advice. adaptable to both Tuishou and Sanshou. that is. The second sentence of the verse means to follow the other partner’s intention while circling them. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . Again. ‘listening and realizing energy’. With the development of modern weapons. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. to the realization of energy. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. and horizontal Cai are also irresistible. to forget about one’s own intentions and follow the opponent’s.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. The attacks from me by twisting. push or press. As mentioned. press and hold back. until I come to the level of Deity”. Everyone knows how to hook. ward off. Hence. this verse confirms Taijiquan as a profoundly practical Martial Art. The author stressed the importance of ‘follow’. The third. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. leading to a wider understanding of the profound benefits and applications of Taijiquan. Chen Xin once said. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat.
Whilst it is said that form practice cultivates a capacity to know oneself. the first being ‘familiarity with form’ and the last being ‘realizing deity’. with which one’s opponent will find difficult to escape.3 zhan nian Techniques Zhan & Nian are forces directed forward. “Form practice is the essence of Zhan Nian training. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . Only with the awareness of both oneself and others can others be conquered. while Tuishou exposes the quality of Zhan Nian techniques. Zhan Nian techniques develop one’s capacity for high precision. the adhesive force that allows a practitioner to become strongly attached. Ultimately. so that he finds it hard to escape.” Zhan literally means ‘stickiness’. in this way maintaining the upper hand at all times. At this point. to one’s opponent. A practitioner. 2. will be able to instantly sense the delicate changes in the movement. direction and the position of a partner’s energy flow. This is why it is said. Conversely. Nian means to chase and follow one’s opponent. It is commonly used in attacking strategies. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. Through reeling-silk practice. This ability comes through great patients and a life-long perseverance of effort through the three stages. on reaching the final stage of ‘deity’. that is. extent. capturing and transforming his energy and using it to attack at the first opportunity.effectively. magnitude. this results in a deeper and more precise understanding of energy. Zhan Nian energies work as a pair. Tuishou practice cultivates the capacity to know others. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. and come to realize the laws of movement and force. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. and its natural and intuitive use. like glue.
one can never accomplish quality ‘chasing’ (Nian). yet arrives at the hitting point earlier than the opponent)’. have failed to attain high proficiency in the art. victory or defeat is decided in an instant. 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. ‘Fast reactions to fast attacks. 王 西 安 22 . Ultimately. This is why it is said that at this relatively high level. and then through the entire body. continuous and diligent practice. despite prolonged practice. the practitioner can exert Zhan Nian forces towards the opponent. and forget my own’. When Zhan Nian techniques are applied. especially those who. ‘I don’t move if they don’t move’. Simultaneously. inflexible muscles and joints. as reflected in their stiff bodies and tense. During Tuishou. Not an easy task for ordinary practitioners. Zhan Nian energies can be detected by sensations that start at the palms. an internal energy manifesting externally. as indicated by these teachings: ‘Follow my partner’s intention. It is Zhan energy that envelops the body. flow up the arms to the shoulders and back. ‘I win by striking after the enemy has struck (My fist starts late. and so on. but even many long-term practitioners find total understanding or realization elusive. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. Understandably. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. Once the whole body is enveloped. slow reactions to slow attacks’.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. beginners find Zhan Nian energy difficult to comprehend let alone detect. ‘I move before them on feeling their slightest motion’. but certainly achievable for diligent practitioners with good teachers. these techniques will lead the opponent into faulty moves.
how can Sui be achieved? Sui technique means to react. Sui. that is. Lian is dependent on one’s use of Zhan. Without Zhan’s adhesive force over the partner preventing escape. follow and move in the same direction as one’s opponent. one observes and reacts to the opponent’s Zhan Nian techniques. and can only exist in the presence of the latter. non-forcing. Lian has a rich amalgam of meanings. including consistency. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. Unless one follow’s the opponent with Lian (co-relation).2. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. and no chance to escape. slow reactions to slow attacks. another rises’. It can be summarized as ‘co-relating to the opponent’. no resistance). can we execute Yin Jin Luo Kong efficiently. so that ‘as one falls. Once palms come in contact. In so doing. non-pressing. adhesiveness. continuity. taking any opportunity to attack.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. ‘to react while following’. Used in concert with Zhan Nian energies. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. fast reactions to fast attacks. there can be no Lian. the opponent cannot escape because if one follows closely using Zhan Nian. moving effortlessly between quick/slow and forward/ backward movements. emerges from the application of Lian. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. ‘Bu Diu Bu Ding’ (no loss of energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 .
As the teaching says. 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. 王 西 安 24 . so that they can ascertain if their energy levels match the purpose and intention of their actions. Lian and Sui can never function without the other. following their energy flow without interruption. It is vital that beginners are able to feel the movement of internal energy inside their bodies. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. therefore it is advisable to practice the combined application of both. successfully use Lian and Sui to attack and prevent escape. Adepts. “The lower body automatically follows any motions of the upper body. on the other hand. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. Beginners may attain the preliminary stage of Lian Sui. whether through form practice or Tuishou”. the basic ability to follow the opponent’s movements. upper and lower coordinate any motion in the middle.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. without any break in flexibility or continuity.
Using these complementary techniques.2. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). we should apply She Ji Cong Ren without being detected. Use these principles whether you are going backward or forward. the adept draws the opponent into his or her domain. Yin is the ability to draw the opponent’s energy into one’s control. elbows. For instance. When applying Yin. I lower my body then stretch my right foot toward his or her crotch. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . Hua is the transformative force. hands. turning left or right. using Lian Sui to follow their energy flow. hips. Once neutralized. palms. going up or down. if my partner presses my right arm with their palms. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). legs and so on”. using our arms. 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. When we feel the changes in our opponent’s energy flow. hence ‘misleading’ and transforming the opponent’s energy.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. Note that while applying Yin and Hua forces. As Chen Xin explains. we then use our shoulders. and in this way mislead and neutralize your opponent’s energy. I apply Shun reeling downwards. Literally meaning ‘to draw’ or ‘to lead’. knees. so as to mislead my partner’s energy and upset their centre of gravity. or feet to upset their centre of gravity. and cannot exist without Yin first being applied. one should avoid Diu and Ding (losing energy and resistance). then gradually upwards. A particularly effective combination is Luo Kong. While moving. neutralizing any opportunity for attack. reeling my back inward before suddenly striking outward.
he or she can easily capture his opponent through the combined use of all . one must cultivate the forces of Yin. my Taiji harmony within emerges so that even ghosts fail to predict my next move. It is important to remember that one must gather energy well before misleading one’s opponent. and their pain penetrates right to the marrow. explode energy as if releasing the arrow”. wrists or hands to inhibit their rotation or movement. “gather energy as if pulling on the bow. shock. Opponents will feel as if their tendons and bones are about to break. However. touch. rotate an opponent’s joint towards its unnatural direction. dodge. look one way and go another”. hence rendering them helpless. and hence the harder the opponent falls. I “roll over. i. That is to say. When I attack. the further one’s arrow flies. In Tuishou and San Shou. destabilizing their centre of gravity and transforming their energy in order to conquer them. In this way. Hua and Xu (gathering). 2. Any hard fan guanjie (joint twisting.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. meaning the direction which hurts the natural structure of joint. that of Taijiquan is accepted as the most refined. they are conquered. Instead. the more one stretches the bow.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. As Chen Xin suggests. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. elbows. depending on circumstances. using all these techniques to mislead my opponent. just as one should attack forcefully without hesitation. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. I know my partner without being known. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use.e. As Chen Changxing advises. tie up. so as to accumulate and release energy effectively. sweep.
Tuishou accentuates Taijiquan’s martial power. Indeed. throwing. Na (seizing). ‘is called the “best of the best”’. This is why it is said that Na is the pre-condition of Da. thus reaching their goal. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. There is a saying. you must react quickly and flexibly to any changes in your opponent. This is called ‘dual-utilization of seizing and gathering’.their gathered forces. I utilize Na to prevent my partner from escaping or from transforming their energy. ‘Na (seize) always goes with Da (strike). a Tuishou practitioner can exert the invincible might of Taiji. If you fail to attack lightly and skilfully and your intentions are detected. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . ‘Only this. In Tuishou. I move using the principles of Qing Ling Huo Qiao (lightness. you need to seize first’. Zhua (grabbing). techniques such as Zhan Nian Lian Sui. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. If he or she succeeds in escaping. The seizing technique in Tuishou is very important. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques.’ as Sun Zi Bing Fa says. so that I can strike them cleanly and successfully. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. agility. in order to strike well. transforming and striking. These recovery measures also depend on a light. you still have the opportunity to move in quickly and seize them by their palms before they move away. agile. When utilizing Na. To apply Na effectively. flexibility and skilfulness). Shuai (throw). applying the energy smoothly and judiciously without over-exertion. With the combined application of seizing. Hua (transforming) are all preconditions for striking (Da). so that I may capture my opponent without hesitation or detection.
releasing your force like bullets rushing out of a gun. the targets for both being the arms. if you want to seize your opponent. Common problems. During practice. By relaxing. Na is the synchronous manifestation of the internal and external. your centre of gravity destabilized and you will find it difficult to protect yourself. If you fail to Peng (ward off ) your opponent adequately. chest. both palms covering his right wrist. ‘No part of my body is not peaceful. Then strike directly forward in a spiral and hit your target accurately. you have no option but to relax your joints. include controlling one’s speed and magnitude of attack. hence it is advisable to heed the teaching. If Qi ascends. and sensing the amount of force the partner’s joints can withstand. In peace every part of my body moves at the time of movement’. How then can you hope to seize another? Indeed. shoulders and crotch all gather downward in concert. and all parts in a gathering motion. seize him then guide his pressing force into your territory using Lü energy. stomach and legs. with no part tense. twist his right arm inward with your left hand. he will be able to press forward. especially amongst beginners. making sure your hitting points are clearly defined. application of appropriate angles and techniques. whether you exert Na by the co-ordination of your hand and chest or with your ribs. stomach and the protruding and concaved parts of the shoulders. Never let Qi float upward and never let your feet lose their roots. use the Na technique carefully to avoid hurting your sparring partner. every part of your body works in harmonious cooperation. Next. your root will become unsteady. Na technique works together with Cai technique. Miscalculations often result in injuries. just as it is stated. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. in which case. ‘Never be rude and rash when you begin to practice Na. Using this will overcome the opponent without fail. When relaxed. and your ribs.’ 王 西 安 28 . your chest rolls inward naturally.陈 氏 太 极 拳 推 手 技 法 When applying Na. remember to maintain a relaxed state by lowering your whole body. Exert your energy first lightly then with force.
opening and closing illustrate the subtlety of Taijiquan. As complementary opposites. Sanda and form practice. Mengzi. solid stomach and slightly concave chest. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. Inhale from the stomach so that it remains solid. Opening (Kai) means to stretch and reach. one cannot ‘open’ without first being ‘closed’ and vice-versa. every part of the body is engaged in the action of opening and closing. often meaning to ‘guide and attack’ in the martial arts. As Chen Xin says. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. Gather the ribs. just as Chen Xin mentioned in his works.Work on your technique step-by-step: develop a closed crotch. Remember – to attack your target with agility and flexibility requires long accumulated practice. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . are widely used in Tuishou. relax the shoulders. This is an important concept which bears deeper contemplation. OpeningClosing techniques. Keep every joint relaxed before you exert Na. In all Tuishou and Taiji movements. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. transform. Closing (He) means to draw in. bend and gather. gathering versus exploding. Indeed. 2. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. Even masters of Chinese philosophy – Kungfuzi. making sure all movements are steered by the waist.7 Opening and clOsing In the martial arts. preserve.
but also to coordinate the heart (Xin). The quality of the effort you put in to closing determines your ability to open with power and effect. the louder the explosion. pressing the ground with your heels to empty the Yong Quan points. Closing not only means to bend and withdraw your upper body. since Yi (intention) follows wherever Xin (heart) goes. Likewise. crude and slow. As the saying attests. forceful. you will find your opening powerless. your ‘opening’ explosion will be natural. Without closing well. sometimes appear before our eyes. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. grasp the floor with the toes and soles. Your heart acts as the guide and leader during energy explosion – when your heart opens. filling you with great vigor. 王 西 安 30 . these changing motions. In practice. Kai (opening) energy originates in the root of your body.’ Only diligent practitioners have the opportunity to experience this phenomenon. if your energy is gathered and conserved well. you will find that Qi penetrates your whole body more smoothly and powerfully. and sometimes they disappear. Thus positioned. every part of your body follows suit.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. external shape (Xing) and spirit (Shen). this means that one needs to be closed first before one can open. muscle energy (Qi). The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. The Opening-Closing technique starts from the closed state. your intention (Yi). from the soles of the feet. so that all parts of the body work together. While standing. that is. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. swift and powerful. ‘Opening-Closing. with the qualities of both solidity and emptiness. Yi moulds changes in external shape while Jin (force) rises with Qi. so that your targets become accurately defined and attacks successful. the rebounding force exerted by the ground can be used to energise any upward movement.
Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. while being mindful of the adage. flexible and compact enough to mislead and upset your opponent’s centre of gravity. keep your elbows down. you will need to drop and relax the shoulders. Exploding energy at close-range is best as Kai energy.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). or worse still. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice.As you explode energy. roll your chest slightly inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . strikes may not find their mark. To master this elastic force. which then distributes it to the other extremities. This energy originates from the soles of the feet. you need to train your muscles in relaxation and gathering. then to every corner of the body. land on the ground on your in-steps. your centre of gravity may be lost. The solution is to make your energy round. the whole body returns to a state of softness and relaxation. spirals up the legs to the waist control-center.33 cm. Beyond this range. Practitioners also need to build-up a reasonable level of muscular strength. 2. or you may find your Kai technique lacking in power and precision. the energy released unhindered. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. presenting your partner with opportunities to attack. After exploding energy. then spiral your internal energy up the legs to the waist. albeit swift and powerful. lower your waist and let Qi flow along the spine. is limited by its short duration and small coverage which extends only as far as your body. The explosion should be short. and to develop high sensitivity and rapid responses to external stimuli. To gather energy of this quality.
internal forces.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. one must explode energy smoothly. abundant internal energy and intense physical and energetic concentration. Failure to counter your partner’s force means. spiral forces. flexibly and harmoniously. Gathering. The external force of both parties affects each’s internal energy flow. and with that outburst. but also that of your internal energy and combat strategy. frictional forces. horizontal forces and so on. To do this. which manifests as our weight. dissipate or absorb her external force. all these are prerequisites to “destroy something already in a state of ruin”. and exploding energy with elastic vibrations. The main external force that we humans experience is gravitational force from the earth. skilfully. that you are unable to neutralize. When doing Tuishou exercises. 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. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. However. not strength”. straight forces. you must practice Changjin 王 西 安 32 . counter forces. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. not relying on rigid or crude force. though random wins may happen. To combine the power of the three. consistent good performances will not be achievable. utilize. there are also a myriad of other forces which influence our bodies – supporting forces. Your performance in competition depends not only on the quality of your sensitivity. transforming and attacking are closely related. it is necessary to distinguish clearly the respective functions of internal force and external force. and to explore the interactive relationship between them. your opponent is vanquished. Transforming and gathering are complementary and cannot function without each other. Constant diligence. in effect. Without these. The force that you and your partner exert on each other in Tuishou is external force.
especially exhaling-inhaling and opening-closing motions. Continue developing these techniques step-by-step until the level of deity is reached. At the transitional stage between ‘Three-Yin Seven-Yang. As it is said. leading to very smooth and swift responses. the medium circle practice. Good Hands’. and even when elastic cunjin (hitting a target at very close range) is executed. the whole body moves as a synchronized force to follow the slightest movement of intention.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. there would be no striking the partner from one inch”. despite its ferocity. beginners need to do the following: do the big circle practice. Close-range attacks require a high-level of competence. you will find it easier to hit targets more accurately and swiftly. To reach this level. easy conquest of the opponent does not necessarily follow. below which energy flows downward and above which energy flows upward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . Only very high-level practitioners may achieve this. Still Tough’ and ‘Four-Yin Six-Yang. elastic or vibrating variations. and the small or no circle practice. while downward flowing energy helps maintain a firm and stable root. as their attacks flow naturally from their heart and intention. Upward energy and downward energy exist in opposition to each other. it is not advisable to exert Changjin (long energy). imagine a line between the navel and Mingmen. This means that if one finds it difficult to attack from a distance. quick. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. even with the slightest touch. will find the opponent flung far and wide. Alternate between these three with slow. instantaneous. “Without striking the partner from a distance of three metres. For example. during Tiaozhou practice (upward strike with elbow). By mastering the key points of energy explosion. An attack. one should not attack at close target. At this level of Gongfu.
First. and intention into one entity. Even if not thrown completely off balance. then your instant and precise attack can never fail”. powered by upward spiralling energy. shadow your opponent with agile steps. waist and arms. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. combine your rising force with your elastic force. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. To conquer your opponent. while you maintain a state of relaxation. while you keep your intentions and energy flow undetected. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body.陈 氏 太 极 拳 推 手 技 法 2. Remember to maintain full concentration. To lift your opponent up with Ti requires the combined effort of legs. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. As Qi flows up the spine. Remember to maintain your centre of gravity with the coordination of the other leg. The arms and legs work together. heart. you need to destabilize your opponent’s centre of gravity by inserting one leg between your opponent’s legs and lifting it quickly outward using spiralling energy. This means that no matter what Tuishou techniques you use. your opponent’s upper body will shift out of their control. keeping your axis upright and combine your eyes. When applying Ti. Instead. rotate your Dantian so that your body lifts with greater speed and accuracy. To apply Ti successfully requires the whole body to work in coordination. never let your partner know your intention before you act. 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. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. Using Zhan Nian Lian Sui. At the same time. and may lead to loss of control.9 Ti (raising) fOrce Ti means to ‘rise spirally’. The rising force is difficult to use if forced.
passes through the legs up the spine and arms. tie. touch or sweep in response to the circumstances and you remain always observant and alert. mislead. as it emerges from the feet. your force will reach its target just with intention. Though undiscernible initially. For beginners. your attacks will never fail.and power. until it reaches the fine hairs of the skin. and not even know from whence your power emanates. You roll. transform and defeat your opponent’s attacking energy. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. Mastering this energy requires much effort and practice. 2. revolving energy which originates internally in the body. reeling to the left or reeling to the right. you will be able to transform energy while striking. follow the primary principles and develop your skills stepby-step. go forward or backward. whether you rise or descend.10 reeling silk Reeling Silk is a spiralling. their root and they will certainly fall. and manifests externally as it permeates through to the fine hairs on the skin. You will attack like a flying dragon. so you feel able to “protect your descendents and kill the rebels”. walk with such assurance as to shock evil spirits. The Reeling Silk consists of great varieties: reeling inward. but once attained. you will lose awareness of your physical body and location. reeling upward. Attaining high-level skills will make you braver. reeling outward. When this happens. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . This energy is created using the Reeling Silk technique and penetrates all movements during form practice. Adequate practice will naturally lead to success. you will find it easier to follow. Do not try to strike others before you have attained a reasonable level of competence. on the verge of losing their centre of gravity. you will come to sense it with practice.
Yin (guiding. focusing your energy internally and guiding the flow of your responses from Yin to Yang. and so on. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. quiet and calm. all these reeling movements are always comprehensively combined together and closely connected. maintain the interplay between solidness and emptiness. reeling horizontally or reeling vertically. and thus renders you unable to react properly and to be easily manipulated by the opponent.陈 氏 太 极 拳 推 手 技 法 small circles. remain balanced. excessive toughness makes you get too rigid. The solution lies in the middle path: keep a balance between softness and toughness. When being utlilized. Be humble and respectful during form practice. Shun reeling (conforming) and Ni reeling (contrary). While reeling. misleading) always comes with Jin (approaching forward or attacking) and vice versa. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. When using Reeling Silk energy. reeling forward and backward. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. 王 西 安 36 . As for posture. and apply opening and closing techniques. remember to keep your Zhongqi (energy to keep your axis upright). Keep a firm root. collapse the waist and establish a stable centre of gravity in the legs. one must avoid being too soft or too tough. reeling to the front or reeling aside.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
Da. keeping your energy tracks undetected by the opponent. This means that Yilu fosters Zhongqi so that. goes through the Sanguan (Three Gates). Hua (transform) and Na. and exerting energy too forcefully (Ding) while exploding energy. Kao. Tui (go backward). Erlu explodes In this technique. if practice is diligent. 3. relaxed and soft. Ji. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. as well as techniques focussing on various target areas of the body. Zhan (battle). Erlu and Single Form practice help to accumulate and strengthen Gang. Faji (attack) effectively under any conditions. for example. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Cai. To win. A wide variety of single movements must be practiced repeatedly. who is then inevitably conquered. Lie. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. This practice requires a solid foundation in preparatory exercises.’ In this way. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. medium and high-level stages. where ‘Qi spreads to the whole body.1. Because Yilu lacks speed and Gang (tough) energy. Ti.1 inTrOducTiOn This is a practical lesson in combat practice. As we know. An. Lü. 王 西 安 38 .1 Yilu cultivates Qi. movements gradually become agile and flexible. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. so the Single Form Practice and Erlu help to compensate for this disadvantage. Zhou. Shuai (fall). Shan (dodge). Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. It also demands a period of diligent practice to ascend gradually through the primary. you need to execute Jin (go forward). Qi will flow around the body to the extremities and skin. Single Form practice is vital for hand-to-hand Gongfu combat. full relaxation of the joints.陈 氏 太 极 拳 推 手 技 法 3.
neglectful practice becomes increasingly difficult to rectify. you don’t. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. such as: ‘Profound principles emerge by themselves. ‘Skills come naturally when you are familiar with forms’. These clearly advise diligent practice of the shoulders. He was known to say that he found throwing partners too easy. each have their own unique combat style drawn from continuous tempering in their practice. Significant gains may be attained by practicing the single forms step-by-step. after you practice the form ten thousand times’. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. hands. 拴Shuan (tie). so that the path to deeper understanding and realization may be paved. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. the seizing techniques of Eagle Claw King. Though widely differing in style. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). No matter how steady his partners stood in the beginning of a fight. sober movements and his relaxed yet vigorous energy explosions. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . more like a relaxing stretch to enjoy the subtle. inner meanings of the mysterious art rather than a competition. you harvest. Single Form practice is of vital importance. back. resulting in loss of vigor and effectiveness. Chen Zhaopi was the undisputed master of 滚Gun (rolling). Well known examples include the foot techniques of Li Bantian. 搭Da (touch) and 扫Sao (sweep). elbows. Lastly.Gongfu masters. they always got hit and thrown to the ground. ‘You practice. legs and hips using relevant principles. To do otherwise would be to ‘attend to trifles and neglect the essentials’. you fail’ and so on. If prolonged. Hence. we have Master Feng Zhiqiang who is venerated for his steady. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. be they exponents in internal Gongfu or external Gongfu.
王 西 安 40 Fig. chest rolled slightly inward.1 . horizontally.1 Exercise One • • Squat slightly. alternating between both legs: kicking forward. 3. bend and raise your knee slightly. 3. swinging up and down and so on.2. stomach gathered and head suspended from above. pedalling forward. face to the front. trampling.2 feeT pracTice Feet practice includes the following movements.陈 氏 太 极 拳 推 手 技 法 3. With one hip relaxed and the opposite foot slightly touching the ground. upwards and sideways.
up and down.3. sideways. • Relax the feet so energy can reach the toes where it is required. bend the other leg with toes grasping the ground to maintain a firm centre of gravity. make sure your in-step is stretched moderately tightly. stepping. Descriptions of some of these exercises are provided below. pedaling. feet hanging backward and so on. collecting the energy at the abdomen. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. • Kicking smoothly. upward and downward swing. 3.2.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. • Roll the chest inward and aggregate energy with the whole body.2 41 . horizontal. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
edges of the foot plate and the sole (Fig. they will be able to direct energy explosions to targets with precision and ferocity. 3. 3.3 • This technique is applicable to the toes.4. At this point.5). . except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. if you kick with the right leg. your left foot prepares to kick with the toes or instep as the right foot lands. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick.陈 氏 太 极 拳 推 手 技 法 Fig. use the rebounding force of the earth to bounce up and propel your kick (Fig. for example. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form).3). 3. It should be practiced with both feet so that. On landing with either foot. Beginners should practice slowly. 3.
Fig. 3.6 43 . 3. 3.4 Fig.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
instead. • Switch your centre of gravity to the left foot.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. . 3. There is no jumping in the Upward Kick. flexible and quick. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. The whole body must be kept balanced and straight when kicking upwards. The Upward Kick should match the rhythm of the hands’ movements. practice kicking with each foot sequentially. a principle also applicable to the Double Kick (Er Qi Jiao). usually the opponent’s chin.7 The Upward Kick is used for high targets. The kick should be light.
3. raise the right knee gradually (Fig. but try to keep some weight in the un-weighted side as well. feet firmly grasping the ground. 3. standing with left leg. all the while rolling the chest slightly inward. As your right foot explodes energy stamping downward.8 • • • Then stamp your right foot on the ground. 王 西 安 45 . 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.• Bend the left knee. cup your right fist and left wrist together in front of the chest. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. grasp the ground with the left toes and. exploding energy as quickly and fiercely as you can.8). 陈 氏 太 极 拳 推 手 技 法 Fig. Then empty the Yong Quan point.
including the alternating use of the legs (Fig. and then withdraws elastically like a rubber band springing back into shape.10). e) Forward Kick This consists of a straight kick forward with the sole of the foot. 3. 3. you can practice with the alternation of legs (after praciticing with the right leg for a while. practice with the left leg) (Fig. In Single Form exercise.陈 氏 太 极 拳 推 手 技 法 Fig. remember to follow instantly and quickly with the other leg. Kick as high as your opponent’s stomach and chest.9). 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. The key points here are the same as those for the previous segments. 王 西 安 46 .9 Regardless of which leg steps forward first.
prepare well by relaxing the chest and stomach to ensure your kick is fast.11 Kick mainly with the heels. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity. Before kicking. 3.12) and the Outward Kick (Fig. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. 王 西 安 47 . fierce and perfectly targeted. 3.Fig.10 Fig.11). • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front.13). As you reach a higher level of skill. sometimes with the soles. 3. with hitting points mainly on the inside of the foot (with the occasional use of the outside). 3. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. 3.
as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. explode energy like releasing the arrow”.13 • The Outward Kick is executed outward and upwardly.12 Fig. 王 西 安 48 • . this reflects the relationship between Yin and Yang’. while the body becomes straightened when kick is streched). Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. with the hitting points mainly on the outside of the foot (occasionally inside). In the Sideways Kick. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking).陈 氏 太 极 拳 推 手 技 法 Fig. 3. the whole body gathers together then opens up with an explosion of energy. 3.
toes grasping the ground and all muscles of the body relaxed. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. be it with the right or left foot. 3. Eye your target and prepare for the kick by gathering your internal energy and lowering it. While swinging outward to the level of the shoulder. Before kicking. 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. Always coordinate the kick with your hands. 3. use the Gen Bu (follow-on Steps). 3.15). Kick upward with the back foot. then bring it backward (Fig. If kicking with the right foot.14 49 . smack the foot with your hand to ensure the integrity of the energy. while your hands are targeted at the face. Your swinging foot is targeted at the back of the opponent’s head.14). which allows you to use quick and continous forward steps. Squat slightly. then swing it outward in a natural arc.
I take the back of the opponent’s head as target. I smack in the air by switching into the track of a swing arc.15 With openings and closings.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility. . And kick upward along with palms coordinated with Lü. 3. And smash enemies to pieces.
• Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. During solo practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . • Use both hands to execute Lü on one arm of opponent behind the body. No matter which you use. remember to balance upward Long (close) movements with downward Ti (raise). meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. • Hang one foot backward. • The action must be quick and powerful. Gua (hanging) and Gai (covering) in a second. • The foot hangs to the calf suddenly to make the opponent lose his balance. depending on the distance between you. keep your footwork flexible and neat. coordinating both with Tou Bu (sneaking steps). Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. rotating it slightly so that it slants to one side. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. • Pay attention to that you finish this action with the guiding of the waist and back. • Swing both hands backward to the side of the back hanging Foot. The powers of hand and foot combine together. palms facing outward. • Hold the body in a squatting position for the next few movements. You should finish Lü. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork).
I take the opponent’s upper body and chest as target. 王 西 安 52 The secret of Back Hanging Foot is to plot the method to seize the opponent down and to fiercly bring him under your control without detection. And enemies fall to the ground with face to the air. As a Tuishou poem states: With Yin and then Jin techniques. 3. your face looking upward.16). Hold your position and collect yourself enough to kick upward then swing downward. I explode my energy with the rotation of my waist. Move forward with Tou Bu (Sneaking Steps). Then lower your foot to the ground.16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. .陈 氏 太 极 拳 推 手 技 法 Fig. 3. And kick upward along with palms smashing downward. twisting the waist and rotating the back to exert more power (Fig.
30:70.17).. mindful that while one is in the air. 40:60. The attacking leg must be flexible enough to swing to the left or right.19). 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. these may not provide an accurate picture of weight changes required in practice or combat.Fig. 3. 3.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. Note that while weight distribution ratios may be used as a guide (e. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 . Use Front Bow Steps to practice this movement (Fig. 20:80).g. 3.18. since these are in a constant state of flux depending on the circumstances. Practice this transfer of weight by alternating the legs.
.18 Fig. so that the strikes are as rapid and powerful as possible. As one master said: 王 西 安 54 I move my centre of gravity. I explode and shock the ghosts.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’.19 Using Short Energy: Short energy should be used in both inward and outward kicks. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. waist and hands. 3. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. making your intention easily anticipated. shock their lower limbs and unbalance their upper body with my feet.
toward the target. Nichan Tui (Legs Reeling in Ni Circles). Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). working up your speed in gradual stages. Lower the tip of the toes of your unweighted right foot to the ground. When the right foot lands fully on the ground. then squat and step out with your right foot.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. Lihe Tui (Inward Knee Strike). Practice continuously alternating both legs. Begin with slow practice. step your right foot 40 cm forward to the right. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling.3. As the toes touch the ground. 3. making sure your leg is no higher than 15 cm above the ground. repeating the movements while keeping reeling from the left to right.3. Waibai Tui (Legs Swinging Outward). change the weight to the right and step out with the left foot. 王 西 安 55 . Xiacai Tui (Downward Cai energy). Move the left foot half a step to the left. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. a shoulder width apart from the left foot.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). look in the direction of the moving leg. Change your weight to the left. ‘Yong Yi Bu Yong Li’. Keep your legs reeling from left to right. Use intention (Yi) rather than physical force (Li). just as in form practice. that is.
Step the right foot forward. Inner knowledge can only develop with concerted. Raise the left foot. then step forward 40 cm to the left. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner.陈 氏 太 极 拳 推 手 技 法 3.20 56 . remembering that the inner side of the heel is the striking point. 3. transferring all your weight to the left. Practice these steps in continuous alternating cycles. You also need to practice Nichan and Shunchan with both legs. transferring all your weight to the right. 王 西 安 Fig. 3.20). continuous practice. step forward 40 cm with the right foot. rotate to the left forward at an angle of 360o. Next.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. and then rotate 360o left stepping on the toes (Fig. striking to both sides with each leg.3.
• While practicing. change your weight to the front foot. • Stand at attention. • Combine Lihe Tui with the rotation of the waist and spine. As such.22).3. practice with both legs and with change of directions. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg.3 Lihe Tui … Inward Knee Strike Lihe Tui is an inward strike using the inner side of the knee and is widely used in Qian Gong Bu (Front Bow Steps) and Ban Gong Bu (Half Bow Steps). 3. 3.21). 3. In Huobu Tuishou (Tuishou while walking). we usually attack with Lihe Tui using the right leg. attack with Lihe and then move 90% of your weight to the back leg (Fig.22 57 .21 Fig.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. then transfer your weight to the left before moving the right foot forward (Fig.
practitioners will come to realize the deep significance of their efforts.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps).24 58 .3. Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. Being content with a superficial understanding is fruitless. 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. During practicing Waibai Tui.23 Fig. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. 3. 3. 3.24). step forward with one leg and swing the other outward and then closing inward. regardless of whether you practice day and night (Fig.23). 王 西 安 Fig. Through diligent solo Tuishou practice. and requires a sudden outward swing of the leg as weight is transferred.陈 氏 太 极 拳 推 手 技 法 3.
Xiacai Tui consists of Cai to the left.3. The outer side can also be targeted once your ability improves.25 Fig. placing your toes slightly outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles). 3. • Start with your centre of gravity at the back leg. Shun Cai and Ni Cai are based on Front Bow Steps. placing your toes slightly inward. 3. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent. Cai to the right. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). • To do Ni Cai: move the back leg forward.26 59 .3.5 Xiacai Tui … Downward Cai Energy Cai means to pull down.
3.27 Fig. 3.28 60 . 3. striking inward and striking outward.25).6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. Practice with alternating legs during Single Form practice. With a spiralling move forward. Train your body to understand the meaning of ‘stretching consists in bending.26).陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). 3.3. 3. bending consists of stretching’. 王 西 安 Fig. striking to the front. you can enter the opponent’s territory (Fig. keep ankles relaxed and Qi descending (Fig. Deepen your understanding of Jin Li (energy and force distribution). Bend your knees about 40o – more than this and you will lose your centre of gravity.
• • •
All the above incorporate shifting of weight forward and back. Move the left foot forward then strike out the right knee, aiming it at the partner’s crotch (Fig. 3.27). While striking forward, roll the chest slightly inward and gather energy in the abdomen. Also, keep the hip and ankle relaxed, focusing your energy exertion on the target. Change your weight to the front, raise the knee, then strike it with an open palm (Fig. 3.28).
Li He Bu (Tuishou with Static Footwork) requires you to bend your knee, strike to the left, hit the inner side of partner’s right leg or the outer side of his left leg. (Fig. 3.29). Striking up and outward is called Waizhuang (Striking Outward). Key points are the same as in the previous striking practice (Fig. 3.30).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.29 Fig. 3.30
陈 氏 太 极 拳 推 手 技 法
3.3.7 Houbai Tui … Backward Swinging Kick
This is a wide-spanning movement and beginners are advised to imagine an opponent or target as they perform the technique during solo practice. • Lift the right foot to step forward and as you lean forward, swing the right leg backward using both the waist and spine. • As the right leg swings backward, fend off the opponent’s arm and attack with both hands. This technique of ‘attacking the upper parts and shocking the lower parts’ is often used to throw opponents to the ground (Fig. 3.31). Key points to remember are the same as in preceding techniques, all of which require whole body involvement.
王 西 安
3.4 fisT pracTice 3.4.1 Shangchong Quan … Fist Striking Upward
This technique consists of striking either fist spirally upward. • Step forward with the left leg, bending your knees slightly to transfer your centre of gravity to the left leg, then strike with the right fist using the ‘Ligou Quan’ (Fist Hooking Inward) technique, taking care not to overshoot your blow above the opponent’s head. • Simultaneously, use your bent right knee to hit at the opponent’s crotch (Fig. 3.32). • Integrate both fist and knee strikes with practice principles of rolling the chest slightly inward (Hanxiong), lowering the waist (Tayao), relaxing the stomach (Songfu), and drawing up the anus (Tigang). • Strengthen your centre of gravity to improve your accuracy by ensuring your left leg is slightly bent with toes grasping the ground (Fig. 3.33).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.32 Fig. 3.33
陈 氏 太 极 拳 推 手 技 法
3.4.2 Xia Zai Quan … Fist Striking Downward
This technique encompasses a downward strike with either fist at any angle. For example: • If the right leg goes forward, transfer your centre of gravity from the right to the left leg. • Clench the right hand into a fist, thumb tucked inside neither too tightly nor too loosely. • Strike the opponent’s upper body with the right fist, using your left arm to balance your movement. • You can also use the Bei Kao technique or attack with the elbows as well. • Again, effectiveness of this technique requires involvement of the whole body in the movement: ‘once you move, your whole body follows’ (Fig. 3.34).
王 西 安
3.4.3 Shuang Fen Quan Splitting Fists or Double Bursting Fists
• • • •
Take a half-step to the left (or right). Bend your knees slightly and gather both fists to the chest, centres (Quanxin) facing downward (Fig. 3.35). Prepare to strike by gathering in the crotch and knees, and rolling the chest and shoulders slightly inward. To strike, transfer your weight to the right (or the opposite leg) and simultaneously split both fists explosively from the chest to either side of the torso, fists facing upward. As you strike, open the crotch, knees, chest and shoulders. Remember to keep the external and internal energy consistent, and the energy flow smooth (Fig. 3.36).
陈 氏 太 极 拳 推 手 技 法
王 西 安
• • • • • • Take a half step to the right with the right foot. change your weight to the right leg and step your left foot forward. Rotate the body to the right then strike downward with the back of the right fist. 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.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 66 Fig.37). 3. fist centre facing inward. 3.4. Hold the right fist close to the left side of the chest.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.37 . However. Next. Rest the left fist beside the left leg (Fig. Rotate the right toes slightly outward as the foot lands. at the same time hooking the left fist upward.
and lower the left fist from its upward strike position back to the left side of the body).38 Fig. as the left foot steps forward (weight on the right).39) 王 西 安 67 . the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. stepping the right foot forward and exploding the fists before landing.Fig. Then repeat with the other foot. alternating both sides continuously (Fig. 3. the left fist rises above the right side of the chest and smashes down to the left. 3. 陈 氏 太 极 拳 推 手 技 法 In summary. 3. step the left foot horizontally over the right one. Practice these steps. the right fist is raised above the left side of the chest for more power and then smashes down to the right. both left and right fists rise and descend at the same time. downwards on the right and upward on the left. when the right foot steps forward (weight on the left). For example. involve your whole body in the attack.39 • • • • • Again. For each step. Likewise.38). (Fig. Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. 3. After striking.
• Sink your weight into the right foot and rotate the waist to the right to gather energy. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power. 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. • Sychronise both arms so that while the right fist flings forward. concentrating your power in the Quanding (the front of the fist).41 68 .40).41). 3. the left arm gathers inward and strikes backward to the left with the elbow. 3. 3. • Gather the right fist under the right rib (Fig. • Then fling the right fist forward in Ni reeling.4. stretching the left hand upward.陈 氏 太 极 拳 推 手 技 法 3. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’.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. fingers vertical. Practice this technique on both sides. • Step the left foot forward. This counter-balancing movement helps to accelerate the punch of the right fist.40 Fig. 3. 王 西 安 Fig.
energy does not manifest externally. 3. 3. 3. bringing the left palm to the front of the body (Fig. simultaneously gathering the right fist beside the right ribs. and practice alternating both sides. Repeat with the other side. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. The power of this technique depends very much on the practitioner’s physical condition. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.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. 3.3.42). so that the strike manifests within a narrow range yet internally it contains great power and flexibility. Instead. • • • • Step the right foot forward.43 69 . only about 40% of the jin force generated is exerted as short rather than long energy. Then step the left foot forward. the main difference being that in the former.43).42 Fig.4. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist).
and press the tip of the thumb against the middle fingernail. up or down.44). This forms the ‘peak’ of the fist. This makes the fist ‘peak’ stable and solid.44 .4. • Clench your fist so the middle joint of the middle finger protrudes. • Brace the middle finger with the index and ring fingers. 3.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. 3. using small agile steps (Fig. 王 西 安 70 Fig. like hammering a nail.陈 氏 太 极 拳 推 手 技 法 3. • Strike with force and ferocity with this fist using short energy. • Attack to the left or right.
8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. Guanyang means to hit the temples with two nails.46 71 . Roll the chest and shoulders slightly inward. 3.4. 3. Bring the fists together in the middle about 25 cm apart. hence creating a dual attack with both fists and knee (Fig. gather the ribs and lower your energy to the Dantian (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.45 Fig. Place your weight on one leg. Method 1 • • Method 2 • • • Step forward with either leg. 3.45).3. 3.46). Bend the other leg then strike both fists upward together. Practice both methods using both legs. Form two nail-shaped fists and strike from both sides using short energy.
thrusting them forward with explosive force. practice using long energy first. 3. • Step forward with either leg. and lower the energy to the abdomen (Fig. • Strike forward with both palms.5 palM pracTice 3.48).1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy.48 72 . • Place your hands in front of the chest. the ribs gathered. the chest rolled slightly inward and the spine slightly lifted. while making sure the chest is relaxed. • Prepare for the strike by ensuring your axis is upright. transferring your weight to the front.47 Fig.5. fingers pointing up (Fig.陈 氏 太 极 拳 推 手 技 法 3. though in the initial stages. 3.47). 王 西 安 Fig. 3. • Step forward with the other leg. palms facing forward. 3.
52). while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. elbows and wrists are lowered.5. speed. lower your energy abruptly and push forward with short energy using small steps. gather the chest and stomach like a cat stalking a rat. Make sure your shoulder. • Repeat using the left palm. thrust your arms out about 50% (Fig. 3.51. a Double Palm Push needs to be sudden and exerted directly forward.50. 3.49 When practicing with short energy. 陈 氏 太 极 拳 推 手 技 法 3. Just before the explosive strike. As the energy reaches the wrists. • Thrust the right palm forward or diagonally to the side. 3. The power. 王 西 安 73 .Fig. using long or short energy (Fig. 3. To be effective. • At the same time step forward with the left leg. 3. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy.49).2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back).
52 . gradually increasing the speed. abruptness and power of the push. you will be able to explode energy with natural ease by combining both external form and internal spirit. With continuous practice. 3. Fig. 3.51 Fig. and hence conquer your opponents without effort.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. 3.50 王 西 安 74 Fig.
enabling you to hit your target with more precision and power (Fig. 陈 氏 太 极 拳 推 手 技 法 Fig. 3.53 Fig.3. 3.53). This creates an energy balance that stabilizes your centre of gravity. whilst using the other palm to push at the opponent’s chest or strike at their stomach. while gathering the other hand beside the ribs (Fig. Direct energy above the waist upward and energy below the waist downward.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. • • Step one foot forward and ward off an arm attack with one hand. 3. 3.54).54 王 西 安 75 .5.
Explode this energy through the right side of body out through the right palm. and then straighten it while pushing the right palm upward. 3. • At the same time. first at an angle then vertically upward. the stomach gathered and the chest rolled inward (Fig. 3. open the right side of the chest and stomach. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). while gathering energy on the left side.55). • Keep the hips relaxed.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward.55 76 .陈 氏 太 极 拳 推 手 技 法 3.5. 王 西 安 Fig. • To push with the right palm: bend the right knee. • As you push upward.
3. 3.58).5.57 77 .’ Apply this technique during Single Palm practice.56). Keep your body and energy lowered while doing this. • Then swiftly draw the opponent into your domain by touching their back with your left hand. • At the same time. Shun means ‘sequence’) (Fig. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3. 3.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3.57). stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’.56 Fig. rotate your body to the right. then quickly striking their chest with your right palm (Fig. 3.
lower the shoulders.6 Shunni Tuo Yao Zhang Push Partner’s Waist with Shun or Ni Reeling This technique enables you to push the opponent to either side using both Shun and Ni reeling. left and right.5.陈 氏 太 极 拳 推 手 技 法 Fig. 3. For example. Coordinate the movements of your body with those of the palms. • As you lower the body. moving the body quickly forward. 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. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. and gather the ribs and dantian. 3. This helps to concentrate energy in the palms.58 • • Also apply the usual principles: roll the chest inward. 王 西 安 78 .
Fig. thrust forcefully at the opponent’s ribs. 3. 3. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. 3. 王 西 安 79 . this time at the left side with your right hand. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling.60).60 • • • As you do this. respond in this way: • Step forward with the left foot. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward. extending the thumb and fingers (Fig. 3. inclining outward and exploding with the left palm (Fig. Unify the three actions of stepping forward.59). • Key points are the same as with the left hand push above.59 Fig. • Again. lower your body then extend it forward with Shun reeling. Next.
陈 氏 太 极 拳 推 手 技 法 Fig. Also. “Energy comes from heels. . 3. especially when stepping forward and exploding energy (Fig.5. • As you seize. dominates the waist and penetrates to every part of body. as advised in an essay. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles. so that energy flows to the very tips of the body.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. goes through legs.” 3. Relax your joints to enhance energy application. change your centre of gravity from the left to the right. roll your chest slightly inward and bend your right arm inward. coordinate the waist and legs when exploding energy. 3.7 Danzhang Shunni Chan Fa Shun or Ni Reeling with Single Palm 王 西 安 80 This technique consists of using either hand to seize the opponent using Shun or Ni short spiralling energy.61). regardless of the technique or force used.
practice alternating the seizing between right and left hands. guide or bring along . you are able to use both palms to seize the opponent (Fig. 3. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended.63 • • • With your right arm. 3. listening closely to your partner as you do so. To speed up your response. 王 西 安 81  ‘Dai’ means to lead.62 Fig. palm open. Thus.62). 3. 陈 氏 太 极 拳 推 手 技 法 3.5.8 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. If the opponent escapes.63). Change your right hand to Shun reeling and your left to Ni reeling. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig.Fig. reach under your opponent’s front arm. 3. • At the same time.
3. fingers pointing to the front (Fig. face the left palm outward. fingers up. moving your arms to stabilize this rotation.64).64 Fig. 3. Bend your right arm 90o inward and form a fist with your right hand.65 • • • • • Extend your right arm forward.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. 3. Practice on both sides. gather the right hand beside the ribs. Change your weight to the back and turn to the right. . fingers to the front (Fig. 王 西 安 82 3. 3. Transfer your centre of gravity to the front. palm up. 3.65).陈 氏 太 极 拳 推 手 技 法 Fig. Clench the left hand into a loose fist and push it forward. Then hit the opponent with the right arm (Fig.5. As your step forward.66).
3. coordinate the waist and spine when shaking the right palm forward in Shun reeling. left under right and right under left (Fig. move the left hand and foot quickly forward together.67). to increase the speed and power of the explosion.66 Fig. To increase the precision and power of the fingers. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. Return the hands to their original positions before the next energy explosion. reel the right hand in Shun reeling to the right and step the right foot forward. Also.67 • • • • • • Lift the left palm over the right. As the right foot lands on the ground. 王 西 安 83 . 3.Fig. 3. and then explode both palms forward with a piercing thrust. Next. place the left thumb and little finger in opposition while the remaining fingers face forward.
6 elbOw pracTice 3. 3. In this case. 王 西 安 Fig. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body.6. Remember to apply long energy before you apply short energy (Fig. 3.陈 氏 太 极 拳 推 手 技 法 3. the left arm counter-balances the movement of the right. 3.69 84 .68 Fig.69). palms facing in (Fig.69). 3. strike forward with the right elbow while hitting backward with the left elbow.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot. As you change your weight to the front. At the same time. Practice striking with both elbows with corresponding weight changes to either side.
70 Fig.71 85 . After the strike. and clench the right hand into a fist. gather it close to the right ribs. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. 3. At the same. Alternatively. 3. return the elbow to the right side.70). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. As the right elbow descends. Then strike the right elbow down for the second time (Fig. palm up. Lift the left hand when the right elbow completes 90o of its descent.6. 3.3.71). At the same time.2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. step the right foot forward again and extend the left arm forward. Step the right foot forward and strike the right elbow down forcefully as the foot lands. bend the right elbow inward. 3. slap the right shoulder with the left palm. take a small step forward with the left foot. wrist turned inward and the palm facing backward.
陈 氏 太 极 拳 推 手 技 法 3.73 Fig. 3.72 王 西 安 Fig. Rotate slightly to the left.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. 3. Fig. 3. then turn right with the right toes facing slightly out.74 86 .6.
Step the left foot forward. 王 西 安 87 . As you do this. so that both feet are approximately 50 cm apart.75). as if warding off (Fig. 3. clasping the right forearm with the left palm. transferring your centre of gravity to the left. palm facing in. • • • Practice with the other arm. Move the body to the left and transfer your centre of gravity to the right and back. clasping the right forearm with the left palm. clench the right hand into a fist.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. then step forward with the right foot.74). Remember that the right leg moves forward with the right arm and vice-versa. 3.6. 3.72). Turn to the left and strike out explosively with the right elbow. raise the right hand across the front of the chest to the left in an upward arc. Gather the body by bending it slightly. 3.• At the same time. Step the right foot to the left and bend the right arm. toe tips slightly touching the ground.73). Gather the body to prepare for attack by lowering the body slightly (Fig. 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. Focus on ‘hitting upward’ with your right elbow so as to destabilize the opponent’s centre of gravity and lift them off from the ground (Fig. gather the ribs and lower your Qi.
6. Practice with both sides (Fig. palm down.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. 3. the right fist lowered to front of the left armpit. 3.75 Fig. 王 西 安 88 3.陈 氏 太 极 拳 推 手 技 法 Fig. Once familiar with the practice. Simultaneously. strike the right elbow to the right.76 • Spiral the right arm forward with Ni reeling.76). Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). balancing this movement with the left hand. Next. use short and fast energy. 3. practice with long and slow energy. turning the body to the right. • In the initial stages. gathering it horizontally in front of the chest. with the following differences: . step right with the right foot.
78 3. palm down. 陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 89 .77). toe tips on the ground. Before the foot lands.6.78).6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. • Simultaneously. 3. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. • Jump the left foot half a step to the left. landing approximately 50 cm apart from the left foot. palm facing right. 3. extend your left palm forward. • Stand at attention with the arms relaxed at the sides. 3. while Xin Zhou is targeted to the front (Fig. 3. • Turn the body to the right and reel the right palm across the chest to the right.• • Shun Lan Zhou is aimed slightly to the back. jump slightly with the right foot. fingers pointing up. Touch the right knee with the right palm.77 Fig.
3. 3. As you change weight.79 Fig. then transfer your centre of gravity to the right.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. After the strike. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). Look to the right side of body while striking upward.80 Fig. starting with slow movements initially until the steps become familiar. clench both palms into fists. Return the left fist beside the right ribs (Fig. toe tips touching the ground (Fig. 3. 3. placing the left fist below the right. step the left foot to the left.80).陈 氏 太 极 拳 推 手 技 法 Fig. While striking on the right. balance the energy between the upper and lower body. step the right foot forward.81). toe-tips on the ground. taking the waist as the dividing line. Move the right fist toward the right shoulder using Shun reeling.79). bending the wrist before striking upward quickly with the back of the right fist. followed by the right foot. Instead. then gradually using short and fast energy. 3. Next. avoid letting all your energy flow upward as this will destabilize your root. 3. Also. Practice on both sides. .
3. Change your weight to the left.83). 3. Gather the fists close to the chest (Fig. place the left arm inside the right. the right elbow executes the dominant attack.82 Fig. 3.82). • • • • Step to one side with either leg. If you stepped to the left. then strike with the right elbow. 3.6. looking to the left and concentrating energy in the elbow tips (Fig. then exploding both elbows horizontally.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. while the left the supplementary strike. Practice alternating both sides. 陈 氏 太 极 拳 推 手 技 法 Fig. In this position. 3.83 王 西 安 91 .
This increases the force of your attack.84).84 Fig. prepare for the stike by gathering the wrists inward.85). • • Step one foot forward. 3. Try to feel the effect of this preparation during practice (Fig. 王 西 安 92 Fig. looking to the front and rolling the chest and shoulders inward.85 .陈 氏 太 极 拳 推 手 技 法 3. 3. 3. As your weight transfers to the front.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows.6. 3. holding fists on either side of the ribs (Fig.
As the weight shifts to the left.87). You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. At the same time. take a big step forward with the right foot in front of the left.86 Fig. 3. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then lift it so that the right elbow is positioned over the right knee (Fig. 3.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly.3.6. As your centre of gravity shifts to the left.87 93 .86). clench the left palm into a half fist and place it beside the left leg. palm to the front. 3. 3. rotate the body to the right. palm facing inward and inclining backward. clench the right hand into a fist. Simultaneously. Practice alternating both sides.
10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). • Change your weight to the left. strike forward explosively with the right forearm using a short-energy (Fig.88 94 . palm up. 王 西 安 Fig. In this way. shifting your centre of gravity to the front. 3. • Shift your weight abruptly to the right and form a half fist with the left palm. • After exerting Pie force. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. Make sure both hands move and arrive at their destinations simultaneously. • Step the right foot forward. • Extend the right hand outward. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). • At the same time. As one of the Eight Forces. moving it beside the left ribs.6. the legs should be parallel to each other. • 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.陈 氏 太 极 拳 推 手 技 法 3.88). then lower it over the right knee. 3.
3. palm up. and extend the left hand forward to the right.6. using downward Ni reeling. Form a hook (Diao Shou) with the right hand with the little. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. • While lowering the left hand. The thumb and index finger form the character Ba ‘八’. Shift your weight more to the left as you do this (Fig. lower the left hand from the front of the chest to the left ribs.89 95 . • Then.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. • Step backward with the left foot shifting your weight to the left. In this way. closing it slightly. both internal and external movements are integrated with the movements of the body and limbs. 3. using guiding energy from the little finger. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Raise the right hand from the right side.3. ring and middle fingers.89). use Cai technique to strike out explosively with the outside of the right forearm and elbow. • Keep the left hand open so the thumb is separated from the fingers. bending the elbow.
make sure power is gathered properly through the whole body and that your timing is correct before you strike. and extend the right leg backward. toes grasping the ground. 3. the right thumb guides energy flow.90). moving your weight to the right (Fig. At the same time.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. you raise the right hand in Ni reeling to descend the elbow (Fig. While transferring weight. 王 西 安 96 Fig.6. and then. Note: For maximum effectiveness. 3. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. • • • • Bend the left knee. especially useful as a defensive move when being attacked while in a passive situation.陈 氏 太 极 拳 推 手 技 法 3.91). 3.91 . 3.90 Fig. strike the right elbow backward at an upward angle (Shang Chuan Zhou).
7. Xiong Kao. 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. The right foot and right arm should reach their positions at the same time (Fig.92 Fig.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. 3.93 97 . 3. 3.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. 3. As you shift your weight to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Shuang Bei Kao and Qi Cun Kao. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao.92). Ce Jian Kao.3. Ying Men Kao.
3. On completion of the shoulder push. if you find you get into an appropriate space for attacking. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). 3. pushing it forward and down. Then step the right foot forward again to execute Zai Kao for a second time.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs.94). Repeat these steps for both sides. . quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. 3.7.陈 氏 太 极 拳 推 手 技 法 • • • Then. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. After executing the above. As the body inclines forward significantly during this move. Then take another big step forward with the right foot. As the heel touches the ground. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. step forward with the left foot and place it next to the right foot. Note: Only push when you are in the correct position. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward.93). use the outside of the right shoulder to execute Qian Zai Kao. take care to maintain your centre of gravity by not stretching too far forward (Fig.
Dai (lead and pull) and Ji (attack) energies together. 3. 王 西 安 99 . light but not floating” . When firmly closed.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. lowering down but not stiff.Fig. arms are a defense against 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. 3. conversely if one is able to ‘open’ the doors of the opponent. then techniques such as Ying Men Kao can be used to penetrate defences and attack. This only comes with closely combining the Yin (guide). Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose.7.
3. 3. cross the hands in front of the chest. 3. Next. move both arms to each side of the body and push the right shoulder forward in attack (Fig.95).95 Fig. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. Note: There are two ways your can attack with Ying Men Kao: • You can lower your power slightly so that the tip of the shoulder protrudes more. Separate the hands of the opponent to expose his chest (Fig. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. Once the attack is completed. 3.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. • You can use more of the shoulder surface in the attack. It is easier to hurt the partner using a narrower attacking surface.96). fingers pointing up and palms facing the sides of the body. move the left foot forward parallel to the right foot and repeat the sequence for another attack.陈 氏 太 极 拳 推 手 技 法 Fig. At the same time. . the right hand above the left.
3. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. Only with a thorough mastery of this technique. move the left foot parallel to the right. Note: Focus on sharpening your sense of timing during practice.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. A good sense of timing is essential for defeating the opponent. 3. can you execute it in actual combat (because you may easily hurt yourself ). 3. • After this move is completed.97).98).7. • Extend both arms from the sides to the front in an embracing gesture. • Then roll the chest inward and shift your weight quickly from left to right. 3. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the chest and waist are in a collapsed position. • Step the right foot forward. shifting your weight to the front. using this shift to deliver a sudden push with the chest (Fig.97 Fig.98 101 . • To begin. 3.
3. • When the weight moves forward the chest rolls inwards. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short.99 Fig. 3. Note: As mentioned in previous techniques. shoulders slightly concave and with power guided by the thumbs (Fig. 3.100). • Stand with feet parallel. • Gently rotate backwards with both palms facing backwards. 王 西 安 Fig. • When the whole body holds and collects to a moderate extent.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. You may lead with either leg. This technique also uses Duan Jing (short power).99).100 102 . take a sudden breath in and push the chest forward quickly. a capability that comes only with extended Quan practice.7. rebounding and shaking power). as the shoulders deliver Bei Kao backwards (Fig. remember to gather and withhold energy before delivering the strike. 3. and the shoulders execute Bei Kao to the right .陈 氏 太 极 拳 推 手 技 法 3.
3. fingers pointing down. extend the distance of your Kao slightly. • Once your root is stabilized. • Turn the body slightly to the left as the right hand rises. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Note: If the opponent is at close-range. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. Find a stable centre of gravity with the body and gather your body in this position. • Gradually move the right arm downward toward to the inside of the right leg. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. if further away. • Practice pushing from both the right and left sides.101 103 . • Start doing Shun reeling with your right hand as you move your weight slightly to the front.7. • Extend the right foot and arm forward. 3.101).3. continue to transfer your weight to the right. use short power in your push.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao.
This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice.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. 3.陈 氏 太 极 拳 推 手 技 法 3. 3. • • • • Take a large step diagonally forward with the left or right leg. Practice this sequence in rounds from left to right.7.102 104 . Place the elbow below the knee (Fig.102). Incline the body forward in the same direction. 王 西 安 Fig. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). Note: Power applied in the initial stages should be slow rather than quick.
palm up (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na.3. Chan Rao Na. 3. and Shuang He Na.103). Tui Na. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. 3.8.104).104 105 . Fu Na. 3. 3. • At same time. • Extend the left foot and left hand forward. • Rest the right hand near the right ribs. Xiong Na. Diao gai Na. • Relax the left side of the crotch and shift your weight forward to the left.103 Fig. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. Shuang He Fu Cai Na.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. 3. palm facing in.
you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. but she evades your attack by ducking down. Note: Shun and Ni reeling are interdependent and cannot be separated. Repeat the above sequence. Seizing techniques are quite difficult to practice. even though you deliver the power later than the partner. i. changing the weight from left to right. this time reeling in Shun direction with the left hand and Ni direction with the right. 王 西 安 106 Closing with the left while seizing with the right and vice versa. move the weight slightly backward then move forward again. With practice. After seizing. tighten the ribs. you will be able to execute these changes quickly and smoothly. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. Observe your opponent’s changes and respond accordingly: if the opponent uses long power.e. lower the shoulders. roll the chest in. Your moves will become more effective as your internal Qi integrates more closely with the external movements. When seizing. then you must respond promptly by swapping the reelings to the opposite hands. and lower your waist and Qi. drop the elbow. in order to block the opponent’s energy path. Shun reel with the right hand and Ni reel with the left. if you practice each side diligently. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. . Try to relax at every step while applying the seizing action firmly.
palm out. Then rotate the right hand and body to the right.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. 3. 3. The shift to the left enables you to hit the target clearly (Fig.105 Fig.8. tighten the ribs.106). extend the left hand forward to rest in front of the body (Fig. 3.107). As you do this. 3.107 王 西 安 107 . roll the chest in.105).106 Fig. and shift your weight to the right side. relax the left side of the crotch and shift your weight to the left. Then lower the right hand to the right ribs.3. 3. lower the Qi. and clench the right hand into a fist. Again. 陈 氏 太 极 拳 推 手 技 法 Fig. placing it in front of the chest. • • • • • Step forward with the left foot and move the right hand in front of chest to fend the opponent off upwards to the right at head level (Fig. 3. At the same time.
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.8. Move the whole body in a natural and relaxed state. the force of upward suspension maintains the axis. lower Qi to the abdomen in preparation for the inward roll and seizing. the palm forming a “八” (Ba) shape.” 3. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground.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.109). 3. palm facing left (Fig. palm facing right (Fig. • Step the right foot forward and pass the right hand across the left side of the body. 王 西 安 108 . Make sure to keep your own axis when seizing the opponent. Shift your weight forward and accumulate power well. Match the speed of your movements to that of your partner. Relax the crotch. and gather energy in the ribs. Move quickly and follow your partner but do not lose power. roll the chest slightly inward and gather the ribs. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. • Step the left foot forward and extend the left hand to the front. • Close the crotch. • At the same time. 3. reel with both hands in a Shun direction. The strike is actually applied by the left side of the chest. while the two hands serve as supports. Draw the arc with the intention of meeting the opponent’s hand. • As the weight shifts to the left. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. rotate the body. The left hand leads by closing the power causing the right hand to follow.108).
seize with the right and roll the abdomen – these three actions combine to become one power. 3. whose movement is heavier (Fig. 3.Fig.110 109 . 3.108 • • As the Qi descends. 3. the left hand moves lightly and assists the right.109 Fig.110). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. The abdomen provides the main supporting element. clench the left hand. The eyes look forward and to the left.
whereby the abdomen gathers power to support the hands. 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. • • • • 王 西 安 110 • • Take a half step forward with the right foot. and gather them towards you (Fig. Move swiftly without hesitation. 3. Concentrate your energies then pounce on your opponent like an agile cat. and both feet standing steadily as the hands move. the right foot steps forward. capture and immobilize the opponent. the right hand moving down while the left moves up. As you seize. bending them at the elbows.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. while the hands use Na (seizing) power to collect inward.111). Both hands extend forward in sequence. move the palms up to chest level and seize the opponent’s elbows using Na power. extend both arms to the front. push the abdomen out suddenly (Fig. do not be kind to the foe for the opportunity to attack comes just once. facing in so that the fingers are directed towards each other. As your weight shifts. 3. Direct the eyes to the front. Continue to shift your weight forward. and commence shifting your weight forward. At the same time.112). 3. immobilizes their wrists by bending them outwards. roll the chest slightly inward.8. .陈 氏 太 极 拳 推 手 技 法 In summary. palms about 10 cm from the lower abdomen. followed by the left. keep your intention firm for victory or failure will be decided in a second.
陈 氏 太 极 拳 推 手 技 法 3.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. Reel the left hand forward. 王 西 安 111 .111 Fig. 3.113).Fig.8. Lower the right hand then cover it with the left. 3. fending the opponent off upward to the right (Fig. supported by the warding right hand. 3. so that you respond by moving your weight forward. Step the left foot forward and shift your weight to the left. and lower Qi in your abdomen before protruding it forward.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. • • • • Step the right foot forward and pass the right hand across the chest.
Combine them with the power of chest to become one power (Fig. But remember: practice like an adept. 王 西 安 112 Note: If Qi descends smoothly.114 • • • • Put your body in a squatting position by bending the knees slightly.114). Alternate practice on both right and left sides. this technique can be used effectively to break wrists. Step the right foot forward again and repeat the above steps. . 3. tendons and veins. Collect the hands inward to about 15 cm in front of the chest.陈 氏 太 极 拳 推 手 技 法 Fig. Collect the body by rolling the chest slightly inward. not like a thug. 3. bones. by taking a step forward (Shang Bu) each time. gathering the ribs and lowering the waist and Qi. 3.113 Fig.
roll the chest in and gather the ribs (Fig. Lower your Qi.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. 3.8. 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. the Three Powers (Jing Qi Shen) combine to seize the opponent. • Bend the left arm inward to gather both palms. and move both hands to assist the left leg. relax the crotch. fingers pointing forward. In this way. The powers of the left arm and right hand unify as one. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • As you step.116 113 .115 Fig. • Step forward with the left foot and extend the left arm to the front. • As soon as the right hand reaches the level of the left leg. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. shift your weight forward and bend the knees slightly so that the body squats like a bent bow. 3.115). • As the weight moves forward. • As the knee swings inward.3.
• Then lower the right arm by executing Lü downward in Ni reeling.117). 3. 王 西 安 Fig. 3. 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.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. 3. 3.8.118 114 . The changing of the legs happens quickly. guiding it to the right ribs for support (Fig. shift your weight quickly to the left and step forward with the right foot. • Step forward with the right foot.116). shift your weight to the front and extend the left arm again to repeat the steps and seize once more.117 Fig. • At the same time. As you step forward. 3.7 Diao Gai Na … Seizing with Both Hands This technique uses both hands to seize: the right hand moves up from the right to grasp the opponent’s arm from the bottom while the left presses down from the top. gradually guiding it inward to rest in front of the right ribs. spiral the right hand up from the right side into an arc.
The intention is to have the whole body collecting and seizing together with the hands. shift your weight to the right and move the left foot and hand forward (Fig. the left palm moves down in Shun reeling to cover the the arm of the opponent so that the forces of both arms work as one. lower the shoulders. 3.Fig.119 • • • • • • As soon as the right foot touches on the ground. roll the chest slightly inward and bend the knees slightly into a squatting position.119). shift your weight to the right and step forward with the left foot. 3. 3. Continue to move the right hand and foot forward. As the hands move. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 . Then move the right hand forward in Shun reeling until it reaches the same level as the nose.118). When the right hand moves up. As the right foot touches the ground.
120). then gather both hands and grasp the opponent’s wrist firmly downwards. 3. 3. Bend your knees so your body squats like a bending bow. 3. 3.121).8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize. step forward with the left foot and shift your weight to the front.121 116 . 王 西 安 Fig. Prepare for the seizing by lowering Qi to the Dantian.8.陈 氏 太 极 拳 推 手 技 法 3. rolling the chest inward and tightening the ribs. strengthed by whole body coordination. This step marks the transformation of Peng (ward off ) to Na (seizing). Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. At the same time. Combine this with the power gathered in both hands and seize with one force. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig.120 Fig.
9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. the Guan Gong Jie Dai technique is said to be named after its creator. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. Guan Gong Jie Dai 2. • Move Qi in from the outside and lower it to the Dantian.122). • Inhale. • Hang the hands naturally at the sides. • Stand with both feet in parallel. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. • Next.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book.3. Fan Na Cu Bu Jie 9. Shan Jing Ce Jian Jie 7. middle finger. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. Shan Jing Zhen Zhang Jie 8.9. shoulder-width apart. This technique enables a practitioner to avoid capture or break a hold. Chuan Zhang Jie 5. such as a waist grasp from the rear to throw you down. and finally the index finger. 3. 王 西 安 117 . then the ring finger. Diao Wan Qu Zhi Jie Tuo 3. ‘Wars Among Three Countries’ by Guan Yu. Qu Wan Fan Na Jie 6. Guan Gong. Shuang Wan Zhi Jie 4. eyes looking forward.
2 Diao Wan Qu Zhi Jie Tuo Escape by Hooking Wrist & Bending Fingers This technique is especially useful to release a hand hold by an opponent. If the fingers are being held. 3. 3. 3. hook the wrist and bend the fingers to escape. the gathering of the ribs and the hooking of fingers should combine to become one unit. and also with the speed of Qi descending.9. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip). the squatting of the body.122 Fig. 王 西 安 118 3. . otherwise it is not easy to unfold (Fig. In this way.123 • Synchronise the speed of this movement with that of the body.陈 氏 太 极 拳 推 手 技 法 Fig. This technique becomes effective only after extended practice.123).
3. rolling the chest inward.124 Fig.Fig. so that Tuo (escaping) power can reach the fingers effectively. 3. Practice these steps with both hands in turn. 3. join the fingers of your hand together and point them diagonally upward to the right (Fig. 王 西 安 119 .125 • • • • • If the fingers of one hand are seized by the opponent. Move your body to transform the attacking power. relaxing the shoulders. 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. 3.125).124). slowly bend the wrist and fingers. By the end of your movement. By doing this. lowering the elbows. your conjoined fingertips and knuckles should be able to escape with ease (Fig. and lowering your Qi as you do so. As you move. unblocking the arm area being attacked. you relax and elongate your encaptured arm.
3. clench both hands into fists. roll the chest inward. closing your hands while opening the opponent’s.127).9. 王 西 安 Fig.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. It is not necessary to use large movements in this technique. At the same time.127 120 .126 Fig. Just focus on relaxing and lower the Qi. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand.126). tighten the ribs. While doing this. then move your arms forward and upward as your weight shifts forward (Fig. 3. 3. bend the arms. 3. and lower the Qi so that power can flow smoothly to the inner side of the wrists. • • • Step one foot forward and shift your weight to the other leg (Fig.陈 氏 太 极 拳 推 手 技 法 3. lower the shoulders and elbows.
• Two feet stand flatly and the body stands straight. tighten the ribs. 3.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.9. and roll the chest inward. It is most often used in the transition between the Jin Gang Dao Zhui posture (Buddha’s Warrior Attendant Pounds Mortar) and the Lan Zha Yi posture (Lazily Tying Coat). and Qi. • Bend the knees slightly to place the body in a squatting position. elbows. placing the right hand on the left (Fig.128). 3.128 Fig. and lower the shoulders.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 both arms 90o inward and cross them in front of the chest.129 121 . two eyes look forward horizontally.
3. swapping the Shun and Ni reeling to the opposite hands.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. If you choose to turn to the right: rotate the body to the right then left. 3. 3. It requires you to twist the captured fingers outward in Shun reeling. Do not rush forward but defend you territory in straight postures (Fig.129). 3. Then ward off (Peng) by pushing both palms outward. and move the right hand in Shun reeling while the left does Ni reeling. 王 西 安 Fig.130 Fig.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.131 122 .9. then rotate forward again. 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. and lock the palms of the opponent.
133 • • • • • Extend your right arm forward. it will be difficult for opponents to overcome your attacks. raise the elbows. 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. palm facing left (Fig.132 Fig. step the right foot forward (Fig. 3. As you do this. 3. relax the shoulders. As the right toes touch the ground. extend the left hand forward to support the right hand as it seizes downward (Fig. 王 西 安 123 . 3. Apply the principle of constant change and flexibility in Taiji circles. Your movements should be relaxed and executed with power at all times. If you practice diligently. While rotating the arm.133). 3. then bend it about 450. 3.Fig.132). 3.131). wrist bent inward in readiness to seize and fend off danger (Fig.130). 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. Rotate the arm about 1800 outward in Ni reeling.
so that the power of the left hand combines with the right to become one. • Simultaneously. Next. • The right wrist bends inward with the arm to rotate the hand in Ni reeling.陈 氏 太 极 拳 推 手 技 法 3. you should rotate externally and upward in Ni reeling. • As the right palm reels outward. roll the chest inward.9. • Extend the right arm horizontally and bend it 900 inward. 王 西 安 Fig. this sequence of movements make up the Shan Jing Ce Shen Jie technique. the palm gradually guided by Ni reeling to slant externally to the right. coordinating it with the lifting of the back and the descending Qi.134 Fig. 3.135 124 . then move swiftly to the right to destabilize the opponent. 3. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). right fingertips initially pointing downward. In response. move the left hand rightward to the front of the chest. Together.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. palm facing right.
make a big step forward with the right foot. then quickly step the right foot forward (Shang Bu). shift your weight to the left .134). Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. The above movements of both arms and the right foot should occur in one very smooth and swift motion. 3. because with these. Note: Move in Ni reeling while the opponent moves in Shun reeling. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. 陈 氏 太 极 拳 推 手 技 法 3. All the above movements of the hands. 3. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. touching the ground with the toe tips (Fig.• • • As your left hand moves.9. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). 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. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. giving him a sense of losing of Qi. 王 西 安 125 . So Shan and Jing serve as the pre-condition of escaping. Almost at the same time. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape.135). and thus enabling one to evade capture. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy.
137). and the extending palm reaches the right position at the same time.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time. palms facing up and the two little fingers placed on the middle of each arm.138). Simultaneously. As soon as you surprise and destabilize them with your moves. When the body and two hands send the Dou power. step forward quickly and attack with the palm (Fig. slowly raise both hands and bend them inward about 1800. then Shang Bu (take a step forward). Next. 3. the body squats.138 126 . At the same time.137 Fig. and both palms draw inward. clench the hands into fists and place them at the sides of the body (Fig. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. 3. 王 西 安 Fig. 3. 3. This power should be quick and strong. 3. palms facing up and eyes looking forward.136 Fig. 3.136). Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. then the whole body sends a Dou in a circle in Shun reeling (short power). open both fists and shift them away from the sides of the body.
It is not wise to grasp the opponent’s elbow with your fingers. 王 西 安 127 . you find escaping easy. 3. With Shan and Jing. As the right foot steps on the ground. Bend the knees slightly to place the body in a squatting position.It is just like the poem reads: ‘It is not a failure if you retreat your pace. 3. thumb separated from the fingers (Fig. then shift your weight to the left and inclining the body to the right to hold and collect. Two elbows draw inward and hands move outwards. the partner cannot reach you though his attacking power is strong. Step diagonally right with the right foot.8 Fan Na Cu Bu Jie … Escape by Stomping This is a composite technique consisting of seizing and twisting the opponent’s joints (Fan Na) using the Fan Guanjie (Reverse Joints) technique. and attacking by the Cu Bu or Dun Bu technique (stomping). At the same time. extend the right hand diagonally forward to the side. since he or she can easily twist your fingers and get you caught’. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. holding and collecting a quicker speed.139). palm facing out. fingertips slanting up (Fig. extend the left hand from left to right. first bending it inward then moving it outward to the right. which is against principle.9. Then push the left palm to the right. 3. because sometimes appropriate retreating gives one a closing power.140).
side pushing with the left palm and exhaling at one time. 王 西 安 128 . from long power to short power. 3. paying attention to the upper and lower body and your surroundings. the body should move from high to low. only by this will you increase in strength.陈 氏 太 极 拳 推 手 技 法 Fig.139 Fig. 3. Be patient and diligent with practice. This power can only be gathered with greatly unified power. During the practice.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. Even if you sense the opponent’s intention to move. 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. from slow to quick. Stand rooted like a big tree. Then you will free yourself from capture.
tighten the ribs and lower Qi to the Dantian.142). bending inward about 90o. exhale. palms facing in (Fig. As you do this. the hands wrest free of the opponent’s wrist grip. separate the hands to the sides of the body. • Next. palms facing each other. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.141 Fig. 3.142 129 . • Extend both arms forward.3. lower the shoulders and elbows.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.141). breathing in as you do this. • In this way. 3. • Step the right foot forward.9. roll the chest in. • Then bend both wrists inward. 3. eyes looking forward (Fig. the left hand in Ni reeling and the right in Shun reeling.
143). 3. You can escape from seizing by one closing and one opening.144 Notes The extent to which you separate your hands depends on the opponent’s grip. then separate them to each side. then raise your hands.陈 氏 太 极 拳 推 手 技 法 Fig. then you transform and eliminate the seizing on your wrists. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. finally returning them to the front of the chest to repeat the cycle (Fig. 3. Palm Inserting Down) (Fig.144). 3. 3.143 Fig. 王 西 安 130 . insert both palms downward (Xia Cha Zhang. keeping both arms tightly together like pincers. During practice. If you cannot push the opponent’s hands away. If you still can’t free your wrists with this technique.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
San Ti Shi (Three Postures) 5. its leaves and branches must flourish. Taiji Yangsheng Zengqi Gong can be divided into six postures. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. Lü. Chan Si Zhuang (Reeling Silk Posture) 6. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong.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. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. As Qing Dynasty Taiji Master. opening and closing. 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).陈 氏 太 极 拳 推 手 技 法 4. each of which can be practiced individually or in sequence: 1. Kai He Zhuang (Opening and Closing Posture) 4. 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. Peng. .” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). rising and falling. These movements are applied throughout the whole system of Taiji and Tuishou practices. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. Wu Ji Zhuang (Wu Ji Posture) 2. Chen Xin. states: “If a tree has deep and strong roots. Ji and An.
Concentrate your intention (Yi) in the Dantian.4.2 wu ji zhuang (wu ji pOsTure) 4. breathing gently and slowly. eyes closed. feet parallel and shoulder width apart. Hang both arms at the side of the body and relax. 4.1 133 .1 Postures a) Posture 1 • • • • Stand upright. keeping your mind relaxed. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2. Open your eyes gradually.
4.2 Fig. 王 西 安 Fig. do not do it so gently that Qi becomes too soft and weak to reach every part of the body.3). 4. 4.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. Maintain the hands at shoulder height. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. the right over the left for male practitioners. Take care of these points and you will not lose power (Diu Jin) unnecessarily. the reverse for females (Fig.3 134 . Lower the hands onto the abdomen. 4.2). palms facing downward and slanted diagonally (Fig. the right hand rotating in Shun reeling and the left in Ni reeling. when it should actually be solid. Try to expand your arms moderately. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. On the other hand.
It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. guiding the Qi and saliva through to the middle Dantian. 2. 3.4. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). the mind and facial muscles naturally relaxed.2. Lift the buttocks and anus up a little. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. 4. until they reach the lower Dantian. Pay attention to the following points when practicing the Zhuang posture: 1. bend the knees slightly and grasp the ground gently with the toes. Your shoulders should be loose and slightly lowered. so that the waist descends naturally. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. The whole body will be steady if you gather the internal organs consistently. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 .2 The requirements for every part of the body 1. lower it when exhaling.2. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. 4. inhale and then swallow saliva down into the stomach. Your elbow joints should be lowered. Gather the chest and ribs inward. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. The neck should be firm and straight.
including the internal organs. so that they all have the same rhythm. 王 西 安 136 . you will enlarge your vital capacity and exercise the diaphragm muscles. which will help with the distribution of Qi around the body. keeping your body upright and lifting your back slightly. leading to Qi filling and blocking the chest. through the Wei Lü Guan point. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). Feel the sensation of all the body joints. across the Yu Zhen point.陈 氏 太 极 拳 推 手 技 法 2. until it reaches the Bai Hui point. lower the waist and gather the Qi in the Dantian. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. Maintain your vertical axis. 3. skin and fine hairs opening as the Qi rises. By practising the above key points. Practice also enhances your ability to guide Qi with Yi (intention). While inhaling Gather your chest and abdomen inward while breathing in Qi. up along the spine. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. While exhaling Lower every part of the body. roll the chest slightly inward. While lowering the internal Qi. Raise your Yi (intention) from the Hui Yin point (perineum).
4. consciousness. Qi cannot be separated from Yi (intention). just as Xing (posture. these can be accomplished only by hard learning. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. Practitioners should modify the scope of their practice according to their level and progress. Beginners generally find it difficult to remember the postures and key points. external movements) follows Qi. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). Only through mastering your mental activities such as intention. The key requirements for practice are relaxation. quietude and concentration. Only these can guarantee normal and healthy internal Qi circulation.2. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . During Wu Ji Zhuang. patients and the correct mastery of key points. However. thinking. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. and achieve the smooth Zhoutian circulation and help with body combat.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. Qi follows Yi. and emotions.
陈 氏 太 极 拳 推 手 技 法 4.3 hunyuan zhuang (circle pOsTure) Zhuang skill. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation.” Hence.4 Fig.5 138 .” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills. 4. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill. 4.3.1 Postures 王 西 安 Fig. 4. is an important basic skill in Chinese Martial Arts.
Keep the head naturally erect. mid-level and low. shift your weight to the right and lift the left foot and take half a step to the left. The old and weak may practice using a high body stance. Bend the knees so that the body is squatting a little. 陈 氏 太 极 拳 推 手 技 法 4. Relax the shoulders. The upper body should be kept upright. the neck. focus your attention on the Dantian (Fig. Leave your eyes naturally open or close them.5). Next.3. 4.4).a) Posture 1 • • • • • Start with the same initial posture as the previous posture. then lower the waist (Fig. focus on a static object at the same level as your eyes. Stand with your feet parallel. 4. 王 西 安 139 . a little more than shoulder-width apart. waist and crotch. b) Posture 2 • • • Separate the hands when the left foot reaches ground. waist and back straight. Execute the posture as if embracing a big tree. then move them back to the middle. if closed. The palms face each other. Lower the elbows and shoulders slightly. fingers pointing at their counterparts about 30 cm apart. with practice duration increasing gradually from short to long. Keep the fingers evenly open and slightly bent as if half grasping a sphere. If your eyes are open.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high.
inhale slowly first. In this case. increasing to thirty or forty minutes at later stages. graduating to midlevel. past the Yu Zhen point. Now lower the tongue and inhale. swallowing your breath with saliva. you should raise your stance slightly to rest. then bend the knees to lower the body until the buttocks are at the same level as the knees. Du Mai. 王 西 安 140 . and slight trembling may occur. For example. Beginners will find that the thighs may ache after two weeks of practice. Should this happen. Practice duration can last just a few minutes in the initial stages. although this may become more obvious with prolonged practicing at mid or low stances. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. and guide the saliva down to the middle and lower Dantian. then a low stance.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. until it reaches the Baihui point. then lower your body again. raise Qi from the heels up the legs. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. through the Ren Mai. Wei Lü Guan. becoming gradually longer. the thigh muscles and even the whole body may tremble rhythmically. Inhale again as the body rises. This relieves or may even stop the trembling for a period. At the same time. when doing Standing Zhuang at a high stance. At this point. Que Qiao. up the spine. The trembling may only be detected by touch or by close observation of the leg muscles. b) Rising and Falling Method This method refers to the subtle rise and fall of the body during Standing Zhuang following the rhythm of the breath. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). touch the palate with the tip of the tongue.
Zhuang skill is actually a practice using static strength and tension. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs.As you exhale slowly. It rises and falls like a boat in the ocean. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. breathing motions and digesting processes. as it responds to the circulating blood.3. The body weight is always subtly moving in various directions. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. Standing on the ground steadily like a mountain. 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 .3 Breathing Breathing is an important element of Zhuang skill. like a wild goose flies off and falls. but the apparent non-activity is misleading. Practice this process repeatedly. the body quivers in a relaxed and peaceful state of mind.
extend your breath slowly through the practice process.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side.4. as are the requirements and key points for the body parts. 4. the breath is usually short. 王 西 安 Fig. At the same time. relax and open the internal organs.陈 氏 太 极 拳 推 手 技 法 4. 4.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang.7 142 . The distance between both arms starts short then grows longer. The only difference is that in this posture. the body rises slightly with the inhalation. the middle fingers connect. the palms face inward and the eyes are slightly closed (see Fig. Gather the chest and abdomen. The navel and Ming Men are in the same rhythm.6 Fig. 4. In the initial stages of practice.8). 4.
the navel and the Ming Men Mai swell out. b) Posture 2 • • • • • • Exhale and gather the organs. lower the waist and gather the rib muscles. 4.Note: when you inhale and open up. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. Qi appears between finger tips of both hands like a magnetic force. using your intention (Yi). you will detect a current of energy released from both palms which seems to be difficult to gather at this point. Acting slowly. Drop the wrists and hold the palms facing inwards in a concave shape. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Roll the chest slightly inward. At the same time. Relax the body. crouch down and lower the elbows. Focusing on your intention (Yi).8 143 . All internal organs are filled with strength. Do this practice slowly. use your intention to guide the current outward.
4. as well as the internal Qi moving in the body with the guidance of your intention. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. For example. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. one’s thoughts need to implement intention consistently. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. if you require the breath to be slow.4. Lastly. when extending the hands. This is called. gentle and even.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. then your strength must be soft. and also helps the practitioner build skills in relaxation and quietness. and when Qi rises – the body and internal organs gather slightly. For example. This practice also strengthens the practitioner’s ‘root’. . the ebb and flow of Qi and strength (or power) are in synch with each other. Qi here refers to the fresh air exchanged between the lungs and the outside. it also helps increase internal strength and distributes Qi around the whole body. In this way. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath.2 The relationship between Thought. For thought (or attention) to combine with intention. intention and Qi. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. Qi and strength. “the internal Qi moves inside”. as well as breath control.
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. the chest. With practice. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. In particular. and are one of the main requirements in Zhuang skill. Guided by intention. abdomen and back. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 .The relaxing and gathering of the internal organs mentioned here refers to the activities of the internal organs and the muscles around the midriff area – under the ribs. Its purpose is to stimulate the nerve system by muscle movement.
When the weight shifts completely to the left leg. Swallow the fresh air inhaled. then breathe it out slowly as you move forward (Fig. focusing your intention in the Dantian. then open your eyes and look into the distance. . make sure your eyes are drawn inward to looking internally. Next. Expand the crotch like a circle. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. inhale and move your weight backward. The fingers are poised as if grasping the air. The length of inhalation should match the speed of the weight shift. Gather the Lao Gong points of both hands inward. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. When inhaling. the right hand in front of the left. 4.10). raise both hands above the right leg. then shift your weight forward from the left foot to the right knee.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. Start the posture with your eyes closed. 4.陈 氏 太 极 拳 推 手 技 法 4. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. Purify this saliva with your intention. At the same time.9). This posture could also be called a sideways Bow Step (Fig.
4.11). 4. 4. 4. lower the waist. then push both hands forward slowly (Fig. As you exhale and shift your weight forward.11 147 .Fig. close and fold your strength into your chest and waist. You need to have the feeling of closing before opening.10 Fig. Repeat this process alternating the left and right sides. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.9 b) Posture 2 • • As Qi is lowered into the Dantian.
on the contrary. practitioners are required to cultivate their Three Spirits when they begin practice. your practice hesitant and inconsistent.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. leading to progress and experience of the benefits. your belief is half-hearted. practioners will make the expected progress. determination. Only after prolonged practice can confidence be nurtured. In sum. and hold firm to these attributes throughout path of practice and study. persistence may be engendered. 王 西 安 148 . then your progress will be poor. Indeed. Confidence in Zhuang skills grows with practice as difficulties are overcome. If. Through serious dedication. with confidence and determination. and persistence. With confidence comes determination. and great determination. So where does confidence come from? From practice. confidence is a critical prerequisite. confident and diligent practice. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. You can persevere only if you firmly believe in the benefits of Zhuang skills. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results.
4. extend both hands forward with the right hand before the left. 4. 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. inhaling all the while (Fig. 王 西 安 149 . relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line).6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. 4.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. In this way. Peng force is maintained while the foundation of the body is reinforced as well. • The fingers of the both hands point to each other. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. As you step forward.12). both palms facing forward.6. • At the same time.
4.13 Fig. 4. 4.14 .12 王 西 安 150 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.
step the right foot on the ground. As you shift your weight. 王 西 安 151 . Inhale and swallow saliva. drop the elbows. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. suffusing it with Qi before lowering it down to the middle and then lower Dantian. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. relax both arms. you will lose your weight and axis). the right hand in front of the left. As this happens. When this happens. 4. inhale and crouch the body slightly. lower the shoulders. At the same time. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. keeping the left hand inside and the right outside (Fig. withdraw the right hand so it intersects the left. relax the right crotch and shift your weight gradually to the right. 4. rotate the left hand in Shun reeling in front of the lowered abdomen. As the weight shifts.13). When the left hand executes Lü (roll back) to the middle of the body. turn the waist and twist the crotch. you start to repeat the sequence.b) Posture 2 • • • • • • • Next. otherwize.14). gather and close the whole body so it forms a posture prepared for opening activities. 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. Both hands make a half fist when reeling. open both fists into palms facing inward.
decreasing to seven or ten breaths per minute. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. Inhalations and exhalations should be of proper length. Therefore. the breath can become slower and longer. inhalation/exhalation being one breath. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. 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”).陈 氏 太 极 拳 推 手 技 法 4. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing.6. When you practise Zhuang skills to a certain level. Only by this can you avoid errors and side effects. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). This is a primary sign of beneficial Zhuang practice. and comes only after accumulated practice. you should focus on increasing the duration and depth of your breath. and even to one or two times per minute. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. The normal breath frequency of adults is six to twenty times per minute.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. your breath should be natural and of the proper duration so that it enhances body combat and health. This helps in the exchange of carbon dioxide and promotes metabolism in the body. This phenomena of “connected arteries. After practicing Zhuang skills for a period. then to five times per minute. After mastering the key principle of natural breath. you will feel your key joints and your arteries and veins become unblocked and re-connected. Ren Mai starts 王 西 安 152 . Dual practice with Yi (intention) and Qi connects the whole body.
the five sense organs internally gathered. The whole process of moving Qi through Ren Mai and Du Mai. the body should be relaxed. deeper. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. even and quiet. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. all channels extended and unfolded. The Qi of Da Zhou Tian originates from the Yong Quan point. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. and Yu Zhen Guan. more gentle. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. then infusing Qi into the Dantian. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . reaches the Bai Hui point through Wei Lü Guan. and Yi and Qi should move in the required routes. the difference being that Da Zhou Tian extends Qi to the lower limbs. except that the breathing in the former is longer. In Da Zhou Tian. reaches the perineum through the Dantian and then connects to Du Mai. Jia Gu Guan. Du Mai starts at the perineum. For both.from the tip of the tongue. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian.
15). a) Posture 1 • • • Shift your weight gradually to the left leg. 4. Swallow Qi down with saliva and guide it down to the middle Dantian. 4.16 154 . then bring in the right foot so that both feet are a shoulder-width apart.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. 4. then infuse it into the lower Dantian. 王 西 安 Fig. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. At the same time. 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.陈 氏 太 极 拳 推 手 技 法 4.15 Fig. close your eyes and inhale.
separate the arms to the sides. lift both arms upright.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. Clench both hands into fists and lower them to ear level as the body lowers. 4. 4. finally placing them in front of the shoulders.18).17 Fig.18 155 . As the body lowers. fingertips pointing obliquely down. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig. swallow Qi and saliva and infuse them into the lower Dantian (Fig.17). 4. 4. palms facing in (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. palms facing each other.16). Then using the little fingers to guide the energy. pointing the fingertips upward. 4.
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c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
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5.1 pracTice fOr The buTTOcks
The requirements for positioning the buttocks in Taijiquan practice are very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the end of spine) in an upright position when practicing, gathering and raising it naturally so that the buttocks do not protrude nor swing too much, otherwise the buttocks will be unable to rise and lower naturally. Taijiquan novices sometimes err on over-gathering or raising the buttocks, which can result in various negative effects. For example, if the buttocks are gathered too far forward, the posture will become unnaturally stiff and not follow the natural straight alignment of the body; in addition, this posture may also impede natural breathing as it blocks smooth circulation of Qi throughout the body and may even destabilize the firmness of the weight of the lower limbs. Gathering or raising buttocks in routine and Tuishou practice must be applied in accordance with each specific practice and not generalized. For example, while relaxing the the joints and muscles in the Lan Zha Yi posture (Lazily Tying One’s Coat), the buttocks should be raised slightly as the waist is lowered so that Qi can descend smoothly into the Dantian. If the buttocks are pushed too far forward, the lowering of the waist is impeded and consequently, Qi cannot cannot descend through the Dantian and separate into two streams to flow through the Yong Quan point through to the legs.
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5.1.2 Application to Sparring: Bei Kao
An example of applying this principle in Tuishou sparring is as follows: if the opponent executes Lü on you, you need to relax, lower your Qi and gather your buttocks before executing the Bei Kao move (Kao with the back). In this move, gathering the buttocks helps to concentrate power drawn from the heels and transported up the legs before it is unleashed at the target. In contrast, raising rather than gathering buttocks at this point will hinder full release of striking power and thwarts any attempt to transform the opponent’s energy. Bei Kao is an opening-closing move, consisting of lightening-quick power exertion and rebound, during which you need to guide Qi upward to explode energy. To do this, you need to roll the chest slightly inward and bend knees a little, then stamp on the ground to generate rebounding power and ascending Qi. The gathering of buttocks at this point is essential so that Qi can descend instantaneously after energy release. Protruding the buttocks will impede Qi flow downwards, resulting in Qi blockage at the chest which affects the stability of a practitioner’s stance and may even be harmful to health. These key points in the above example need to be practised and applied assiduously during routine and Tuishou practice.
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5.2 pracTices fOr The crOTch (dang)
Dang refers to the crotch area where the legs connect to the body. To open the Dang area, the thighs need to be stretched apart as much as possible so that the waist and crotch can rotate freely. Any obstruction of Dang movement will negatively affect routine and Tuishou practice. The opening-closing of Dang, that is, the transition between emptiness and solidity of the crotch area, has a direct impact on the flexibility of the practitioner’s body and his or her ability to change speed and weight. The shift between emptiness and solidity of the Dang area is used as a measure to monitor and adjust movement and speed of movement, and also serves as the key point to increase the power to be exploded. The firmness of Dang relates to their exertion of power and resistance. Mastery of Dang power and posture in routine and Tuishou practice helps increase flexibility, emptiness and stability of waist and legs, reinforces the foundation and enhances your practice. Adjustments to the waist and Dang are usually the first steps taken when you feel there is something not quite right with your movements routine or Tuishou practice. As Master Chen Xin said, “When you attain realization of Taiji, even a bird cannot fly out from under you during Taiji movement.” In other words, the openingclosing of Dang is key to increasing and exerting power. When Dang is closed, the whole body is directed toward closing (He); when Dang opens, the body opens. Hence, Dang is essential to Xu (gathering), He (closing), Yin (guiding), and Fang (releasing) in routine and Tuishou practice.
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the positioning of the anus also needs careful attention.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. To help you master correct Dang postures in routine and Tuishou practice. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. Doing so over an extended period can have a positive effect in curing hemorrhoids. and it became difficult for vena blood to flow to heart. This requires the left leg to be solid with the lower leg standing upright. anus contraction should only be slight and done in a natural way. womb and so on. In ancient times.The Anus In the same way that the positioning of Dang is very precise. the weight distribution is 3:7. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine.2. womb prolapse and so on. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. After humans evolved to the upright posture and started to walk. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. A brief introduction is provided below. For example. are described below: 陈 氏 太 极 拳 推 手 技 法 5. rectocele. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. Yuan Dang. advocating contraction of the anus during physical exercise as a remedy. 王 西 安 161 . Ding Dang. the left knee and ankle vertically aligned to each other and the ground. 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. a short introduction of key Dang movements. In Taiji practice. Jian Dang and Tang Dang. This realization caused the ancients to suggest that “the ground door should be always closed”.
innate talents. For example. As for practitioners. In traditional teaching methods. Hence.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”.” Indeed. “It is easy to teach but hard to change what is learnt. If a practitioner is advised to relax. Some perform better than others due to learning abilities. the right knee should incline outward. the root of Dang should be relaxed. when the right leg moves to the side. 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. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. there are many opportunities and responsibilities. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. the body crouches as the right knee moves outward. at the end of the Dan Bian (Single Whip) posture. That is. energy in the legs is strengthened and the body is well supported.2. These traditional teaching methods should be changed as implied by the adage. 5. and at this moment Dang should open in a circle so that both legs can support all parts of the body. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. it is very difficult to correct bad practice habits solidified with prolonged practice. This should be corrected at the earliest stages of learning. “closing in opening” and that “Dang should open in a full circle”. 王 西 安 162 . which means there will not be opening-closing power if he or she crouches in the Horse Stance.陈 氏 太 极 拳 推 手 技 法 In this way.
and quality and length of practice, rather than due to a teacher’s attention. Some practitioners are happy to help the teacher out and teach others, their intention being to allow the teacher more rest. Students are also happy to learn from co-practitioners as this may help to accelerate learning.
5.2.4 Jian Dang … Sharp Crotch
In Jian Dang position, the Dang area is shaped like an inverted “A”, the bottom tip of the Dang area is tight and not relaxed. In this case, Dang cannot be lowered during routine and Tuishou practice, and Yuan Dang cannot be formed at all. Moreover, the Bow Step is hampered, one’s gait becomes unsteady, and the upper body becomes heavy while the lower body is unrooted, swaying to the right or left, while the feet are also unsteady. This mistake may be tolerated by the old and weak if their aim is just to improve health, but cannot be ignored by younger practitioners who want to improve combat skills. Because with Jian Dang, some get easily unrooted, some find they can’t get clear distribution of weight, some find it so hard to shift the weight because they put exceeded weight onto one leg. If the habit of Jian Dang is allowed to form over a period of time, practitioners will become used to it and feel comfortable in this incorrect stance, which should be avoided. On the contrary, one must learn to identify and cultivate the twin qualities of emptiness-solidity in the legs through the practice of Taiji routines. Novices practicing Dang will inevitably develop aching feet. This is no cause for worry, as these are normal physical indications of body development and they will disappear when you reach a certain level. For example, after a bout of Tuishou sparring, novice practitioners may feel a little ache in the arms and legs, and indeed, the whole body may ache after a little rest. This is because you are not used to the intense exercise and some capillary blood vessels may have been strained. This ache will lessen gradually after extended practise, as the body becomes stronger, blood circulation improves and lung capacity is increased. At this stage, any additional
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muscle ache resulting from further increase in practice will ease off more quickly. Hence, do not be deterred by any aches and apply Yuan Dang when practicing Taiji and Tuishou, so that Jian Dang may be prevented from developing. Without patience, Taiji skills cannot be improved.
5.2.5 Tang Dang
Tang Dang happens when the legs are spread too far apart, out of proportion to the weight distribution required on the legs and the lowered Dang. As a result, the movements of the legs are hampered as they are not able to move forward and back or turn to the sides with natural ease. This situation is also called Ta Dang, meaning collapsing Dang. The Taijiquan routine is a whole body practice, suitable for people of all ages, body constitutions and those engaged in mental and physical work. Typically, practice methods for Taijiquan routines start from large circle movements to smaller ones, then from smaller circles to no-circle movements. However, the opposite is true for Dang practice, which starts with smaller scale movements, growing to larger-scaled practice. This requires Dang to be positioned a little higher in the beginning before becoming lower and wider gradually. As with Ding Dang and Jian Dang, be careful not to form the habit of committing to Tuishou movements that bring a lot of pressure to the knee joints, as Tang Dang not only increases pressure, but may also cause harm. This results in chronically tight muscles which will eventually cause bad blood circulation in the legs. The Tang Dang posture has particular impact on the stimulation of the on the nerves in the knee joint, so hindering the supply and renewal of blood in the leg muscles. Prolonged Tang Dang positioning will result in aching knee joints and a very heavy feeling in the legs. In some large-scale movements, Tang Dang
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may actually be intentionally applied, such as in the Seven Cun Kao movement, that is Kao applied in the Xie Xing or oblique walk where the distance between the ground and shoulder is seven cun (about 23 cm). Yet even in this movement, heavy pressure on the legs last only an instant and the legs can recover quickly, so Tang Dang poses no real issues. However, large-scale movements cannot be applied to the whole practice; hence Tang Dang is considered harmful to health and body combat if applied for extended periods in routine and Tuishou practice. Generally speaking, Dang practice should begin modestly with a slight lowering of the body, gradually growing to bigger movements. Most importantly, it should match the physical conditions of the practitioner and the requirements of body combat so that the practitioner does not incur any injury.
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Chen sTyle Taiji Tuishou CaTegoRies
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you can defend using An (pressing). if the opponent attacks using Jian Kao (Kao with shoulder). the attack-defense stances change dynamically.1 Overview Within the Chen style Taiji routine. In this chapter.陈 氏 太 极 拳 推 手 技 法 6. For example. While the combinations of Tuishou moves are infinite. then strike back with Jian Kao. 王 西 安 168 . if you advance using Ying Men Kao (Kao diagonally to the front). with attackers changing to defensive roles in an instant and back again without warning. practitioners may master its secrets and principles with serious study. we will describe how to apply these eight Tuishou techniques in sparring practice. your opponent may respond defensively with Xiong Kao (Kao by chest). For example. Indeed. since both the attacking and defensive movements are interrelated and cannot be separated. Tuishou is commonly divided into eight categories.
where the the practitioners are no longer oblidged to the sequences or fixed routines. Dan Wan Hua (Coiling Flower with Single Hand. Shun Bu Tuishou (Tuishou with movable footwork.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. silk reeling in the shape of a flower) 2. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4.6.e. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps.1. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. normally a forward step then a backward step) 6. while Tuishou) 8. Da Lü (larger scale movements) 7. Jin San Tui San (both parities advance and then retreat for 3 steps. which is regarded as the highest level of Tuishou. Luan Cai Hua (Picking Flower. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . i. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. He Bu Tuishou with static footwork. and any movements can be exerted by intention.
Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. and not be limited to one or the other. However. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. Huo Bu (moving footwork) 3. as follows: 1. Bie. Xuan Wan (rotating wrists) 4. Dian Bu (stepping on toe-tips) . Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. Ding Bu (static footwork) 2. During sparring. Cha Bu (inserting steps) 6. Si Zheng Shou (Peng. i.陈 氏 太 极 拳 推 手 技 法 6. or Kao hand techniques. Zou. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. Qie Zhang (palm chop) In static footwork. Si Yu Shou hand techniques are always used. Bing Bu (step touch.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. An) is usually applied. There are many categories of footwork techniques. Ji. Dan Tuishou (Tuishou with single hand) 2. novices should start by learning one set at a time. Lü.e. including: 1. Shuang Tuishou (Tuishou with double hands) 3. these consist of the Cai.1. Duli Bu (standing on a single foot) 8. feet placed together ) 7.
2). the four fingers extended and joined together to form a slightly concave palm (Fig. 6. with the wrist lowered and fingers relaxed. The roots of the fingers are relaxed. Shuan (bind). palm facing in.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. 6. The elbow must be dropped. roll the chest slightly inward and lower the waist and shoulders.1 Fig.1). All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. with the forearm bent toward the upper arm at an angle of 450. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. 6.6. it is also applied to Gun (roll). one arm is extended horizontally sideways. When cutting downward.2 171 .2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. when both players retreat after being mutually warded off. Da (meet) and Sao (sweep) movements. 6.2.2 TuishOu handwOrk Techniques 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2. In this posture. you need to place the body in a crouching position. In single practice. 6.
the hand is stretched upward to the sides (Fig. 王 西 安 Fig. when hands are rotating horizontally in a circle.陈 氏 太 极 拳 推 手 技 法 6. Xie Tuo Zhang is also applied in the process of Big Lü. The palm posture during this direction change is called Xie Tuo Zhang.2. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. one player may guide the other to reel first in the Shun direction.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. 6.4 Xie Tuo Zhan In this technique. 6. the little finger is used to guide energy and draw inward toward the thumb. In this instance. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). 6. if the opponent executes Lü on you.2. 6. where the raised hand lies above the middle of the upper arm. the power lies in the root of the palm. 6.3 Fig. As you rotate the hand downward or outward.4 172 .3). During sparring.4). then reverse to the Ni direction when the hands arrive at his or her body. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. For example.
see above). the hand is inserted upward or vertically/diagonally downward. This technique is called Diagonally Upward Cha. Cha Zhang is widely used in Tuishou. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. 6. insert your hand downward and rotate it in the Shun direction. fingers slightly parted (Fig. 6. for example: • When you rotate both hands in vertical circles.5 173 . then lower your shoulders and drop the elbows. and gradually press your hands toward the opponent. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. as the hands insert downward.2. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. • In Luan Cai Hua (palms reel in non-predictable angles. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above).6.5). separate them and switch to Cha Zhang. see above).5 Cha Zhang … Slanting Palm In this technique.
you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation.6 王 西 安 174 . and the little finger bending inward. Fig. When you guide your partner via Shun reeling to the front of your chest. and your partner exerts An to your hand. while the thumb and the index finger form a “ 八” shape. you can rotate your arm with the middle finger.6).陈 氏 太 极 拳 推 手 技 法 6. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. 6. the ring finger. This way.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape.2. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. 6.
the thigh nearly parallel to the ground.6.7). the Yong Quan point should be empty while the Dang is open with the intention to close. This knee is turned slightly outward to provide a frame for all parts of the body. 6. the sole fully touching the ground. In this posture. 6.3.3 TuishOu fOOTwOrk Techniques 6. following the principle of ‘closing in opening’. The toe tips point slightly inward. toe tips bent slightly inward. One knee is bent so that the body is in a half crouch. The other leg bends with the intention to straighten.7 王 西 安 175 . 陈 氏 太 极 拳 推 手 技 法 Fig.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. following the principle of ‘straightening in bending’. the knee positioned approximately above the tip of the foot (Fig.
6.8).3.9). 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. the heel touches the ground with the toes pointing up at about 450 (Fig.陈 氏 太 极 拳 推 手 技 法 6. 6. knee bent slightly over the toe tips. When the weight is completely transferred. Fig. if the opponent presses on any part of your body with his or her hands or arms. 王 西 安 176 . for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles).8 6. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork.3.2 Hou Zuo Bu … Back Seat Step In this posture. Position both feet fully on the ground. 6. It is applied widely in Tuishou. straighten the front leg so that the back leg becomes the Bow leg. 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. big Lü and Luan Cai Hua.3 Qian Dian Bu … Forward Tipping Step In this step. toes grasping the ground.
move your weight back and withdraw the front leg backward by stepping the toe tip back first. 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and Luan Cai Hua For example.10). if an opponent applies Lü on you.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü. 6. followed by the sole then heel (Fig. 6.3.Fig.10 177 .9 6.
12 . This posture is applied to Shun step. Lü applied through large-scale movements) (Fig. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg. 6. When the opponent applies Big Lü on you. 6. 王 西 安 178 Fig.11). Hence the name ‘Falling Step’. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. in the ‘Dragon sweeps ground’ form.陈 氏 太 极 拳 推 手 技 法 Fig. 12).e. 6.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. and is widely used in forward or backward movements (Fig. which now lies close to the ground. For example. 6. Big Lü and Luan Cai Hua.
It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. the shoulders guiding the elbows and the waist guiding the shoulders.1 Shun Chan … Conforming reeling In Taijiquan. For example. This move is called Shun Ji Shun Fa (i. with the little finger guiding energy as it points to the thumb when it is drawn inward. In Silk Reeling technique.4. power rises from the heels up the legs. when the opponent executes Lü on you. with the other fingers slightly turned outward. 6. you draw the opponent inward into your territory. the term ‘reeling’ means to spiral energy.6. The principle of Shun Chan is that with the elbows guiding the hands. enters the bone marrow through gaps in the scapula and travels down the arms. In addition.13 179 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.4 hand Techniques in TuishOu reeling 6. you can use Shun Chan to gather energy and edge into the opponent’s territory. exerting Ji and Na in confronting reelings). spirals around the waist and shoulders. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. where it returns to its original position of circulation. in Bei Zhe Kao (Lean with back). while simultaneously executing Kao on the opponent. Shun Chan means to spiral energy from the outside to the inside.e.
Zuo Wan (descending wrist) technique is adopted (Fig.4. 6. Note: to apply this technique precisely.陈 氏 太 极 拳 推 手 技 法 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. roll your chest slightly inward and lower your waist. Here. Ni Chan is used to open outward. In Ni Chan. the thumb gathers inward and guides the little finger. while the other fingers turn out slightly (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. 6. by using the waist to urge the shoulder. the shoulders to urge on the elbows and the elbows guiding the hands. 6.14).4.14 Fig.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’.15). concentrate you energy in the wrist. In horizontal circle rotations with single hand.15 180 . 6. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. shoulders and elbows. 王 西 安 Fig.
Lie. to provide a closing and opposing force with the three fingers (Fig.4. the Shun hand changes to Diao Shou (Hooked Hand). in case of single hand rotation in the horizontal circle.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. 6. Ji. The wrist is drawn inward to form a Diao Wan (Hooked Wrist). by holding on to the opponent by the hand. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). while trying to ‘listen’. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. Lü. Zhou. 6. and adhere to him or her. • For example. At this point.6. Cai. Diao Wan is also widely applied in response to a Lü attack. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Kao).16 181 .16). your right hand rotates at 90o towards the right side of body in Ni reeling. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). which is formed by pointing the little.
陈 氏 太 极 拳 推 手 技 法
6.4.5 Shun Chan Yang Zhang Raised palm in conforming reeling
This can be divided into inward Yang (palm rising) and outward Yang (palm rising), which are always used in the four front oriented techniques (called ‘Si Zheng Shou’ in Chinese, i.e. Peng, Lü, Ji, An) and four side oriented techniques (called ‘Si Yu Shou’ in Chinese, i.e. Cai, Lie, Zhou, Kao). First, if the partner executes Lü on your right arm, you insert loosely in Ni reeling, and then advance and press inwards by Shun reeling, raising the hand while advancing. It is called Yi Yang Zhang (palm raised inward), because at this time the palm is facing inward and upward. Second, if you guide the partner and withdraw your step, the partner will likely expose some weak point after you raise your palm in Ni reeling. To lift the partner in this ‘openning’ provides preparation for your ‘closing’, i.e. to capture your partner in Shun reeling quickly. At this time your palm is facing upper outward, so it is called Wai Yang Zhang (palm raised outward) Internally, whether in outward Yang or inward Yang, you should coordinate whole body movements coherently. Yang is a kind of opening, so at this time the body should close, so as to support each other and not be separated. Practitioners must pay attention to these principles in practice.
王 西 安
6.5 TuishOu sTeps 6.5.1 Shang Bu … Forward Step
Shang Bu is a forward step with one foot, and begins with both a step forward and the bending of the knees so that the body is slightly crouched, five toes grasping the ground (Fig. 6.18). This preparatory posture resembles a cat ready to pounce on a rat, and allows you to step forward lightly and flexibly. Like a cat, you should prepare first by gathering energy, then extending the foot while listening and feeling intently. Step first with the heel then uncurling the rest of the foot flat on the ground. This procedure will limit your vulnerability.
6.5.2 Tui Bu … Retreating Step
The Tui step consists of moving one leg backward in an arc, and it can consist of more than one step (Fig. 6.19). Key to the Tui Bu is the bending of the weight-bearing knee. How much this knee bends and hence how much your body squats depends on the size of the Tui step. The bigger your retreating step, the lower you will have to bend your knee. However, it also depends on your body condition. Whatever the case, the Tui step has to be done flexibly and lightly and not with stiffness.
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 6.18 Fig. 6.19
陈 氏 太 极 拳 推 手 技 法
6.5.3 Gen Bu … Following Step
The Gen Bu can also be called the Dian (adding) Step (Fig. 6.20). This step is used in the situation where one normal step is too small to reach the target while two steps too excessive. In this instance, one is said to Gen (follow) or Dian (add) a small step after a normal step to reach the target distance. Gen is applied to the four front orientated techniques, Si Zheng Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua. The main purpose of Gen Bu is to get closer to the opponent to decrease their chances of escape. However, note that the Gen step is completed without the opponent’s awareness, a technique called Die Fa (a general concept of body combat techniques, referring to the comprehensive techniques and strategies to defeat the opponents, on the basis of quality ‘listening’ to their speed, weight and power in Tuishou). The importance the Gen step in Tuishou is reflected in the saying, “You cannot reach the depth and secrets of Tuishou without understanding Die Fa.”
王 西 安
solo pRaCTiCe in Tuishou
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
Solo Tuishou practice consists of individual practices useful for improving flexibility, agility and responsiveness to combat. Typically, body movements are initially executed at a high stance, gradually lowering to mid then lower stances. However, practitioners should practise according to their body condition. Likewise, beginners should start with practicing at slow speed, gradually working up to faster then very swift movements. At each stage, slow movements should not become blocked, fast movements not energy-losing, and very fast movements not chaotic. In other words, you should not lose energy in slow practice, nor be obstructed in fast movements. On the contrary, you should keep the consistency, coherence and Liu He (the Closing and Consistency of six parts of the body), and avoid any disorder and energy loss.When one part of body moves, all other parts follow and coordinate. In solo Tuishou, you should act as though following your partner neatly, and always keep attention concentrated, shoulder blades relaxed, and movements flexible. Execute solo practice as if you were actually fighting with a partner, with the fight so vivid that it brings you more interest in your practice. As a result, after thorough sole practice, the whole body moves flexibly, neatly and smoothly, and you are able to do well in actual paired Tuishou.
王 西 安
heel first with toes pointed up. so as to avoid empty stepping (i. eyes looking forward (Fig. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg.2. Step the right foot forward. straightening the neck and lifting the top of the head.1).e. Maintain the vertical axis.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. relax the crotch and lift the right knee. the left toes grasping the ground. Continue relaxing the crotch. 7. precise and full of intention of listening. then slowly roll down the rest of the foot to the ground. empty the Yong Quan point.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. 7. 王 西 安 187 . As your weight shifts. 陈 氏 太 极 拳 推 手 技 法 7.2.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. Relax the arms and hang them at the sides. Your step should be light. Shift your weight slowly to the left leg. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. 7. in preparation for the right leg step forward lightly.2).2. palms lightly touching the sides of the legs.3).7. stepping without thought) (Fig.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. 7.
While the right arm moves. Complete the movement by raising the right fingers to form the Li (erect) palm. 7.3 7. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. right elbow and wrist. .2 Fig. 7.陈 氏 太 极 拳 推 手 技 法 Fig. 7.2. 王 西 安 188 Note: in later movements. thumb behind the fingers (Fig. As the weight shifts.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. 7.1 Fig.4). the left elbow and the right hand should move coherently in collaboration with each other. relax the left arm so that the left hand hangs down.
2. 7.4 Fig. 王 西 安 189 . relax the left side of the crotch and shift your weight slowly to the left so that the inner side of the right foot touches the ground.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. As you reel. 7. 7.5).Fig.5 7. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.
the elbow in a slightly warding off (Peng) position in coordination with the little finger.2. 7.7 7. right palm facing down and wrist bending 450 inward using the little finger as a guide. . 7. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs. Step the right foot either flatly on the ground or with toe tips pointing up.7). This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig.6 Fig. When the right arm moves downward. The other fingers reel outwards in coordination with the elbow (Fig. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. 7. At this point. 7.6).6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left.陈 氏 太 极 拳 推 手 技 法 Fig. the weight shifts completely to the left. The right forearm now moves transversely in front of the abdomen.
7. three Shun reelings and two Ni reelings. 7.2. At this point. Ni. Shun.7.9).2. followed by the hand. bend the knees slightly to place the body in a squatting position. Then place the palm downward (Fig. 王 西 安 191 .8).8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. changing into Ni reeling. using it as a pivot to rotate the right shoulder rightward. that is. The 3600 rotation of the arm follows this sequence of changes: Shun. draw the chest slightly inward and relax the right side of the crotch. Ni. Return the bent arm and the bow leg to their original positions (Fig. Shun. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms.2. until it reaches the front of the right ribs. Use the rightward rotation of the waist and torso to steer and guide the partner’s power into your territory towards your right side so you can eliminate it. 7. a 900 arc to the right side of body. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. power is most concentrated and exerted on the external side of the thumb and index finger.9 Part 9 • • Now using Ni reeling. shift your weight to the right. As the arm changes to Ni reeling. pointing the right knee slightly outward and moving it in a helix. While the right arm reels. 7. extend the right hand slightly forward. Rotate the waist to the right.7 Part 7 • • • • Using the little finger to guide the energy.
and ensure your body weight moves back and forth in synch with the body movements. all parts moving together collectively. Shun. Practice alternating rotations with both arms so that there is a feeling of balance. the upper body guides the lower body’s movement. the reeling sequence being Ni. Shun. Ni. that is. when one body part moves then all other body part follow. three Ni reelings and two Shun reelings. When you feel tired practicing on the right. Ni. 王 西 安 192 . Notes In these horizontal-circle rotations. the lower body follows. The movement of every part of the body should be continuous and synchronised – when the upper body moves. Relax the waist and shoulders. practice on the left by switching to the left leg and the left hand. 7. 7. that is. rotate the wrist. The middle body moves in coordination with the upper and lower bodies. the arms rotate with the waist and the axis while the hand guides the energy.陈 氏 太 极 拳 推 手 技 法 Fig. Practice until you reach a level where when one body part keeps still then all other body parts keep still.9 • The left arm rotates from the left.8 Fig.
Next. Finally. heel first with the right foot. switch to Ni reeling. 7. with the rest of the foot gradually fully touching the ground. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. drawing an arc of about 180o which goes downward and then up to the right. Focus the eyes on the right palm (Fig. The whole movement is mainly guided by the rotating waist and relaxed shoulders. relax the left side of the crotch. with eyes looking forward (Fig.12). return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. lower your Qi.7. palm slanting upward with intention to gently guide and draw in.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. drawing an arc of about 90o to the left. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet.10). then turn the body to the left and raise the right hand in Shun reeling. Next. Bend the left leg so that you squat slightly. • • • • • Keep your body weight on the left leg and step forward. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. 7. 7.11). It only requires vertial hand revolution and very small shifts in weight. then switching to 90o Shun reeling.
7. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. Vertical arm rotation is guided by spiraling movements of the waist and back.10 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 7. then reel in Shun. 王 西 安 194 .11 Fig. reel in Ni to the right at 90o. 7.12 • • When rotating in the opposite direction. 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. Practice rotating both arms in turn. Finally.
toes relaxed and pointing downward (Fig. This body posture is now one of holding and collecting.13 Fig. Relax the left crotch and while focussing on the right crotch. 7. 7.14).14 Fig. the forward shift of the body should stop once the palms reach their natural end position. the palms should move forward at an inclined angle (see picture).13). 7. Also.15). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.16). Shift your weight gradually to the left leg. 7. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. 7. Raise the forearms 90o upward.7. Bend the left knee to put the body in a crouching stance.15 195 . otherwise the shape of the posture will be lost (Fig. in preparation for action (Fig. pushing both palms forward (Tui Palm) at the same time. Note: when applying Tui Palm. 7. eyes facing the front (Fig.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. shift your the weight gradually forward. 7. palms facing to each other. then raise the right foot.
then pushing both hands forward.15) by drawing a circle by the sides of the body.16 Fig.17). 王 西 安 196 .陈 氏 太 极 拳 推 手 技 法 Fig. imagining the hands seizing the opponent’s wrists by Diao (Fig. 7. Practice this cycle. 7. palms vertical. shift your weight backward and separate both hands to the sides of the body. this time relaxing the right crotch and focussing on the left crotch. then lowering to the front of the abdomen. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. 7. 7. Repeat the Tui Palm movement again.17 • • • Next.
eyes facing the front. 7.19 197 . While raising the hands. Raise the forearms 90o upward. stated as follows: Stand at attention with the body upright and relaxed.14). toes relaxed and pointing downward (see Fig. Shift your weight gradually to the left leg. This body posture is now one of holding and collecting. then raise the right foot.18 Fig. palms facing to each other. draw the chest inward. 7. 7. 7.19). drop the elbows and sink the Qi downward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.18).5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. in preparation for action (Fig. Grasp the ground lightly with the toes and face the eyes forward (Fig. lower the waist and shoulders. Bend the left knee to put the body in a crouching stance.7. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. 7.
Next.陈 氏 太 极 拳 推 手 技 法 Fig. palms facing forward.20 Fig. continue to draw your chest inward. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. 7. finish the weight shift to your right leg. extending the hands forward so that the left hand crosses over the inner side of the right wrist. step the left foot on the ground and shift your weight forward (Fig. During this process. stopping at shoulder level (Fig. after another small Ni reeling upward.20). the palms descend to the sides. .21 • • • • 王 西 安 198 • Next. push the crossed palms over the head in Ni reeling. cross both hands slowly in Shun reeling.21). both palms facing inward. 7. with the intention of supporting something upward. 7. Then. Extend both hands forward in an ‘offering’ stance. As both hands separate upwards. 7. At the same time.
Both hands then draw a downward arc to fall to each side of the abdomen. You will feel the power after long practice. only that palms in the latter move horizontally. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . • • Now the left hand reels in Ni while the right hand reels in Shun. palms cross together. so as to start a new cycle. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. palms facing each other. With body gathering. Closing form: palms continue to Shun reel. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. upper arm. then hands.Note: as both hands separate outward. shoulders. while weight totally switches to the left. forearm. the chest. strike out in succession to the sides so that the arms become a pulled bow. finger-tips pointing down. that is.
heel first. Ji. Open every body part to make your rotations natural and flexible. extend the right hand diagonally forward to the right. 7. 王 西 安 Fig. act as if sparring with a partner. palm facing forward. 7. palm facing in. Coordinate the movements of your hands.22 Fig. • Stand at attention. and An. Note that one should practice with intention rather than by force. Extend the left hand transversely and place it on the middle of the right upper arm. then bend it inward 45o. When practicing.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng.陈 氏 太 极 拳 推 手 技 法 7. body and steps. • Shift your weight to the left leg and lift the right foot to step forward. with the foot gradually stepping fully on the ground. eyes.23 200 . The key points are the same as those of solo Tuishou. thumb pointing down and the little finger pointing upward. Lü. • As the weight shifts.
24). and the eyes look forward to the right (Fig. 7. focus your intention on meeting and holding the opponent’s hand.23). 7. As the left hand rises. as the left hand moves inward in Ni reelings. 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. Next. 7. During this process. raise both hands in Ni reeling. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the wrist bent slightly inward and palm facing inward. 7.• • • • • The left arm intends to Peng outward. Shift your weight to the left slightly then to right. Meanwhile. At the same time. and so continue to Peng upward before executing Lü.25 201 .22). Move the right hand in Shun reeling.24 Fig. the left hand ahead of the right. the arm opens like a circle. relax the left crotch. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. shift your weight left and focus your eyes on the front of the right hand (Fig. Relax the right crotch and turn the body to the right. lower the right shoulder and drop the right elbow.
As this happens. and the left hand helps the right to execute Lü. The edges of the hands become power-exerting points. alternating left and right sides. visualize your left hand pressing down on the hand of the opponent. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. If the left leg is in the front. the right hand executes Peng. shift your weight forward to the right leg.22). You will also need to use your left shoulder to push and use the right hand to help press forward. Note: In this movement. At this point. This is the same as the starting posture of Da Shou posture. an instant. 7. 7. Peng and An are transitional actions executed in 王 西 安 202 . Repeat the process.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. The right hand reels in Ni direction also with the intention to push outward (Fig. pushing it outward. Execute An forward with both hands the palms facing each other about 33 cm apart. eyes looking forward.25).
As the weight moves forward. In practice. Lower the waist. 7.26 Fig. Lü. moving backward uses Peng and Lü hand movements. These actions drive two the hands forward.7. raise both hands to attack by pushing them to the front right of the body. draw the chest inward. Step the left foot on the ground with the inner side of the foot touching the ground. moving forward is combined with Ji and An hand movements. where the pushing power is exerted. Ji and An.27 203 .26). • • • • Step forward with the right foot then shift your weight forward.7 shun bu TuishOu (sOlO TuishOu wiTh a fOrward and backward sTep) Shun Bu Tuishou consists of two basic steps – one moving forward and one moving backward. 7. sink the shoulder downward and drop the elbows. 7. Keep the eyes looking to the front right (Fig. Hand movements consist of four Zheng hands: Peng. Face the outer hand edges. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. outward.
Note that Qi should not be allowed to float upward. At the same time. shift your weight to the left and lift the right foot. Bend the left leg to squat further and extend the right foot forward. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. Push the shoulder forward.27). At the same time. Eyes look to the front right (Fig. 7. 7. As the arm moves. toes pointing down (Fig. Raise the right hand in Shun reeling. tiptoe first. rotate the right hand slightly downward in Ni reeling. with the intention to close before opening. thumb pointing down and palm facing down. . The body moves forward following the shift in weight.29 • • • • • 王 西 安 204 • • • After the pushing attack. As this happens. withdraw the left hand gradually and place it on the middle of the right upper arm. followed by the arm and the hand (Fig. Relax the left crotch after pushing and shift the weight to the left. and in preparation for moving. 7.28 Fig. 7. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body.28).29). 7. turning the right elbow out and upward.陈 氏 太 极 拳 推 手 技 法 Fig.
then draw a circle downward.Fig. Eyes look to the front left (Fig. 7. Eyes look to the left (Fig. raise the left hand in a spiral to form a Lü movement with the right hand. 7. thumb pointing down and palm facing forward. 7. then shift your weight to the right.33).30 Fig.31). Reel the left hand first in Ni direction. raise the right hand quickly to push forward together with the left hand toward the left side of the body. 7. Then the right hand switches to Lü. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. gradually squat the body. 7. While the right hand switches to Lü. Eyes look to the front left (Fig.32). Next. then in Shun direction downward to the left. The outer edges of the hands are power-exerting points.30). The front push of the right hand provides an instant defense. As the weight shifts. Raise the right foot and take a step backwards to the right.which takes place in an instant. Both hands are about 33 cm apart (Fig. the upper and lower body form a balanced block of strength with the waist as the boundary. Next. 7.31 • • • • • • Relax the left crotch and shift your weight to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . Visualize sending the opponent’s right hand out to the left side of your body.
7.34 Fig.32 Fig.35 206 . Eyes look to the front left (Fig. 7.陈 氏 太 极 拳 推 手 技 法 Fig. Raise the body gradually and slowly shift your weight to the left leg. take a step forward with the right foot. As the weight shifts. until the left hand reaches the middle line of the body. the right arm then bends to 450 inward. extend the right hand to the right front of the body following the right foot.33 • • • Both hands execute Lü from left to right following the body.34). 7. 王 西 安 Fig. 7. 7. At the same time.
Eyes look to the front right (Fig. 7. Then shift your weight slightly rightward. Eyes look to the front right (Fig. 7. Note that the waist power descends to the left first then the right.36). 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. place the left hand on the right upper arm.35). 7.39 207 .38 Fig.37 • • Simultaneously. 7. thumb pointing down.36 Fig. 7. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy.Fig.
execute Lü downward with the left hand. 7.38). Start a new cycle (Fig.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. Next. As soon as both arms finish pressing forward. visualizing that you are pushing the opponent’s hand outward to the right. Eyes look to the right (Fig. 7.39). 7. Relax the right crotch and shift your weight to the right. At the same time. 王 西 安 208 . then move it out to the right. then execute Lü movement with both hands to the left side of the body until the right hand moves in front of the right breast.37). raise the right hand quickly and exert An forward with power. Eyes look to the front right (Fig. move the right hand in front of the left hand quickly.
Kao with large-scaled body movements. the only difference being that the extent of the steps in Da Lü is bigger. Bie Zou. Zou. As such.7. literally meaning “big falling step”.41 209 . One is Da Pu Bu. then the fives methods of solo Tuishou practice. Furthermore. It uses the combat techniques of the four hand techniques in corner directions – Cai. In this chapter.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. and Kao. Bie. and Kao. Lü Ji and An. The other picture demonstrates the big Frontward Bow Step. beginners should first practise the routines. It is not easy to practice Cai. The circulating of steps in Da Lü when practicing Peng. a major weakness with which you cannot even hope to attack the opponent. 7. If not. we will only refer to two main Da Lü postures as shown in the pictures which follow.40 Fig. the whole body will become stiff when you try to squat down in the big body movements. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. whereby Player B executes Lü on Player A. Ji and An is the same to those in Shun Step (forward or backwards Step). 7. Zhou. Lie. Lü. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. The other movements are the same as the movements in Shun Step (forward or backward step).
42. you should pay attention to the following points.42 210 . 王 西 安 Fig. In the Luan Cai Hua Tuishou practice. and An. This way you will not lose energy unnecessarily nor become stiff.9 sOlO luan cai hua TuishOu The gait in Luan Cai Hu is called San Bu (scattered steps) or Hua Jiao Bu (steps in flower tracks). You should adjust your direction and position by applying small Gen steps so that you can stick to the partner tightly and prevent their escape.陈 氏 太 极 拳 推 手 技 法 7. It’s features include free movement with no fixed direction. You need to rotate neatly when executing a step forward as the partner changes his or her direction. and also uses the Si Zheng Shou. Lü. Ji. Luan Cai Hua is also built on the foundation of Peng. and flexible. The body movement and gait should be neat and swift. See how to execute Dian step in Figure 7. precise rotation. 7.
and entice the partner to advance and show his or her weak points. Do not just practice at fast speeds or you will lose your energy or get stiff. Ji. Your movements should be quick but not chaotic. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 .In this technique. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. An). looking for the attacking opportunity. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. Lü. the only difference being in the stances of the body. heavy but not stiff. It is not easy to apply Die Fa. You should practice listening repeatedly. When you apply Luan Cai Hua in Tuishou sparring. light but not empty and floating. and thus impede any progress in Tuishou. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. the steps are small but the speed is fast. getting close to their upper body while causing them to raise their lower body or slant it. you feel the partner’s energy as you rotate. When circulating the four Zheng hand techniques (Peng.
陈 氏 太 极 拳 推 手 技 法 王 西 安 212 .
CHAPTER 8 paiR pRaCTiCe in Tuishou 陈 氏 太 极 拳 推 手 技 法 王 西 安 213 .
so you must strive to concentrate. agile.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. whereby your actions should be precise. An introduction to Tuishou pair practices has been provided in the following pages. lowering to mid-height then low stance. If both partners have Taiji proficiency. development should follow the stages of San Shou to Zhan (coherence). Pair practice Tuishou improves combat skills. 王 西 安 214 . pair practice becomes beautiful to watch.陈 氏 太 极 拳 推 手 技 法 8. gathering speed in the later stages. Like solo practice. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. Nian (sticking). Lastly. If possible. Pair Tuishou embodies the essence of Taiji Tuishou. flexible and without weaknesses. like a flowing river: smooth. try to choose a partner of similar level for pair practice. I hope that the reader will use this to practice diligently and master the key points. similarly. flexible and rapid. moving as the partner moves. movements in pair practice should start simply before gaining in complexity. Faster progress may be made if your partner is proficient in Taiji. pair practice should start slowly. then pair Tuishou may be described as “acting as if there is no partner although you have one”. the practice stance should start high. In addition. Lian (connecting) and finally Sui (following).
2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue.8. gradually forming a front Bow Step. arms hanging relaxed by the sides. Player B refers to the female practitioner dressed in red.1 Both players take a step forward with their right feet. These may be shortened to ‘A’ and ‘B’. an arms length from each other so that their fists touch when arms are outstretched. 陈 氏 太 极 拳 推 手 技 法 Fig. 8. Their bodies are upright. 8. The distance between both right feet should be about 10 cm.1 Posture 1 Both players stand at attention facing each other. 王 西 安 215 .2. toes pointing slightly outward to form a 八 shape.
. corresponding with the rotation of the waist.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. A’s weight shifts backward. using the middle line of the nose as the boundary. Fig.2. Alternatively. both players raise their right palm and extend it forward. eyes focussed on the right hands. As both players draw this arc. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. 8. and his body crouches slightly to form a closing power.2 8. The right hand extends forward with the left hand akimbo. 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. The back of the palms touch each other. B’s weight continues to move forward to form a single-hand An (pushing) power. the left hand can also be placed naturally along side the body. Both players watch their hands throughout this step.
4 217 . 8. then she guides A’s hand to the front of his abdomen. Repeat this cycle.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. At the same time. B shifts her weight gradually backward while her hand draws an arc following Player A.3 8. then Ni reels 90o to the front of Player B’s abdomen.Fig.2. 8.
both hands perpendicular to each other and eyes looking forward. .3.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand). 8. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. Fig.陈 氏 太 极 拳 推 手 技 法 8. the only difference being that here the Da Shou (meet partner with hand) position is higher. Player A guides Player B to move first in Shun reeling.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation.3 single-hand verTical circle wan hua in pair pracTice 8. Both players then rise. then then draws a 90o arc to the left.3.5 8.
During the above process. Partner B relaxes the left crotch. when A draws an arc to the right side.Fig.3 Posture 3 Player A relaxes his right crotch and turns his body to the right.6 8. For example. B always adheres to A. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. 8. guiding Player B to Ni reel 900 to his right side. 8.7 219 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. turning to the right (B’s left side). with eyes looking at the same direction.
draw their chests inward and gather their ribs. heel first. Player A raises two hands in front of his chest. Both right feet start to uncurl to the ground. with aim to form a front Bow Step.4. Then Player B extends her hands forward. Both players step forward simultaneously with their right foot. lower the shoulders and drop the elbows. Now both players wait in a defensive mode. having first shifted their weight onto the left leg. ready to move and attack if hands touch. placing them outside A’s hands.1 Posture 1 Both players stand at attention facing each other. While waiting. eyes looking forward. 8. 王 西 安 Fig. they lower their waists.陈 氏 太 极 拳 推 手 技 法 8. toes turned up (optional).8 220 .4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8.
B’s little fingers “stick” to A throughout the process. Here.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling.9 王 西 安 221 .8. As B’s weight moves backward. 8. He stops pushing when his hands are 20 cm away from Player B’s chest. 陈 氏 太 极 拳 推 手 技 法 Fig.4. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. As Player A pushes his hands forward. In other words. her hands reel in Shun. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks. A’s weight shift to the right foot has been fully completed.
While Player A separates.4. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. While A draws arcs. Fig.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. then separates Player B’s hands to the sides of her body at shoulderlevel.4. using the outer edges of his palms. 王 西 安 222 . 8. 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.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. B moves her weight forward to form a Bow Step.10 8. She relaxes her chest as her hands separate.陈 氏 太 极 拳 推 手 技 法 8. He shifts his weight backward. Then both players return to the original position.
8.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .Fig.
1 Posture 1 Player A and B stand facing each other. . the weight for both parties starts to shift to the right. with the inner sides of both feet facing each other and 10 cm apart.陈 氏 太 极 拳 推 手 技 法 8. Fig. B has been shifting her weight to the left. all eyes look forward.12 王 西 安 224 8.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. Now. guiding Partner B to raise her hands. then step their right feet forward simultaneously. draw a vertical circle outward.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward. Both players extend and raise their hands in front of their bodies with Player B’s hands placed on the outer edges of Partner A’s hands. 8. and separate hands to the sides of the body at shoulder level.5. Now.5. The positions of all hands are higher than the eyes. The two parties’ eyes always follow their movements. A’s weight is all at the right foot.
she shifts her weight forward to form a front Bow Step. and draw arcs to the lower abdomen. Both players’ eyes face forward.Fig. while he shifts his weight backward. 8. While Player B rotates her arms downward following Player A.3 Posture 3 Player A switches to Shun reeling.13 8.14 225 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8.5. his little fingers slightly catching Player B’s wrists. Player A draws outwards while Partner B draws inwards.
his hands crossing before the chest with both palms facing in. whether Player A separates B or vice versa. and continues to move her weight forward. 王 西 安 226 . Player B follows Player A closely and feels his change. Repeat this cycle.5. the body squats to prepare for openning. Note: The steps are the same. Both players face forward.陈 氏 太 极 拳 推 手 技 法 8. Both players can practice this in turn. Then Player A returns to the original position by Ni reeling and separating his arms outward.4 Posture 4 Player A continues Shun reeling.
with the inner sides of both feet facing each other and 10 cm apart. Player A and B stand facing each other.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands.15 王 西 安 227 . and then extend their right hands forward so they cross each other.6. then step their right feet forward simultaneously. Now. the weight for both parties are both in the left. yet start to shift to the right. eyes looking forward. Both players then shift a little more weight to the right. 陈 氏 太 极 拳 推 手 技 法 Fig. 8.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8.8. backs of the hands touching.
6.2 Posture 2 Player A shifts his weight forward. Player B places her left hand on the right upper arm of Player A as he moves. then extends forward to press against A’s left forearm. While the right arm turns.16 8. In this way. Fig. Player A relaxes his left crotch and moves his weight slightly leftward. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. At the same time. he places his left hand on the middle of the right upper arm. . gradually switching from Peng (ward off ) to Lü leftward.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. Her right hand presses Player A’s right hand slightly downward. During this process. then turns his right hand left in Shun reeling following the turn of his body.陈 氏 太 极 拳 推 手 技 法 8. he places his right hand on the middle of B’s left upper arm. both of B’s arms form an An (Pushing) power. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture.6. 8.
Fig. In response.17 8. thus returning to the original position. shifting his weight forward to add more pressure. Repeat this cycle. In response.18 229 . 8.4 Posture 4 Player B executes Ji (press) on Player A. 8. Player B switches from An (push) to Peng (ward off ). Partner A withdraws his pressing hand and places it on his own right upper arm. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and executes Lü (roll back) again.6. Player A executes Lü on B’s hand and presses it downward. Then Player B wards off Player A’s left hand upward.
bending it 450 inward.陈 氏 太 极 拳 推 手 技 法 8. Player A raises his right arm as his right leg moves. so that both knees touch (A’s inner knee and B’s outer knee). Both players look at each other from the side. and places her left hand on the middle of A’s right upper arm. then places his left hand on the middle of his right upper arm.7.19 230 . palm facing outward. Player B steps her right foot forward at the same time. 8.1 Posture 1 Both players stand at attention.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. 王 西 安 Fig. placing it on the outside of A’s right leg. Player A steps his right foot forward to form a front Bow Step. A’s left hand then crosses with B’s left hand. Player B’s right hand crosses the outside of A’s right hand.
At the same time. he places his right hand on the middle of B’s left upper arm. and moves his weight leftward. Player B shifts her weight forward to double her pressing power. As Player A’s body turns right. 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.8.2 Posture 2 Player A then relaxes his right crotch. and then wards off Player B’s left hand upwards. Both players look to the front. shifts his weight slightly to the right. 王 西 安 231 . 陈 氏 太 极 拳 推 手 技 法 Fig. raises his left hand. Both players look to the front and gather themselves to prepare for futher movements. This switch from Peng to Lü happens in an instant.3 Posture 3 Player A relaxes his left crotch first. and switches both hands to double-hand Shun reeling to ward off outward gradually. Simultaneously. 8.7. he lowers his left shoulder and left elbow. Player B continues to move her weight forward when Player A applies Lü. turns his body to the right.20 8.7. executing Lü (roll back) with his right hand.
王 西 安 Fig.22 232 . When Player A presses downward. then pushes her left hand rightward.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right.21 8. 8. 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. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. 8.陈 氏 太 极 拳 推 手 技 法 Fig.7. forming an An force. with the aim of getting her to fall to his right side. he presses Player B’s left hand downward to the front of her lower abdomen. with the coordination of his right hand.
tiptoe first. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü.5 Posture 5 Player B’s left foot steps on the ground. 陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 233 . his right hand switches to Ni reeling to force Player B to step backward.6 Posture 6 Player A shifts his weight back to the left leg after pushing.8. In this move. At the same time. then her foot gradually steps on the ground fully. As Player B executes Lü. At the same time. her right crotch relaxes and she shifts her weight to the right.7. A’s upper and lower body move as one. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages.7.23 8. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. 8. Player A moves his weight first to the left and lifts his right foot quickly to step forward. both her hands follow the body and turn right to execute Lü (roll back) on the right side of Player A’s right arm until her left hand reaches the mid-line of her body.
Player B wards off slowly outwards with both hands in Shun reeling. to form Ji (press) power with her right arm. Simultaneously. In response. turns his body slightly left and shifts his weight slightly leftward.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. Player B relaxes her left crotch.24 8. 8. . then takes a step forward with her right foot. and steps within A’s left leg so that their two knees connect. Both players look to the side at each other. While this happens. B steps forward in synch with A’s guiding hand. shifting her weight gradually rightward. shifts her weight leftward.7.陈 氏 太 极 拳 推 手 技 法 At the same time. Both players look diagonally to the front. palm out. Player A places his left hand on B’s right upper arm. Fig. B also places her left hand on the middle of her right upper arm. so as to form Peng and Lü with both of his hands. then pushes Player B’s right hand first down then left using the pressing power of his left hand.
26 235 . B also places her right hand on the middle of A’s right upper arm. Simultaneously.Fig.7. then switches her left hand instantly from Peng to Lü. 8. At the same time.25 8. Player B lowers her left shoulder and left elbow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then raises her left hand in an upward Peng on A’s left hand.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. 8.
8.7. A responds first by flowing downward. As Player B pushes A’s left hand downward. At the same time. she presses forward on the middle of A’s right lower arm. 王 西 安 Fig. Both players look to the sides. 8. Both players look diagonally to the front. then quickly forms a pushing power towards B. In this instance. Then with her left hand. then to her left.陈 氏 太 极 拳 推 手 技 法 As this happens. then raising his left hand upward onto B’s right upper arm to warding off (Peng). she presses Player A’s left hand first down to the front of his lower abdomen. then withdraws his right hand to place it on the middle of his left upper arm.27 236 . Both B’s hands work together to form an upward pressure pose.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. both A’s arms form an outward Peng power. His right hand then comes into contact with B’s right hand. Player A continues to shift his weight forward.
then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest.28 Notes: Player B’s upper and lower body should follow each other when pushing forward.7. Both players should defend and stick to defend their own territory. 王 西 安 237 . taking care not to go beyond their territory as this would mean that the transferring and changing of movements would not be as quick and flexible. 陈 氏 太 极 拳 推 手 技 法 Fig. He moves in Lü until his left hand reaches the mid-line of his body. following A’s Lü power. Player A steps his left foot on the ground.8. leading to increased exposure to attacks. 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.10 Posture 10 Both players keep moving and rotating. 8. In response to A’s Lü. relaxes his left crotch. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. Player B shifts her weight first to the left.
B places her left hand on the middle of A’s right upper arm.11 Posture 11 After pushing forward. her right hand changes to Ni reeling to force Player A to step back. As B shifts her weight backward.26. as well as an accomplishment of one cycle of Peng. Both playesr look diagonally to the front. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. A relaxes his left crotch.27.陈 氏 太 极 拳 推 手 技 法 8. The rotating methods are the same as those on Figures 8. 8. Finally. At the same time.7. At the same time. Player B shifts her weight backward to her left leg. Player A places his left hand on the middle of his right upper arm. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. one full cycle consists of one step forward and one step backward. 8. both players return to their original positions.25. Simultaneously. to form a Ji power with his right arm. Lü. palm out. foot gradually steps fully on the ground. for both of the two players. 王 西 安 238 . Both their knees connect.28. shifts his weight leftward. and are ready to start a new cycle. You may have found that. tiptoe first. her two hands forming a Lü posture. and 8. Ji and An.
29 王 西 安 239 . 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. and is based on Shun Bu Tuishou.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. you should combine Si Zheng Shou practice with Si Yu Shou. This technique consists of larger scale body movement.8. 陈 氏 太 极 拳 推 手 技 法 Fig. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. In this low body movement. Zhou and Kao. 8. which is Cai. which is aimed at reinforcing your lower body stance and leg power in this technique. Bie.
With this method. Sao means to sweep or clear away. In Da Sao. Bi Ya (push and press) and so on. nor the location of your body weight. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. 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). hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). Only this way.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. use your elbow or Kao (shoulder strike) to attack when you find a weak point. up and down. depending on the circumstances. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. During combat. try to feel the Gongfu level gap between you and your opponent by listening. Gun Shuan is an extension of Da Sao. Gun Shuan (roll and seize). reel them in Shun and Ni directions. left and right. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. If you choose not to attack under some circumstances.陈 氏 太 极 拳 推 手 技 法 8. the opponent cannot discern your target. Instead of sweeping the arms horizontally. so as to transform the opponent’s power. 王 西 安 240 . or power direction. From this position. can you win consistently.
transforming the power of your opponent so that he or she becomes trapped in a passive position unawares.31 王 西 安 241 . coordinated with Shang Long Xia Ti.30 陈 氏 太 极 拳 推 手 技 法 Fig. This is an example of the Die Fa. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). Combine the power of both your hands so that they become one indivisible power. Your Dian Bu should be light. Actually. there are no restrictions in the application during practical body combat. Fig.Your footwork should be coordinated with your handwork. if the opponent retreats one step. which you think harmful to your opponent. For example. you can advance two or three steps to gain a territorial advantage. 8. agile and swift. direction and angle of changes. These are the main methods and purpose of Luan Cai Hua pair practice. flexible. Apply Ti (lift) and Long (holding close) unpredictably and precisely. 8. Your footwork should be based on the speed. 8.32 Fig.
we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. our world and the human body through the interactions. Taiji Philosophy is most easily expressed and understood through the use of body language. According to this philosophy. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. . Yang. through Taiji forms and postures. much of the theory in this book is based on the guidelines written by Yang Chengfu. opposing and complementary. that is. For this reason. Earth or Human realms. of two fundamental forces: Yin and Yang. culminating in the modern-day Chen. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. Sun and Wu Styles.Other books by INBI World: OLEG TCHERNE philosophy of Taiji The philosophy of Taiji was developed in China at the height of the Daoist era between 700 bc to 200 ad. one of the pre-eminent representatives of Yang Taiji family. At its foundation. While the Taiji form has undergone many changes through the ages. the philosophy of Taiji attempts to explain the workings of the universe. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos.
including his meticulous inscriptions for over 400 illustrations.com . and a referential resource for Taiji instructors and practitioners for generations to follow.CHEN XIN The illustrated Canon of Chen Family Taijiquan “The Illustrated Canon of Chen Family Taijiquan” is universally acknowledged by the Taoist community and Taiji practitioners as the seminal sourcebook of Taiji philosophy and techniques. A work of intense scholarship which took over fourteen years to complete.inbiworld. 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. www. this tome was intended by its author to be both the first ever written repository of Taiji lore.
Wenxian. Henan Province. 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 Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. How is the project being funded? A. Who was Chen Changxing? A. How do I purchase calligraphy or make a contribution A.chenxiaowang. founder of the Yang style. www. What is the Chen Changxing - Chen Village Restoration Project? A. Q. China. Q. Q. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village.com .Chen Village Restoration Project • Q.
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