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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.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. One of the finished manuscripts resulted in this book. we believe that Taiji. newly written by Master Wang Xian. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. ‘to exist everywhere. is to be published. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. Tokyo. More than ever. Indeed. to consist of everything’. an impressive feat of concentration and energy considering Master Wang’s teaching workload. Atsuko Noguchi January 1998. indubitably a result of the efforts of Taiji followers in both countries. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . 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. belongs not only to China but to the rest of the world. as an expression of the profound spirit inherent in all human beings. I look forward to Master Wang’s future works with great enthusiasm.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
............................................................................................................................... Lian Sui Energies ......................................................................................................... Dongjin – Realization of Energy ...97 8..................................................................31 9.................................................................. Feet Practice ............................................................Table of Contents Chapter One: Introduction 1...................... Energy Explosion .....................34 10.........................................................................................................................................................29 8..................................... Leg Practice ..................................................................23 5.............. Reeling Silk ..... Ti (Raising) Energy .....................................................................................................................................................63 5.............................72 6............... Kao (Push) Practices................................................21 4.......................................................................................... Step by Step ..........16 2................................55 4.38 2..........4 The Core of Tuishou ............................................................................................................................................40 3.......105 9....................... 2.......................10 5................. 4..................... Na (Seizing) Practices .. The Origin of Taijiquan Tuishou ...................................25 6.......................................... Na (Seizing) Techniques .......... Listening to Energy ........ Zhan Nian Techniques........ 3......................................................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix .............18 3............... Misleading and Transforming Techniques ............................................................................................ Palm Practice ................................35 Chapter Three: Single Form Practice 1...........................84 7........................ Introduction ..13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1..................3 Tuishou Practice – Going Inward..... Elbow Practice ...... Tuishou: the Only Criterion to Judge the Gongfu of Taiji............................26 7.. Jietuo (Escape) Practices................................................................................................. The Relationship Between Three Stages of Taijiquan Practice and Tuishou ........... Fist Practice .................................. Opening and Closing .............
.............................................................................................. Pair Practice in Shun Bu Tuishou...................................... 183 Chapter Seven: Solo Practice in Tuishou 1............................................203 8....... Pair Practice in Da Lü Tuishou ....... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ................ Introduction ....................224 6........................227 7............. Solo Ping Yuanwan Hua ..............................................................................220 5.................................................................................... Hand Techniques in Tuishou Reeling................209 9... Tuishou Footwork Techniques....168 2......................................................................................... Chan Si Zhuang (Reeling Silk Posture) ... Tuishou Handwork Techniques ................................................. San Ti Shi (Three Postures). 215 3.....................171 3...................................... 138 4.210 Chapter Eight: Pair Practice in Tuisho 1.................................. Shun Bu Tuishou .....................................................................................218 4.......................... Classifications of Tuishou .................................... Solo Double-hand Wan Hua in a Vertical Circle ................................................................................ Solo Tuishou With Static Footwork .............................................................................. Solo Double-hand Flat Circle Wan Hua ................................................... Solo Luan Cai Hua Tuishou .................. Single-hand Horizontal Wan Hua in Pair Practice .................................................................................... Introduction ............................... Tuishou Steps ......149 7................. Solo Wan Hua ..........240 王 西 安 x ........... Hunyuan Zhuang (Circle Posture) ....142 5.....175 4..................186 2.................................... Shuang Shou Li Yuan Wan Hua......197 6.......................132 2..............................................................................................193 4..............................................200 7............. Introduction ......... He Bu-Tuishou .............................................. Kai He Zhuang (Opening and Closing Zhuang) ..230 8.......... Solo Danren Da Lü Tuishou ........146 6............................239 9......195 5............................................187 3.................. Pair Practice in Luan Cai Hua Tuishou....214 2.................................................................. Shuang Shou Ping Yuanwan Hua ........................................................................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1.................179 5..................................................154 Chapter Five: Practice for the Buttocks and Crotch ..... Single-hand Vertical Circle Wan Hua in Pair Practice ........ 157 Chapter Six: Chen Style Taiji Tuishou Categories 1..... Wu Ji Zhuang (Wu Ji Posture)............................................................. 133 3.....
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
was the creator of Taijiquan and 9th generation head of the Chen Family. it helps maintain fitness.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. Chen Wangting. transforming. As it is not stressful to the body. as well as the principles of Yin and Yang. (also known as Zouting) was a famous martial arts master. Chen Wangting. Wenxian County. originally known as Jieshou or Dashou. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. With the accelerated pace of modern life. Taiji Tuishou practice is not restricted by a practitioner’s age. agility and flexibility. gender. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . According to the book. In doing so. China. is a practical combat technique based on grabbing. he drew on the theories of the Yijing (I Ching. in the period between the Ming and Qing Dynasty. the ‘Book of Changes’). Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. it helps build health and defence as well as to develop a sensitivity to movement. sword and stick routines. catching. Tuishou. location or access to equipment. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. As a combat techniqiue. Its creator. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. throwing and striking. reducing illness and prolonging a healthy life. and will continue to do so in years to come. Henan Province. ‘The Family Tree of Chen’.1. and he was recognized as the creator of Chen Family boxing.
sTep-by-sTep To practice Tuishou. followed by the double hand horizontal and vertical practice. you will be able to release explosive energy to both small and large targets. A Taijiquan proverb pertains also to Tuishou. enabling you to throw opponents meters away without hurting them. that is. Literally. you must know its significance. or appreciate the interplay of the slow/quick. With sustained practice over a period of time. principles.2 TuishOu pracTice – gOing inward. As you reach the level of adept. intuitive and subconscious. an athletic activity based on mutual pushing. Follow the circling movements with the whole body. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. from the realization of Jin. hard/ soft. catching. You will not realize inner transformation. Initially. so much that you will be able to apply combat techniques. and do not disconnect or oppose your partner’s energy. and what it consists of. Become familiar with the single hand horizontal and vertical practice. pacing your learning step-bystep. Tuishou practice should be soft and modest. and striking. nor will you be able to intuit your opponent’s energetic intention. with greater efficacy and subtlety. to the realization of Jin. 王 西 安 4 .陈 氏 太 极 拳 推 手 技 法 1. Tuishou translates as ‘push hands’. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. such as grasping. Relaxation is fundamental. 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. Less well known is Tuishou’s other application as a technique for internal transformation. listen to each other’s energy flow. throwing. be relaxed. to the Deity’. transformation is the basis. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu.
force and speed in your actions. To cultivate ‘inner listening’. be calm and concentrated in your demeanour. As long as you practice persistently and make progress. combining your heart. In solo practice. you will ultimately enhance your health and combat techniques.Remember that ‘inner listening’ is the one essential skill required to improve your technique. Practice makes perfect. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . but never practice just in order to practice. Skill arises from consistent and accumulated practice. mind and spirit with determination. your intention and commitment must be deeply held. imagine a partner practicing or competing with you.
adhere. and so on. Nian. follow) and Chansi Jin (Reeling Silk). with the lightest of touches. speed.陈 氏 太 极 拳 推 手 技 法 1. The thirteen forms are: • Ward off • Roll back • Press • Push • Pull down • Split • Elbow strike • Shoulder strike • Advance forward • Retreate back • Look backward • Gaze forward • Central equilibrium Peng Lü Ji An Cai Lie Zhou Kao Jin Tui Gu Pan Ding 王 西 安 6 Tuishou flows seamlessly between the application and combination of opposites. distance and direction of energy. which are also the essential elements of Taiji. At a more advanced stage. upward or downward movements. Lian. Kuai (quick) and Man (slow). . Tuishou practice is based on thirteen ‘forms’ or energies. opening or closing. Qing (light) and Zhong (heavy). gathering or exploding. actions to the left or right. You will learn to follow your partner’s intention and forget your own.3 The cOre Of TuishOu The core of Tuishou consists of Zhan. attacks or retreats. When you can control these energies within yourself. continue. you will develop the capacity to subconsciously anticipate quick or slow changes. it will enable you to feel. Sui (stick. while its theoretical basis builds on the philosophies of Yin and Yang. Movements alternate freely between Gang (hard) and Rou (soft). your partner’s weight.
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’. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. stretching. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. don’t move’. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. Attack the opponent’s centre of gravity Use techniques such as ‘control a stronger opponent with weak force’ and ‘defeat weak points with a stronger force’. Like a balloon whose air has been exhausted. it is the force of friction that enables you to hold and seize their arms etc. ‘follow slow attacks unhurriedly’. concentrate on one direction at a time. or other deformation. When releasing explosive energy. ‘if the opponent moves slightly. be calm and relaxed To release bursts of energy effectively. ‘if the opponent does not move. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’.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. 王 西 安 7 . Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. move before they do’ etc. expansion.
none of your opponents can defeat you. push or strike your opponent you do so without alerting them in order to capture their energy. and is worth remembering. the 14th generation master. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. known as Shang Long Xia Ti (which means to place the opponent in a passive position unawares by holding close to his or her upper body while lifting their lower body).” This technique.” Chen Changxing. I perform strictly to the principles so as to make me unassailable. 王 西 安 8 . I follow my partner. whether they strike or twist. The canon of Taiji teachings is rich with such sayings. when you move forward in your turn to press. Using this. results in the shaking off of the opponent’s upper body and lifting of their lower body.陈 氏 太 极 拳 推 手 技 法 As stated in the General Song of Taijiquan by Chen Wangting (also known as the ‘Song of Taiji Practitioners’): “…remembering the principle of following. also states: “No one knows when I gather or stretch. utilizing the techniques of Kao. Even if attacked by a monster. no matter how hard they press. push or strike. Similarly. whether ascending or descending. I always follow their intention. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. 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.
Only one with five Yin and five Yang is called adept. Here. As a science.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. 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 four Yin and six Yang is among the group of the adepts. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . requiring us to further our exploration and improve our practice of it. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. In order to inherit and develop this Chinese cultural heritage.
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. one comes into the group of the adepts’. ‘three-yin seven-yang. Correspondingly. 3. Zhong Quan (medium circle) At this stage. with fuller details available in Chapter Two of my book. ‘Chen Style Taiji Laojia’ (Old Routine). is San Shou’. 2. The three stages of Taijiquan are: 1. 2. Zhao Shu (familiarity with the forms) Outer form drives Qi. . still regarded hard’ turns into ‘fouryin six-yang.陈 氏 太 极 拳 推 手 技 法 1. Dong Jin (realizing the inner energy) Qi drives outer form.4 The relaTiOnship beTween The Three sTages Of Taijiquan pracTice and TuishOu A brief description of the three stages of Taijiquan practice will be provided here. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity.
and does not mean total stillness. one is regarded as a Deity’. and be able to achieve constant internal changes between Xu and Shi (void and solid). we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. At the second stage of Dong Jin (realization of energy). We must pay attention to different methods during different stages of practice. random alternations between states of energy gathering and releasing within a relaxed and elastic body. along with the Tuishou practice of Zhong Quan (medium circle). Note that ‘no circle’ denotes a state of subtlety and skilfulness. That is to say.3. an adept may say. the complete fusion of external form and internal spirit. that is. all parts of the body become as highly sensitized as finger tips so that when competing. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). in addition to a diligent assimilation of knowledge. that is. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). as well as the combination of the respective techniques applied in the big. Following a correct program of practice as outlined above. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). possess abundant internal energy. at the first stage. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. medium and small circles. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. At the third stage of Shenming (deity). along with the Tuishou practice of Da Quan (big circle). enjoy a feeling of lightness. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . By this stage.
This is not unattainable. as our ancestors tell us. even though I don’t know how I do it’. if you don’t make efforts to go forward. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void). Also known as ‘Five-Yin Five-Yang’.” 王 西 安 12 . you surely go backwards.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. “Taiji practice is like rowing in the river.
It simply requires practitioners to have sufficient physical force for competition.1. It is this dynamic that we need to explore during practice. hence it is essentially a competitive activity. meaning ‘loss of energy’. softness can break through hard. tough energy. they are able to strike back instantly in response to an opponent’s movement using conditioned reflexes derived from highly sensitized skin alert to every minute stimulus. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . These reflexes are faster than thought and only come with constant practice. However. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. Ding meaning ‘stiff resistance’). Remember too where your weight is placed to maintain control of your centre of gravity. ‘Weak side strikes strong side. Hence. no techniques can be executed.e. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. 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. Skilled practitioners rely on a highly developed sense of touch. the stronger force) also can defeat the weaker force. ‘thousands of Jin’ (i. This is called. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. Nevertheless. 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. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. While appearing deceptively easy. Tuishou develops one’s sensitivity to others. nor is it just a matter of pitting one’s physical force against others. Without the latter. When forces are equally matched during competition. In other words. four Liang defeats thousands of Jin’.5 TuishOu.
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 .
every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. I know others and sweep all enemies aside.1 lisTening TO energy In the context of Taiji and Tuishou. Similarly. her changes in rotation. What is listening with the skin? It means following the command of the heart and mind. continue. feel your partner’s movements. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. the skin. Hence the saying. sensing through the skin enables reaction in any manner within the rules. squeeze and press. a rise or fall in height or changes in weight. the act of ‘listening’ has profound resonances. and a highly-tuned awareness of sensations in the heart and nerves as well. On receiving these signals. position and magnitude. At this stage. During Tuishou sparring. follow) as fundamentals. when an opponent touches one’s fine body hairs. alluding not only to listening with the ears.陈 氏 太 极 拳 推 手 技 法 2. 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. one’s force is injected into the marrow. With your skin. with the skin and with the fine hairs on the body surface. filled with abundant internal Qi. but also with the eyes. her body light and flexible. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. a practioner’s body can react instantly with great accuracy and flexibility. ‘Without being known. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). allowing both body and mind to enter into the level of deity and transformation.’ 王 西 安 16 . Listening can be divided into three areas: listening with the bones. and taking Zhan Nian Lian Sui (stick. The entire body surface of a high level practioner is highly sensitive. One’s skin is the key weapon. no matter if the changes are in the opponent’s rotation. adhere.
which is essential for constant adjustments to frequently changing circumstances. descending. ‘descending Qi and steady steps’. rising to the upper body. solidity. listening would be impossible. defending and attacking blindly. Nervously. As Sunzi Bingfa says. blood and breath. In all this. Only through accumulated practice can one’s sensations detect the smallest changes. ‘clear manifestation of emptiness and solidness’. making all one’s muscles stiff. until it is too late to repel danger. Without this preparation. emptiness. “The most super-human strategy is formless and soundless. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. You will look without seeing. While the majority of practitioners are able to listen with the bones. Just as a deaf person is unable to comprehend a conversation as he cannot hear. where every knot of one’s body opens and stretches without crude force. Listening is essential to Tuishou. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. let alone the attainment of energy for combat. opening and closing (快、慢、沉、稳、虚、实、 开、合). special attention should be paid to ‘the intervals of fastness and slowness’. slow. listen without hearing. Failure to do so will cause one’s energy to remain stuck in the chest. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. you fight back. very few achieve the ability to listen with the skin. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. so a practioner cannot generate energy for sparring if he or she is unable to listen. How good it would be to attain this level. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . calm. that is why it destroys the strongest of enemies”.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. leading only to failure. your judgement confused. Your reactions will become slow. your listening untrue.
transform. Bo (move with hand). Gua (hang on). Ya (push down). speed. length. Shan (dodge or flash). We call such shortcomings. Jia (stiff ). vertical axis and flexibility. 拿na – capture. Ji (hit). Even for those who achieve this skill. Teng (jump). Ba (pull out). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). 化hua – change. Fa (引yin – lead. magnitude and hitting point. Ying (stiff ). Zhan (chop). Na. Be warned that mistakes will occur on this learning path. Without ‘hearing’ the energy of one’s partner. hardness and softness. this skill may eventually be attained with diligent practice and a good teacher. you cannot realize it. While beginners may find this difficult to achieve. Cuo (rub). An (press). Hua. you cannot note any of the above changes in the oponent. straightness and curvature. Ting (stick out). Qin (intrude). Di (resist) and Gun (roll). It is the ability to note present or potential changes in emptiness and solidity.陈 氏 太 极 拳 推 手 技 法 2. Failure to overcome these shortcomings would be to fail to realize energy. Ling (pressing). direction. await them. Qi (insult). Zhuan (cheat). that is. 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. Ba (seize by force). Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. Lou (hold). Li (leave). 发fa – explode) at the appropriate opportunity.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. your energy too resistant (Ding) or being lost unnecessarily (Diu). Pai (squeeze out). 王 西 安 18 . new challenges such as ‘being too fond of competing’. Hun (mix up). Peng. “faulty palms” or “faulty body”. Realizing energy is based on listening. Meng (sudden). Ke (knock). Gou (hook). Tui (push). Zhi (straight). Zhe (hide). Duo (escape). Dang (block off ). the ability to circle and the principles of Zhan Nian Lian Sui. Shi (tight). your posture too straight (Zhi).
striking. Whilst all Chinese martial arts possess unique characteristics. angle. which is used not only in Tuishou. dodging. says in a verse from his book. Tuishou is the combat application of Zhan Nian Lian Sui. Zhou and Kao). I always keep remembering to follow their intention. Sanda complies with basic Tuishou principles. no matter if they use the technique of Kao or twist. form and quality of Tuishou. ultimately. Ultimately. In fact. transforming. but also in the combat arts and and Sanda (free sparring). the Tuishou practitioner must aim to apply these techniques (seizing. twisting. falling. relaxation and health practice for the old and infirm. Lü. and shares many common principles with Sanda (free sparring). 14th generation Taiji master from the Chen family.The practice for ‘realizing energy’ also tests one’s position. rather than use them as disparate forces to enhance one’s attacking prowess. these eight techniques form the method for Tuishou. look around and maintain an upright axis during Tuishou practice. hence its continuing ties with Tuishou and. jumping. changing one’s centre of gravity and flexibility) in synchronous movements. Whilst acknowledged as a combat technique in its own right. When attacking. Lie. the poplular stereotype of Taijiquan as a non-combat. Ji. ‘The Taijiquan Formula’: No one knows when I gather or stretch. As Chen Changxing. 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. Sanda can simply be taken as a higher evolution of Tuishou. Concordant with the adage that ‘external forms are the method and the pathway’. they share the common practice of ‘realizing energy’. In effect. is misleading and does not take into account its fundamental role across the Chinese martial arts. An. Cai. developed from further transformations of Tuishou routines. with Taijiquan. Hence. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . grasping. I follow my partner. utilizing the techniques of Kao in spiralling. and also in one’s facilitiy with the eight energies or techniques (Peng.
The attacks from me by twisting. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. step by step. Chen Xin once said. this verse confirms Taijiquan as a profoundly practical Martial Art. strike. “From the familiarity of forms. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. Li. and horizontal Cai are also irresistible. The third. to the realization of energy.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. ward off. push or press. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. ‘listening and realizing energy’. With the development of modern weapons. The second sentence of the verse means to follow the other partner’s intention while circling them. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. that is. until I come to the level of Deity”. the Chinese martial arts have evolved into health and fitness promoting practices. The author stressed the importance of ‘follow’. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. In addition to applying Master Chen Changxing’s advice. adaptable to both Tuishou and Sanshou. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. to forget about one’s own intentions and follow the opponent’s. that is. Everyone knows how to hook. Indeed. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. As mentioned. we can clearly see that in all movements. Hence. leading to a wider understanding of the profound benefits and applications of Taijiquan. to act naturally and follow one’s intention. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. fourth and fifth sentences refer to the application of Taiji Sanshou. Again. press and hold back.
on reaching the final stage of ‘deity’. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. magnitude. direction and the position of a partner’s energy flow. capturing and transforming his energy and using it to attack at the first opportunity. like glue. At this point. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. this results in a deeper and more precise understanding of energy. Tuishou practice cultivates the capacity to know others. with which one’s opponent will find difficult to escape. so that he finds it hard to escape. Nian means to chase and follow one’s opponent. to one’s opponent. This ability comes through great patients and a life-long perseverance of effort through the three stages. A practitioner.effectively. while Tuishou exposes the quality of Zhan Nian techniques. “Form practice is the essence of Zhan Nian training. Only with the awareness of both oneself and others can others be conquered. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. and its natural and intuitive use. the first being ‘familiarity with form’ and the last being ‘realizing deity’. the adhesive force that allows a practitioner to become strongly attached. extent.” Zhan literally means ‘stickiness’.3 zhan nian Techniques Zhan & Nian are forces directed forward. Zhan Nian energies work as a pair. that is. Conversely. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . It is commonly used in attacking strategies. 2. Ultimately. will be able to instantly sense the delicate changes in the movement. Whilst it is said that form practice cultivates a capacity to know oneself. in this way maintaining the upper hand at all times. Through reeling-silk practice. Zhan Nian techniques develop one’s capacity for high precision. and come to realize the laws of movement and force. This is why it is said.
and so on. despite prolonged practice. have failed to attain high proficiency in the art. beginners find Zhan Nian energy difficult to comprehend let alone detect.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). During Tuishou. ‘I don’t move if they don’t move’. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. ‘Fast reactions to fast attacks. especially those who. flow up the arms to the shoulders and back. Not an easy task for ordinary practitioners. Understandably. as reflected in their stiff bodies and tense. ‘I move before them on feeling their slightest motion’. but even many long-term practitioners find total understanding or realization elusive. slow reactions to slow attacks’. as indicated by these teachings: ‘Follow my partner’s intention. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. but certainly achievable for diligent practitioners with good teachers. 王 西 安 22 . victory or defeat is decided in an instant. Once the whole body is enveloped. and forget my own’. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. these techniques will lead the opponent into faulty moves. one can never accomplish quality ‘chasing’ (Nian). Zhan Nian energies can be detected by sensations that start at the palms. contact with the opponent’s palms allows the practitioner to estimate the opponent’s circle of reach and the level of their energy for transformation. yet arrives at the hitting point earlier than the opponent)’. Ultimately. continuous and diligent practice. When Zhan Nian techniques are applied. an internal energy manifesting externally. This is why it is said that at this relatively high level. ‘I win by striking after the enemy has struck (My fist starts late. the practitioner can exert Zhan Nian forces towards the opponent. inflexible muscles and joints. Simultaneously. and then through the entire body. It is Zhan energy that envelops the body.
Once palms come in contact. no resistance). adhesiveness. there can be no Lian. In so doing. Sui. slow reactions to slow attacks. non-pressing. follow and move in the same direction as one’s opponent. another rises’. that is. and can only exist in the presence of the latter. and no chance to escape. fast reactions to fast attacks.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. Lian has a rich amalgam of meanings. how can Sui be achieved? Sui technique means to react. Unless one follow’s the opponent with Lian (co-relation). Lian is dependent on one’s use of Zhan. ‘to react while following’. continuity. including consistency. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. Used in concert with Zhan Nian energies. non-forcing. so that ‘as one falls. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . It can be summarized as ‘co-relating to the opponent’.2. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. taking any opportunity to attack. the opponent cannot escape because if one follows closely using Zhan Nian. emerges from the application of Lian. Without Zhan’s adhesive force over the partner preventing escape. moving effortlessly between quick/slow and forward/ backward movements. one observes and reacts to the opponent’s Zhan Nian techniques. ‘Bu Diu Bu Ding’ (no loss of energy. can we execute Yin Jin Luo Kong efficiently.
” Here we refer to the ability to keep every part of the body functioning as an integrated whole. whether through form practice or Tuishou”. the basic ability to follow the opponent’s movements. Beginners may attain the preliminary stage of Lian Sui. Lian and Sui can never function without the other.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. It is vital that beginners are able to feel the movement of internal energy inside their bodies. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. on the other hand. successfully use Lian and Sui to attack and prevent escape. without any break in flexibility or continuity. 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. following their energy flow without interruption. so that they can ascertain if their energy levels match the purpose and intention of their actions. Adepts. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. upper and lower coordinate any motion in the middle. 王 西 安 24 . As the teaching says. “The lower body automatically follows any motions of the upper body. therefore it is advisable to practice the combined application of both.
neutralizing any opportunity for attack. we then use our shoulders. I apply Shun reeling downwards. one should avoid Diu and Ding (losing energy and resistance). using Lian Sui to follow their energy flow. the adept draws the opponent into his or her domain. palms. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). hips.2. so as to mislead my partner’s energy and upset their centre of gravity. Literally meaning ‘to draw’ or ‘to lead’. if my partner presses my right arm with their palms. Using these complementary techniques. or feet to upset their centre of gravity. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . Note that while applying Yin and Hua forces. reeling my back inward before suddenly striking outward. elbows. hence ‘misleading’ and transforming the opponent’s energy. When applying Yin. While moving. knees. A particularly effective combination is Luo Kong. I lower my body then stretch my right foot toward his or her crotch. Once neutralized. going up or down. we should apply She Ji Cong Ren without being detected. using our arms. Use these principles whether you are going backward or forward. turning left or right. legs and so on”. and in this way mislead and neutralize your opponent’s energy. Hua is the transformative force. When we feel the changes in our opponent’s energy flow. 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. hands. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). For instance.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. then gradually upwards. Yin is the ability to draw the opponent’s energy into one’s control. As Chen Xin explains. and cannot exist without Yin first being applied.
rotate an opponent’s joint towards its unnatural direction. Opponents will feel as if their tendons and bones are about to break.e. just as one should attack forcefully without hesitation. tie up.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. Instead. shock. that of Taijiquan is accepted as the most refined. so as to accumulate and release energy effectively. That is to say. look one way and go another”. However. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. 2. i. When I attack. meaning the direction which hurts the natural structure of joint. one must cultivate the forces of Yin. dodge. using all these techniques to mislead my opponent. destabilizing their centre of gravity and transforming their energy in order to conquer them. touch. and their pain penetrates right to the marrow. explode energy as if releasing the arrow”. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. Any hard fan guanjie (joint twisting. In this way. he or she can easily capture his opponent through the combined use of all . As Chen Xin suggests. depending on circumstances. wrists or hands to inhibit their rotation or movement. I know my partner without being known. It is important to remember that one must gather energy well before misleading one’s opponent. “gather energy as if pulling on the bow. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. elbows. my Taiji harmony within emerges so that even ghosts fail to predict my next move. the more one stretches the bow. they are conquered. hence rendering them helpless. the further one’s arrow flies. sweep. Hua and Xu (gathering). As Chen Changxing advises. In Tuishou and San Shou. and hence the harder the opponent falls. I “roll over.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways.
techniques such as Zhan Nian Lian Sui. This is called ‘dual-utilization of seizing and gathering’. transforming and striking. ‘Na (seize) always goes with Da (strike). applying the energy smoothly and judiciously without over-exertion. I utilize Na to prevent my partner from escaping or from transforming their energy. you must react quickly and flexibly to any changes in your opponent.their gathered forces. a Tuishou practitioner can exert the invincible might of Taiji. In Tuishou. There is a saying. I move using the principles of Qing Ling Huo Qiao (lightness. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. Shuai (throw). in order to strike well. Na (seizing). agile. so that I may capture my opponent without hesitation or detection. To apply Na effectively. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. These recovery measures also depend on a light. Zhua (grabbing). ‘is called the “best of the best”’. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. 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 . you need to seize first’. When utilizing Na. With the combined application of seizing. flexibility and skilfulness). ‘Only this. you still have the opportunity to move in quickly and seize them by their palms before they move away. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. agility. Indeed. Tuishou accentuates Taijiquan’s martial power. The seizing technique in Tuishou is very important. so that I can strike them cleanly and successfully. Hua (transforming) are all preconditions for striking (Da). throwing. thus reaching their goal. This is why it is said that Na is the pre-condition of Da. If he or she succeeds in escaping.’ as Sun Zi Bing Fa says.
he will be able to press forward. Miscalculations often result in injuries. Common problems. ‘No part of my body is not peaceful. Using this will overcome the opponent without fail. and your ribs. include controlling one’s speed and magnitude of attack. application of appropriate angles and techniques. Never let Qi float upward and never let your feet lose their roots. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone.陈 氏 太 极 拳 推 手 技 法 When applying Na. every part of your body works in harmonious cooperation. Next. By relaxing. remember to maintain a relaxed state by lowering your whole body. Then strike directly forward in a spiral and hit your target accurately. If you fail to Peng (ward off ) your opponent adequately. hence it is advisable to heed the teaching. if you want to seize your opponent. and sensing the amount of force the partner’s joints can withstand. seize him then guide his pressing force into your territory using Lü energy. use the Na technique carefully to avoid hurting your sparring partner. Na technique works together with Cai technique. with no part tense. your chest rolls inward naturally. releasing your force like bullets rushing out of a gun. whether you exert Na by the co-ordination of your hand and chest or with your ribs. ‘Never be rude and rash when you begin to practice Na. and all parts in a gathering motion. How then can you hope to seize another? Indeed. stomach and the protruding and concaved parts of the shoulders. making sure your hitting points are clearly defined. in which case. Na is the synchronous manifestation of the internal and external. the targets for both being the arms. In peace every part of my body moves at the time of movement’. both palms covering his right wrist. Exert your energy first lightly then with force. especially amongst beginners. chest. your root will become unsteady. shoulders and crotch all gather downward in concert.’ 王 西 安 28 . When relaxed. During practice. your centre of gravity destabilized and you will find it difficult to protect yourself. just as it is stated. If Qi ascends. you have no option but to relax your joints. twist his right arm inward with your left hand. stomach and legs.
hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. As complementary opposites. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). relax the shoulders. are widely used in Tuishou. preserve.7 Opening and clOsing In the martial arts. Gather the ribs. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. solid stomach and slightly concave chest. 2. bend and gather. Opening (Kai) means to stretch and reach. just as Chen Xin mentioned in his works. Inhale from the stomach so that it remains solid. opening and closing illustrate the subtlety of Taijiquan. As Chen Xin says.Work on your technique step-by-step: develop a closed crotch. Indeed. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . transform. Remember – to attack your target with agility and flexibility requires long accumulated practice. gathering versus exploding. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. OpeningClosing techniques. This is an important concept which bears deeper contemplation. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. Sanda and form practice. one cannot ‘open’ without first being ‘closed’ and vice-versa. In all Tuishou and Taiji movements. Closing (He) means to draw in. Mengzi. making sure all movements are steered by the waist. every part of the body is engaged in the action of opening and closing. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. often meaning to ‘guide and attack’ in the martial arts. Keep every joint relaxed before you exert Na. Even masters of Chinese philosophy – Kungfuzi.
In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. grasp the floor with the toes and soles. The quality of the effort you put in to closing determines your ability to open with power and effect. you will find your opening powerless. external shape (Xing) and spirit (Shen). Yi moulds changes in external shape while Jin (force) rises with Qi. forceful. Kai (opening) energy originates in the root of your body. In practice. from the soles of the feet. pressing the ground with your heels to empty the Yong Quan points. The Opening-Closing technique starts from the closed state. Your heart acts as the guide and leader during energy explosion – when your heart opens. if your energy is gathered and conserved well. 王 西 安 30 . Likewise. Thus positioned. every part of your body follows suit. muscle energy (Qi). the louder the explosion. you will find that Qi penetrates your whole body more smoothly and powerfully. filling you with great vigor. your ‘opening’ explosion will be natural. so that your targets become accurately defined and attacks successful. While standing. but also to coordinate the heart (Xin).陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. As the saying attests. your intention (Yi). crude and slow. with the qualities of both solidity and emptiness. the rebounding force exerted by the ground can be used to energise any upward movement. and sometimes they disappear. Closing not only means to bend and withdraw your upper body. swift and powerful. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. since Yi (intention) follows wherever Xin (heart) goes.’ Only diligent practitioners have the opportunity to experience this phenomenon. so that all parts of the body work together. Without closing well. sometimes appear before our eyes. this means that one needs to be closed first before one can open. that is. ‘Opening-Closing. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. these changing motions.
flexible and compact enough to mislead and upset your opponent’s centre of gravity. then spiral your internal energy up the legs to the waist. Practitioners also need to build-up a reasonable level of muscular strength. To master this elastic force. strikes may not find their mark. then to every corner of the body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . Exploding energy at close-range is best as Kai energy. the whole body returns to a state of softness and relaxation. lower your waist and let Qi flow along the spine. presenting your partner with opportunities to attack. while being mindful of the adage. 2. roll your chest slightly inward. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. Beyond this range. your centre of gravity may be lost. the energy released unhindered. This energy originates from the soles of the feet. albeit swift and powerful. After exploding energy. and to develop high sensitivity and rapid responses to external stimuli. To gather energy of this quality. you need to train your muscles in relaxation and gathering. which then distributes it to the other extremities.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). The solution is to make your energy round. spirals up the legs to the waist control-center. The explosion should be short. 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. or you may find your Kai technique lacking in power and precision. or worse still. you will need to drop and relax the shoulders. is limited by its short duration and small coverage which extends only as far as your body. land on the ground on your in-steps. keep your elbows down. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3.33 cm.
abundant internal energy and intense physical and energetic concentration. flexibly and harmoniously. When doing Tuishou exercises. straight forces. Your performance in competition depends not only on the quality of your sensitivity. you must practice Changjin 王 西 安 32 . transforming and attacking are closely related. Transforming and gathering are complementary and cannot function without each other. spiral forces. but also that of your internal energy and combat strategy. and exploding energy with elastic vibrations. To combine the power of the three. To do this. which manifests as our weight. one must explode energy smoothly. and to explore the interactive relationship between them. there are also a myriad of other forces which influence our bodies – supporting forces. Failure to counter your partner’s force means. frictional forces. utilize. dissipate or absorb her external force. Gathering. internal forces. The main external force that we humans experience is gravitational force from the earth. though random wins may happen. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. all these are prerequisites to “destroy something already in a state of ruin”. The force that you and your partner exert on each other in Tuishou is external force.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. The external force of both parties affects each’s internal energy flow. not relying on rigid or crude force. However. 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. horizontal forces and so on. in effect. counter forces. your opponent is vanquished. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. that you are unable to neutralize. it is necessary to distinguish clearly the respective functions of internal force and external force. skilfully. Constant diligence. consistent good performances will not be achievable. Without these. not strength”. and with that outburst.
despite its ferocity. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. instantaneous. By mastering the key points of energy explosion. below which energy flows downward and above which energy flows upward. Close-range attacks require a high-level of competence. elastic or vibrating variations. will find the opponent flung far and wide. Still Tough’ and ‘Four-Yin Six-Yang. An attack. as their attacks flow naturally from their heart and intention. At this level of Gongfu. At the transitional stage between ‘Three-Yin Seven-Yang. For example. Upward energy and downward energy exist in opposition to each other. Good Hands’. one should not attack at close target. As it is said. quick. even with the slightest touch. easy conquest of the opponent does not necessarily follow.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. Alternate between these three with slow. you will find it easier to hit targets more accurately and swiftly. especially exhaling-inhaling and opening-closing motions. To reach this level. it is not advisable to exert Changjin (long energy). 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . while downward flowing energy helps maintain a firm and stable root. “Without striking the partner from a distance of three metres. This means that if one finds it difficult to attack from a distance. beginners need to do the following: do the big circle practice. and the small or no circle practice. the whole body moves as a synchronized force to follow the slightest movement of intention. and even when elastic cunjin (hitting a target at very close range) is executed. leading to very smooth and swift responses. Continue developing these techniques step-by-step until the level of deity is reached. there would be no striking the partner from one inch”. during Tiaozhou practice (upward strike with elbow). imagine a line between the navel and Mingmen. Only very high-level practitioners may achieve this. the medium circle practice.
This means that no matter what Tuishou techniques you use. Remember to maintain full concentration. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. then your instant and precise attack can never fail”. Instead. and may lead to loss of control. rotate your Dantian so that your body lifts with greater speed and accuracy. Remember to maintain your centre of gravity with the coordination of the other leg. never let your partner know your intention before you act. heart. shadow your opponent with agile steps. The rising force is difficult to use if forced.9 Ti (raising) fOrce Ti means to ‘rise spirally’. powered by upward spiralling energy. The arms and legs work together.陈 氏 太 极 拳 推 手 技 法 2. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. 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. Using Zhan Nian Lian Sui. while you maintain a state of relaxation. while you keep your intentions and energy flow undetected. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. waist and arms. keeping your axis upright and combine your eyes. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. At the same time. and intention into one entity. When applying Ti. First. Even if not thrown completely off balance. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. your opponent’s upper body will shift out of their control. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . As Qi flows up the spine. To lift your opponent up with Ti requires the combined effort of legs. you need to destabilize your opponent’s centre of gravity by inserting one leg between your opponent’s legs and lifting it quickly outward using spiralling energy. To conquer your opponent. combine your rising force with your elastic force. To apply Ti successfully requires the whole body to work in coordination.
go forward or backward. as it emerges from the feet. reeling outward. walk with such assurance as to shock evil spirits. you will find it easier to follow. When this happens. you will be able to transform energy while striking. touch or sweep in response to the circumstances and you remain always observant and alert. Mastering this energy requires much effort and practice. revolving energy which originates internally in the body. and manifests externally as it permeates through to the fine hairs on the skin.10 reeling silk Reeling Silk is a spiralling. mislead. Attaining high-level skills will make you braver. on the verge of losing their centre of gravity. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. You will attack like a flying dragon. their root and they will certainly fall. you will lose awareness of your physical body and location. your attacks will never fail. reeling upward. passes through the legs up the spine and arms. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . and not even know from whence your power emanates. you will come to sense it with practice. whether you rise or descend. but once attained. your force will reach its target just with intention. 2. Adequate practice will naturally lead to success. tie. until it reaches the fine hairs of the skin.and power. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. follow the primary principles and develop your skills stepby-step. Though undiscernible initially. so you feel able to “protect your descendents and kill the rebels”. For beginners. The Reeling Silk consists of great varieties: reeling inward. Do not try to strike others before you have attained a reasonable level of competence. transform and defeat your opponent’s attacking energy. You roll. reeling to the left or reeling to the right.
apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. reeling horizontally or reeling vertically. While reeling. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. When being utlilized. collapse the waist and establish a stable centre of gravity in the legs. Yin (guiding. maintain the interplay between solidness and emptiness. Be humble and respectful during form practice. reeling forward and backward. Keep a firm root. remain balanced. misleading) always comes with Jin (approaching forward or attacking) and vice versa. and thus renders you unable to react properly and to be easily manipulated by the opponent. When using Reeling Silk energy. one must avoid being too soft or too tough. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. As for posture. reeling to the front or reeling aside. and so on. quiet and calm. excessive toughness makes you get too rigid. Shun reeling (conforming) and Ni reeling (contrary). focusing your energy internally and guiding the flow of your responses from Yin to Yang. all these reeling movements are always comprehensively combined together and closely connected.陈 氏 太 极 拳 推 手 技 法 small circles. The solution lies in the middle path: keep a balance between softness and toughness. 王 西 安 36 . and apply opening and closing techniques. remember to keep your Zhongqi (energy to keep your axis upright).
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
Faji (attack) effectively under any conditions. where ‘Qi spreads to the whole body. and exerting energy too forcefully (Ding) while exploding energy. Hua (transform) and Na. if practice is diligent. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). relaxed and soft. Shuai (fall). Tui (go backward).陈 氏 太 极 拳 推 手 技 法 3. Qi will flow around the body to the extremities and skin. Cai. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. 3. for example. Single Form practice is vital for hand-to-hand Gongfu combat. As we know. Ti. as well as techniques focussing on various target areas of the body. Zhou. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. Erlu and Single Form practice help to accumulate and strengthen Gang. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. Lie.1 inTrOducTiOn This is a practical lesson in combat practice. goes through the Sanguan (Three Gates). Because Yilu lacks speed and Gang (tough) energy. To win. 王 西 安 38 . so the Single Form Practice and Erlu help to compensate for this disadvantage. It also demands a period of diligent practice to ascend gradually through the primary. Ji. keeping your energy tracks undetected by the opponent. Shan (dodge).’ In this way. Erlu explodes In this technique. you need to execute Jin (go forward). movements gradually become agile and flexible. who is then inevitably conquered. This practice requires a solid foundation in preparatory exercises. full relaxation of the joints.1 Yilu cultivates Qi. Zhan (battle). interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Da. A wide variety of single movements must be practiced repeatedly.1. This means that Yilu fosters Zhongqi so that. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. Lü. Kao. An. medium and high-level stages.
Single Form practice is of vital importance. elbows. These clearly advise diligent practice of the shoulders. you don’t. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. Chen Zhaopi was the undisputed master of 滚Gun (rolling). Hence. resulting in loss of vigor and effectiveness. 搭Da (touch) and 扫Sao (sweep). inner meanings of the mysterious art rather than a competition. legs and hips using relevant principles. the seizing techniques of Eagle Claw King. be they exponents in internal Gongfu or external Gongfu. neglectful practice becomes increasingly difficult to rectify.Gongfu masters. hands. after you practice the form ten thousand times’. they always got hit and thrown to the ground. Well known examples include the foot techniques of Li Bantian. 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 . 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. ‘Skills come naturally when you are familiar with forms’. back. each have their own unique combat style drawn from continuous tempering in their practice. so that the path to deeper understanding and realization may be paved. 拴Shuan (tie). ‘You practice. If prolonged. more like a relaxing stretch to enjoy the subtle. To do otherwise would be to ‘attend to trifles and neglect the essentials’. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. Significant gains may be attained by practicing the single forms step-by-step. No matter how steady his partners stood in the beginning of a fight. Lastly. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). such as: ‘Profound principles emerge by themselves. sober movements and his relaxed yet vigorous energy explosions. Though widely differing in style. He was known to say that he found throwing partners too easy. you harvest. you fail’ and so on.
3. 王 西 安 40 Fig. bend and raise your knee slightly. 3. alternating between both legs: kicking forward. swinging up and down and so on.陈 氏 太 极 拳 推 手 技 法 3. stomach gathered and head suspended from above.2 feeT pracTice Feet practice includes the following movements. chest rolled slightly inward.1 . trampling. With one hip relaxed and the opposite foot slightly touching the ground. upwards and sideways. pedalling forward. face to the front.1 Exercise One • • Squat slightly.2. horizontally.
• Relax the feet so energy can reach the toes where it is required. make sure your in-step is stretched moderately tightly.2 41 .2. collecting the energy at the abdomen. sideways.3. Descriptions of some of these exercises are provided below. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. pedaling. • Kicking smoothly. bend the other leg with toes grasping the ground to maintain a firm centre of gravity. • Roll the chest inward and aggregate energy with the whole body. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. horizontal. feet hanging backward and so on.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. 3. up and down. upward and downward swing. stepping.
3. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). they will be able to direct energy explosions to targets with precision and ferocity.3 • This technique is applicable to the toes. your left foot prepares to kick with the toes or instep as the right foot lands. use the rebounding force of the earth to bounce up and propel your kick (Fig.5).4. . edges of the foot plate and the sole (Fig. if you kick with the right leg.陈 氏 太 极 拳 推 手 技 法 Fig. At this point. 3. On landing with either foot. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. for example. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. 3. Beginners should practice slowly.3). 3. It should be practiced with both feet so that.
Fig. 3. 3.6 43 .4 Fig.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.
王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart.陈 氏 太 极 拳 推 手 技 法 Fig.7 The Upward Kick is used for high targets. practice kicking with each foot sequentially. a principle also applicable to the Double Kick (Er Qi Jiao). • Switch your centre of gravity to the left foot. instead. 3. usually the opponent’s chin. The Upward Kick should match the rhythm of the hands’ movements. There is no jumping in the Upward Kick. . The whole body must be kept balanced and straight when kicking upwards. The kick should be light. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. flexible and quick.
• Bend the left knee.8). feet firmly grasping the ground. As your right foot explodes energy stamping downward. 陈 氏 太 极 拳 推 手 技 法 Fig. 3. standing with left leg. but try to keep some weight in the un-weighted side as well. exploding energy as quickly and fiercely as you can. 3. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. all the while rolling the chest slightly inward. cup your right fist and left wrist together in front of the chest. keeping the right foot at the same distance from the left foot as before. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. Then empty the Yong Quan point. 王 西 安 45 .8 • • • Then stamp your right foot on the ground. grasp the ground with the left toes and. raise the right knee gradually (Fig.
9 Regardless of which leg steps forward first.9). In Single Form exercise. e) Forward Kick This consists of a straight kick forward with the sole of the foot. 3.陈 氏 太 极 拳 推 手 技 法 Fig.10). 3. Kick as high as your opponent’s stomach and chest. including the alternating use of the legs (Fig. remember to follow instantly and quickly with the other leg. practice with the left leg) (Fig. 王 西 安 46 . The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. and then withdraws elastically like a rubber band springing back into shape. you can practice with the alternation of legs (after praciticing with the right leg for a while. The key points here are the same as those for the previous segments. 3.
10 Fig.11). • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front. 3. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig.12) and the Outward Kick (Fig. sometimes with the soles. prepare well by relaxing the chest and stomach to ensure your kick is fast. 3. 3.11 Kick mainly with the heels.Fig. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity. 3. Before kicking. with hitting points mainly on the inside of the foot (with the occasional use of the outside).13). 王 西 安 47 . fierce and perfectly targeted. 3. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. As you reach a higher level of skill.
3. with the hitting points mainly on the outside of the foot (occasionally inside).13 • The Outward Kick is executed outward and upwardly.12 Fig. 王 西 安 48 • . as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. while the body becomes straightened when kick is streched). explode energy like releasing the arrow”. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. the whole body gathers together then opens up with an explosion of energy. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. In the Sideways Kick. this reflects the relationship between Yin and Yang’. 3.陈 氏 太 极 拳 推 手 技 法 Fig.
which allows you to use quick and continous forward steps. Always coordinate the kick with your hands. Before kicking. 3. be it with the right or left foot.15). use the Gen Bu (follow-on Steps).14 49 .14). smack the foot with your hand to ensure the integrity of the energy. 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. Your swinging foot is targeted at the back of the opponent’s head. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then swing it outward in a natural arc. turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. Squat slightly. toes grasping the ground and all muscles of the body relaxed. then bring it backward (Fig. while your hands are targeted at the face. If kicking with the right foot. Kick upward with the back foot. 3.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other.
陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. . I take the back of the opponent’s head as target. 3. I smack in the air by switching into the track of a swing arc.15 With openings and closings. And smash enemies to pieces. And kick upward along with palms coordinated with Lü. 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.
Gua (hanging) and Gai (covering) in a second. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. • Hang one foot backward. coordinating both with Tou Bu (sneaking steps). • Pay attention to that you finish this action with the guiding of the waist and back. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. • The foot hangs to the calf suddenly to make the opponent lose his balance. keep your footwork flexible and neat. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. • Use both hands to execute Lü on one arm of opponent behind the body. • The action must be quick and powerful. No matter which you use. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . palms facing outward. remember to balance upward Long (close) movements with downward Ti (raise). During solo practice. • Hold the body in a squatting position for the next few movements. You should finish Lü. rotating it slightly so that it slants to one side. The powers of hand and foot combine together. • Swing both hands backward to the side of the back hanging Foot. depending on the distance between you.
As a Tuishou poem states: With Yin and then Jin techniques. 3. I take the opponent’s upper body and chest as target. Hold your position and collect yourself enough to kick upward then swing downward. 3. I explode my energy with the rotation of my waist.陈 氏 太 极 拳 推 手 技 法 Fig. . 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. your face looking upward. And enemies fall to the ground with face to the air. Then lower your foot to the ground. Move forward with Tou Bu (Sneaking Steps).16). And kick upward along with palms smashing downward. twisting the waist and rotating the back to exert more power (Fig.16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force.
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. since these are in a constant state of flux depending on the circumstances. 3. these may not provide an accurate picture of weight changes required in practice or combat.Fig. Use Front Bow Steps to practice this movement (Fig. Note that while weight distribution ratios may be used as a guide (e. mindful that while one is in the air. The attacking leg must be flexible enough to swing to the left or right. 3.19).. 40:60.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. Practice this transfer of weight by alternating the legs. 20:80). 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 .18.g.17). 30:70. 3.
‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’.18 Fig. waist and hands. As one master said: 王 西 安 54 I move my centre of gravity. 3. shock their lower limbs and unbalance their upper body with my feet. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. 3.19 Using Short Energy: Short energy should be used in both inward and outward kicks. making your intention easily anticipated. so that the strikes are as rapid and powerful as possible. Short energy attacks are often used to ‘give a shock to the lower limbs’.陈 氏 太 极 拳 推 手 技 法 Fig. I explode and shock the ghosts. . Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles.
Waibai Tui (Legs Swinging Outward). Practice continuously alternating both legs. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. that is.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. making sure your leg is no higher than 15 cm above the ground. 3. just as in form practice. Lihe Tui (Inward Knee Strike). a shoulder width apart from the left foot.3. Xiacai Tui (Downward Cai energy). Lower the tip of the toes of your unweighted right foot to the ground. Nichan Tui (Legs Reeling in Ni Circles). Begin with slow practice. As the toes touch the ground. Change your weight to the left.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). ‘Yong Yi Bu Yong Li’. 王 西 安 55 . Keep your legs reeling from left to right. change the weight to the right and step out with the left foot. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. Use intention (Yi) rather than physical force (Li). working up your speed in gradual stages. repeating the movements while keeping reeling from the left to right. look in the direction of the moving leg. then squat and step out with your right foot. When the right foot lands fully on the ground. step your right foot 40 cm forward to the right.3. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). toward the target. Move the left foot half a step to the left.
then step forward 40 cm to the left. transferring all your weight to the left. You also need to practice Nichan and Shunchan with both legs. Inner knowledge can only develop with concerted. 3.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart.陈 氏 太 极 拳 推 手 技 法 3. continuous practice. Raise the left foot. Practice these steps in continuous alternating cycles.20).3. striking to both sides with each leg. 王 西 安 Fig. Step the right foot forward. rotate to the left forward at an angle of 360o. remembering that the inner side of the heel is the striking point. and then rotate 360o left stepping on the toes (Fig. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. step forward 40 cm with the right foot. 3. transferring all your weight to the right.20 56 . Next.
3. 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. • Combine Lihe Tui with the rotation of the waist and spine. In Huobu Tuishou (Tuishou while walking). change your weight to the front foot.22 57 .21 Fig.22). As such. 3. practice with both legs and with change of directions. 3.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. we usually attack with Lihe Tui using the right leg. • While practicing. • Stand at attention.21). then transfer your weight to the left before moving the right foot forward (Fig. 3. attack with Lihe and then move 90% of your weight to the back leg (Fig.
Through diligent solo Tuishou practice. Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. 3. During practicing Waibai Tui. 王 西 安 Fig.3. 3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps).24). 3. and requires a sudden outward swing of the leg as weight is transferred. 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.23).陈 氏 太 极 拳 推 手 技 法 3.24 58 .23 Fig. 3. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. Being content with a superficial understanding is fruitless. practitioners will come to realize the deep significance of their efforts. regardless of whether you practice day and night (Fig. step forward with one leg and swing the other outward and then closing inward.
• To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles).26 59 . 3. Cai to the right. • To do Ni Cai: move the back leg forward. placing your toes slightly inward. • Start with your centre of gravity at the back leg. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent. The outer side can also be targeted once your ability improves.5 Xiacai Tui … Downward Cai Energy Cai means to pull down. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out.3. Shun Cai and Ni Cai are based on Front Bow Steps. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles).3.25 Fig. placing your toes slightly outward. Xiacai Tui consists of Cai to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.
王 西 安 Fig. striking to the front. With a spiralling move forward.28 60 . keep ankles relaxed and Qi descending (Fig. Practice with alternating legs during Single Form practice. striking inward and striking outward.27 Fig. Deepen your understanding of Jin Li (energy and force distribution).25). 3. Bend your knees about 40o – more than this and you will lose your centre of gravity.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. 3. bending consists of stretching’. you can enter the opponent’s territory (Fig.26). Train your body to understand the meaning of ‘stretching consists in bending.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down).3. 3. 3. 3.
• • •
All the above incorporate shifting of weight forward and back. Move the left foot forward then strike out the right knee, aiming it at the partner’s crotch (Fig. 3.27). While striking forward, roll the chest slightly inward and gather energy in the abdomen. Also, keep the hip and ankle relaxed, focusing your energy exertion on the target. Change your weight to the front, raise the knee, then strike it with an open palm (Fig. 3.28).
Li He Bu (Tuishou with Static Footwork) requires you to bend your knee, strike to the left, hit the inner side of partner’s right leg or the outer side of his left leg. (Fig. 3.29). Striking up and outward is called Waizhuang (Striking Outward). Key points are the same as in the previous striking practice (Fig. 3.30).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.29 Fig. 3.30
陈 氏 太 极 拳 推 手 技 法
3.3.7 Houbai Tui … Backward Swinging Kick
This is a wide-spanning movement and beginners are advised to imagine an opponent or target as they perform the technique during solo practice. • Lift the right foot to step forward and as you lean forward, swing the right leg backward using both the waist and spine. • As the right leg swings backward, fend off the opponent’s arm and attack with both hands. This technique of ‘attacking the upper parts and shocking the lower parts’ is often used to throw opponents to the ground (Fig. 3.31). Key points to remember are the same as in preceding techniques, all of which require whole body involvement.
王 西 安
3.4 fisT pracTice 3.4.1 Shangchong Quan … Fist Striking Upward
This technique consists of striking either fist spirally upward. • Step forward with the left leg, bending your knees slightly to transfer your centre of gravity to the left leg, then strike with the right fist using the ‘Ligou Quan’ (Fist Hooking Inward) technique, taking care not to overshoot your blow above the opponent’s head. • Simultaneously, use your bent right knee to hit at the opponent’s crotch (Fig. 3.32). • Integrate both fist and knee strikes with practice principles of rolling the chest slightly inward (Hanxiong), lowering the waist (Tayao), relaxing the stomach (Songfu), and drawing up the anus (Tigang). • Strengthen your centre of gravity to improve your accuracy by ensuring your left leg is slightly bent with toes grasping the ground (Fig. 3.33).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.32 Fig. 3.33
陈 氏 太 极 拳 推 手 技 法
3.4.2 Xia Zai Quan … Fist Striking Downward
This technique encompasses a downward strike with either fist at any angle. For example: • If the right leg goes forward, transfer your centre of gravity from the right to the left leg. • Clench the right hand into a fist, thumb tucked inside neither too tightly nor too loosely. • Strike the opponent’s upper body with the right fist, using your left arm to balance your movement. • You can also use the Bei Kao technique or attack with the elbows as well. • Again, effectiveness of this technique requires involvement of the whole body in the movement: ‘once you move, your whole body follows’ (Fig. 3.34).
王 西 安
3.4.3 Shuang Fen Quan Splitting Fists or Double Bursting Fists
• • • •
Take a half-step to the left (or right). Bend your knees slightly and gather both fists to the chest, centres (Quanxin) facing downward (Fig. 3.35). Prepare to strike by gathering in the crotch and knees, and rolling the chest and shoulders slightly inward. To strike, transfer your weight to the right (or the opposite leg) and simultaneously split both fists explosively from the chest to either side of the torso, fists facing upward. As you strike, open the crotch, knees, chest and shoulders. Remember to keep the external and internal energy consistent, and the energy flow smooth (Fig. 3.36).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Rotate the right toes slightly outward as the foot lands. there are three main distinctions: the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used. Rotate the body to the right then strike downward with the back of the right fist. Hold the right fist close to the left side of the chest.37). 3. fist centre facing inward. at the same time hooking the left fist upward. 3.陈 氏 太 极 拳 推 手 技 法 3. change your weight to the right leg and step your left foot forward. Next. • • • • • • Take a half step to the right with the right foot.37 . Rest the left fist beside the left leg (Fig. However.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.4. 王 西 安 66 Fig.
38 Fig. Likewise. 3. both left and right fists rise and descend at the same time. involve your whole body in the attack. when the right foot steps forward (weight on the left). stepping the right foot forward and exploding the fists before landing. step the left foot horizontally over the right one. and lower the left fist from its upward strike position back to the left side of the body). Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. Then repeat with the other foot. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. 3.39) 王 西 安 67 .Fig. After striking. downwards on the right and upward on the left. For each step. the right fist is raised above the left side of the chest for more power and then smashes down to the right. alternating both sides continuously (Fig. 3. the left fist rises above the right side of the chest and smashes down to the left. Practice these steps. For example. 3.38). 陈 氏 太 极 拳 推 手 技 法 In summary. as the left foot steps forward (weight on the right).39 • • • • • Again. (Fig.
40 Fig. the left arm gathers inward and strikes backward to the left with the elbow. concentrating your power in the Quanding (the front of the fist).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. 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. stretching the left hand upward. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power. • Sychronise both arms so that while the right fist flings forward. • Gather the right fist under the right rib (Fig. 3.41 68 . 王 西 安 Fig. • Sink your weight into the right foot and rotate the waist to the right to gather energy. This counter-balancing movement helps to accelerate the punch of the right fist. 3. Practice this technique on both sides. 3.4.40). fingers vertical. • Step the left foot forward.41).陈 氏 太 极 拳 推 手 技 法 3. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. 3. • Then fling the right fist forward in Ni reeling.
43). simultaneously gathering the right fist beside the right ribs. only about 40% of the jin force generated is exerted as short rather than long energy. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). so that the strike manifests within a narrow range yet internally it contains great power and flexibility. and practice alternating both sides. Instead.6 Baokong Quan … Half-Moon Fist Baokong refers to the half-moon shape that is formed by the arms as you strike the centre of one palm with the other fist. 3.42 Fig. the main difference being that in the former. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. bringing the left palm to the front of the body (Fig.4.43 69 .3. Then step the left foot forward. 3.42). 3. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. 3. • • • • Step the right foot forward. energy does not manifest externally. The power of this technique depends very much on the practitioner’s physical condition. Repeat with the other side.
• Clench your fist so the middle joint of the middle finger protrudes.4.陈 氏 太 极 拳 推 手 技 法 3. This makes the fist ‘peak’ stable and solid. like hammering a nail. up or down. using small agile steps (Fig.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. 3. • Strike with force and ferocity with this fist using short energy. • Brace the middle finger with the index and ring fingers.44 .44). • Attack to the left or right. This forms the ‘peak’ of the fist. and press the tip of the thumb against the middle fingernail. 3. 王 西 安 70 Fig.
3. Form two nail-shaped fists and strike from both sides using short energy.46 71 . Method 1 • • Method 2 • • • Step forward with either leg.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. gather the ribs and lower your energy to the Dantian (Fig. 3. 3. hence creating a dual attack with both fists and knee (Fig.45). Guanyang means to hit the temples with two nails. Place your weight on one leg.46).4. 3. Practice both methods using both legs.45 Fig. Bend the other leg then strike both fists upward together. Bring the fists together in the middle about 25 cm apart.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Roll the chest and shoulders slightly inward.
王 西 安 Fig. 3. • Step forward with either leg.48 72 .47). fingers pointing up (Fig. the ribs gathered. • Place your hands in front of the chest. 3.47 Fig. 3. though in the initial stages.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy.陈 氏 太 极 拳 推 手 技 法 3.48). 3. • Prepare for the strike by ensuring your axis is upright. palms facing forward. while making sure the chest is relaxed. transferring your weight to the front. and lower the energy to the abdomen (Fig. the chest rolled slightly inward and the spine slightly lifted.5.5 palM pracTice 3. practice using long energy first. thrusting them forward with explosive force. • Strike forward with both palms. • Step forward with the other leg.
2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). Make sure your shoulder.49 When practicing with short energy. 3. • Thrust the right palm forward or diagonally to the side. speed.5. 3. • At the same time step forward with the left leg. thrust your arms out about 50% (Fig. • Repeat using the left palm. 3. 王 西 安 73 . 陈 氏 太 极 拳 推 手 技 法 3. Just before the explosive strike. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy.Fig. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push.49).51.52). elbows and wrists are lowered. As the energy reaches the wrists. gather the chest and stomach like a cat stalking a rat. The power.50. 3. using long or short energy (Fig. a Double Palm Push needs to be sudden and exerted directly forward. To be effective. lower your energy abruptly and push forward with short energy using small steps. 3.
51 Fig.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. Fig. 3. With continuous practice.50 王 西 安 74 Fig. 3. you will be able to explode energy with natural ease by combining both external form and internal spirit. gradually increasing the speed. and hence conquer your opponents without effort. 3.52 . abruptness and power of the push.
3 Bi Peng Qiantui Zhang … Push with Ward-Off This technique is used to fend off an arm strike from the opponent with an upward hand strike. 3.3. while gathering the other hand beside the ribs (Fig.53 Fig. • • Step one foot forward and ward off an arm attack with one hand. This creates an energy balance that stabilizes your centre of gravity.53). enabling you to hit your target with more precision and power (Fig. 3. 3. 3. whilst using the other palm to push at the opponent’s chest or strike at their stomach.54). 陈 氏 太 极 拳 推 手 技 法 Fig.54 王 西 安 75 .5. Direct energy above the waist upward and energy below the waist downward.
while gathering energy on the left side. first at an angle then vertically upward. • As you push upward. • Keep the hips relaxed. • At the same time. 3.4 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. and then straighten it while pushing the right palm upward. Explode this energy through the right side of body out through the right palm. • To push with the right palm: bend the right knee. open the right side of the chest and stomach. 王 西 安 Fig. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). 3. the stomach gathered and the chest rolled inward (Fig.55).5.
3.56 Fig. 3. • Then swiftly draw the opponent into your domain by touching their back with your left hand. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.57 77 .58). stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’.3. Shun means ‘sequence’) (Fig. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3. • At the same time. then quickly striking their chest with your right palm (Fig.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing.56). Keep your body and energy lowered while doing this.’ Apply this technique during Single Palm practice. rotate your body to the right.5.57). 3.
incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. • As you lower the body. Coordinate the movements of your body with those of the palms. if the opponent seizes your right hand and twists it outwards with Shun reeling. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. This helps to concentrate energy in the palms. moving the body quickly forward. 3.陈 氏 太 极 拳 推 手 技 法 Fig. lower the shoulders.58 • • Also apply the usual principles: roll the chest inward. and gather the ribs and dantian. 王 西 安 78 . For example. 3. left and right.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.5.
• Again.59).60 • • • As you do this. 3.Fig. 3.60). 3. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. 王 西 安 79 . • Key points are the same as with the left hand push above. respond in this way: • Step forward with the left foot.59 Fig. this time at the left side with your right hand. lower your body then extend it forward with Shun reeling. Unify the three actions of stepping forward. inclining outward and exploding with the left palm (Fig. thrust forcefully at the opponent’s ribs. extending the thumb and fingers (Fig. Next. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward. 3.
Also. dominates the waist and penetrates to every part of body. Relax your joints to enhance energy application. coordinate the waist and legs when exploding energy. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles.7 Danzhang Shunni Chan Fa Shun or Ni Reeling with Single Palm 王 西 安 80 This technique consists of using either hand to seize the opponent using Shun or Ni short spiralling energy. so that energy flows to the very tips of the body. especially when stepping forward and exploding energy (Fig.5. as advised in an essay. roll your chest slightly inward and bend your right arm inward. regardless of the technique or force used. “Energy comes from heels. . change your centre of gravity from the left to the right. goes through legs.陈 氏 太 极 拳 推 手 技 法 Fig.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind.61). 3. 3.” 3. • As you seize.
63). guide or bring along .5.62).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. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. 王 西 安 81  ‘Dai’ means to lead. If the opponent escapes. 3. To speed up your response. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended. 陈 氏 太 极 拳 推 手 技 法 3. you are able to use both palms to seize the opponent (Fig.Fig. practice alternating the seizing between right and left hands.63 • • • With your right arm. • At the same time. Change your right hand to Shun reeling and your left to Ni reeling. listening closely to your partner as you do so. 3.62 Fig. Thus. palm open. 3. reach under your opponent’s front arm. 3.
fingers pointing to the front (Fig. 3. Then hit the opponent with the right arm (Fig. Clench the left hand into a loose fist and push it forward. gather the right hand beside the ribs.66). fingers to the front (Fig. moving your arms to stabilize this rotation.64). 3. palm up. . fingers up.65). Bend your right arm 90o inward and form a fist with your right hand. Transfer your centre of gravity to the front.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 82 3. Change your weight to the back and turn to the right. 3. face the left palm outward.64 Fig.65 • • • • • Extend your right arm forward. Practice on both sides.5. 3.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. 3. As your step forward.
Also. 3. To increase the precision and power of the fingers.67 • • • • • • Lift the left palm over the right. 3. Return the hands to their original positions before the next energy explosion. to increase the speed and power of the explosion. 3.67). Next. As the right foot lands on the ground. place the left thumb and little finger in opposition while the remaining fingers face forward. 王 西 安 83 . coordinate the waist and spine when shaking the right palm forward in Shun reeling. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. move the left hand and foot quickly forward together. left under right and right under left (Fig.Fig. reel the right hand in Shun reeling to the right and step the right foot forward.66 Fig. and then explode both palms forward with a piercing thrust.
As you change your weight to the front.69).6. the left arm counter-balances the movement of the right. palms facing in (Fig. 3. 3.陈 氏 太 极 拳 推 手 技 法 3. At the same time.69 84 . bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body.69).68 Fig.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot. 3. 3. strike forward with the right elbow while hitting backward with the left elbow.6 elbOw pracTice 3. Remember to apply long energy before you apply short energy (Fig. In this case. Practice striking with both elbows with corresponding weight changes to either side. 王 西 安 Fig.
At the same. Step the right foot forward and strike the right elbow down forcefully as the foot lands. 3. 3. palm up. 3. At the same time.2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right.71). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.70). Lift the left hand when the right elbow completes 90o of its descent. wrist turned inward and the palm facing backward. As the right elbow descends.71 85 . After the strike. gather it close to the right ribs. take a small step forward with the left foot.6. Alternatively. step the right foot forward again and extend the left arm forward. slap the right shoulder with the left palm.70 Fig.3. bend the right elbow inward. Then strike the right elbow down for the second time (Fig. and clench the right hand into a fist. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. return the elbow to the right side. 3.
73 Fig. then turn right with the right toes facing slightly out. Rotate slightly to the left. 3.72 王 西 安 Fig. 3.6.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. Fig.陈 氏 太 极 拳 推 手 技 法 3. 3.74 86 .
clasping the right forearm with the left palm. Remember that the right leg moves forward with the right arm and vice-versa. Move the body to the left and transfer your centre of gravity to the right and back. Turn to the left and strike out explosively with the right elbow. 王 西 安 87 .6. As you do this. palm facing in. so that both feet are approximately 50 cm apart. Step the left foot forward. gather the ribs and lower your Qi.75). as if warding off (Fig. 3. 3. Gather the body to prepare for attack by lowering the body slightly (Fig. • • • Practice with the other arm.74).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. 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. clench the right hand into a fist. transferring your centre of gravity to the left. 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. clasping the right forearm with the left palm. Step the right foot to the left and bend the right arm. then step forward with the right foot. 3. 3. Gather the body by bending it slightly. raise the right hand across the front of the chest to the left in an upward arc. 3.72).73). toe tips slightly touching the ground.• At the same time.
Once familiar with the practice. palm down. • In the initial stages. with the following differences: . turning the body to the right.陈 氏 太 极 拳 推 手 技 法 Fig. use short and fast energy.75 Fig. Next.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. the right fist lowered to front of the left armpit.6. gathering it horizontally in front of the chest. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). 3. balancing this movement with the left hand.76 • Spiral the right arm forward with Ni reeling. Simultaneously. 王 西 安 88 3. step right with the right foot. strike the right elbow to the right. 3. Practice with both sides (Fig. practice with long and slow energy.76). 3.
王 西 安 89 . • Stand at attention with the arms relaxed at the sides. while Xin Zhou is targeted to the front (Fig. landing approximately 50 cm apart from the left foot. toe tips on the ground.77). 3. 3. 3. jump slightly with the right foot. • Simultaneously. palm facing right. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. 陈 氏 太 极 拳 推 手 技 法 Fig. palm down. • Jump the left foot half a step to the left. extend your left palm forward.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it.77 Fig. fingers pointing up. Touch the right knee with the right palm.6.• • Shun Lan Zhou is aimed slightly to the back. Before the foot lands.78 3. • Turn the body to the right and reel the right palm across the chest to the right. 3.78).
balance the energy between the upper and lower body. Practice on both sides. avoid letting all your energy flow upward as this will destabilize your root.80 Fig. . followed by the right foot. starting with slow movements initially until the steps become familiar. 3.81).81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. Look to the right side of body while striking upward. Also. bending the wrist before striking upward quickly with the back of the right fist. 3. step the left foot to the left. placing the left fist below the right. clench both palms into fists. 3. then transfer your centre of gravity to the right. toe tips touching the ground (Fig.79 Fig. 3. then gradually using short and fast energy. After the strike. Return the left fist beside the right ribs (Fig. Move the right fist toward the right shoulder using Shun reeling.79).80). Instead. As you change weight. step the right foot forward. toe-tips on the ground. 3. While striking on the right. 3. Next.陈 氏 太 极 拳 推 手 技 法 Fig. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). taking the waist as the dividing line.
looking to the left and concentrating energy in the elbow tips (Fig. Gather the fists close to the chest (Fig. while the left the supplementary strike. 陈 氏 太 极 拳 推 手 技 法 Fig. In this position. 3. then exploding both elbows horizontally. 3.82 Fig. Change your weight to the left.83 王 西 安 91 .6. place the left arm inside the right.3. then strike with the right elbow. Practice alternating both sides. 3. 3.82).83). the right elbow executes the dominant attack. • • • • Step to one side with either leg.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. If you stepped to the left.
prepare for the stike by gathering the wrists inward.6. looking to the front and rolling the chest and shoulders inward.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows. 3. Try to feel the effect of this preparation during practice (Fig.陈 氏 太 极 拳 推 手 技 法 3. 3. 3.84 Fig.84). As your weight transfers to the front. holding fists on either side of the ribs (Fig. 3. • • Step one foot forward.85).85 . 王 西 安 92 Fig. This increases the force of your attack.
palm to the front. 3. Simultaneously. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. 3. then lift it so that the right elbow is positioned over the right knee (Fig.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. clench the right hand into a fist. palm facing inward and inclining backward.3. 3. As your centre of gravity shifts to the left.6. take a big step forward with the right foot in front of the left.87 93 . extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. Practice alternating both sides. clench the left palm into a half fist and place it beside the left leg.86).86 Fig. As the weight shifts to the left. rotate the body to the right. At the same time.87). 3.
shifting your centre of gravity to the front. • Extend the right hand outward. 3. • After exerting Pie force. • All movements are guided by the rotation of the waist and spine.6. Make sure both hands move and arrive at their destinations simultaneously. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. • Shift your weight abruptly to the right and form a half fist with the left palm. 3. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). strike forward explosively with the right forearm using a short-energy (Fig. moving it beside the left ribs.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). palm up.陈 氏 太 极 拳 推 手 技 法 3.88). then lower it over the right knee. 王 西 安 Fig. As one of the Eight Forces. • Step the right foot forward.88 94 . In this way. the legs should be parallel to each other. • Change your weight to the left. • At the same time.
• Keep the left hand open so the thumb is separated from the fingers.89). Shift your weight more to the left as you do this (Fig. both internal and external movements are integrated with the movements of the body and limbs. lower the left hand from the front of the chest to the left ribs.89 95 . • While lowering the left hand.6. In this way. use Cai technique to strike out explosively with the outside of the right forearm and elbow. ring and middle fingers. closing it slightly. • Step backward with the left foot shifting your weight to the left. Form a hook (Diao Shou) with the right hand with the little. bending the elbow. • Raise the right hand from the right side. and extend the left hand forward to the right. The thumb and index finger form the character Ba ‘八’. using guiding energy from the little finger.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. palm up. • Then. using downward Ni reeling.3. 3. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. 3.
3. and extend the right leg backward.陈 氏 太 极 拳 推 手 技 法 3. toes grasping the ground. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. make sure power is gathered properly through the whole body and that your timing is correct before you strike. • • • • Bend the left knee.91).6. Note: For maximum effectiveness. 3. strike the right elbow backward at an upward angle (Shang Chuan Zhou). and then.91 . 王 西 安 96 Fig. 3. 3. moving your weight to the right (Fig. you raise the right hand in Ni reeling to descend the elbow (Fig. the right thumb guides energy flow.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward.90 Fig. especially useful as a defensive move when being attacked while in a passive situation. At the same time. While transferring weight.90).
Ce Jian Kao. 3. The right foot and right arm should reach their positions at the same time (Fig. Shuang Bei Kao and Qi Cun Kao.92). 3.92 Fig.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. As you shift your weight to the right.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm.93 97 .3. Xiong Kao. 3.7. Ying Men Kao.
quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig.7. Then step the right foot forward again to execute Zai Kao for a second time. step forward with the left foot and place it next to the right foot. On completion of the shoulder push. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. Repeat these steps for both sides.94). As the heel touches the ground. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). After executing the above. take care to maintain your centre of gravity by not stretching too far forward (Fig.93). . if you find you get into an appropriate space for attacking. 3.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. use the outside of the right shoulder to execute Qian Zai Kao. pushing it forward and down. 3. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. Then take another big step forward with the right foot. As the body inclines forward significantly during this move.陈 氏 太 极 拳 推 手 技 法 • • • Then. 3. Note: Only push when you are in the correct position.
then techniques such as Ying Men Kao can be used to penetrate defences and attack. light but not floating” . 3. Dai (lead and pull) and Ji (attack) energies together. 3. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. lowering down but not stiff. 王 西 安 99 .94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. When firmly closed.7. This only comes with closely combining the Yin (guide).Fig. arms are a defense against attacks. conversely if one is able to ‘open’ the doors of the opponent.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. the right hand above the left. . Note: There are two ways your can attack with Ying Men Kao: • You can lower your power slightly so that the tip of the shoulder protrudes more. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. Separate the hands of the opponent to expose his chest (Fig. move the left foot forward parallel to the right foot and repeat the sequence for another attack. It is easier to hurt the partner using a narrower attacking surface. • You can use more of the shoulder surface in the attack. move both arms to each side of the body and push the right shoulder forward in attack (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. fingers pointing up and palms facing the sides of the body. Next. 3. Once the attack is completed.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot.95 Fig. At the same time. 3.95). cross the hands in front of the chest. 3.96). The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed.
7.98). 3.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.97 Fig. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. A good sense of timing is essential for defeating the opponent. • After this move is completed.98 101 .4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent.97). • Extend both arms from the sides to the front in an embracing gesture. Only with a thorough mastery of this technique. move the left foot parallel to the right. • Step the right foot forward. 3. Note: Focus on sharpening your sense of timing during practice. • To begin. 3. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. the chest and waist are in a collapsed position. can you execute it in actual combat (because you may easily hurt yourself ). • Then roll the chest inward and shift your weight quickly from left to right. 3. shifting your weight to the front. using this shift to deliver a sudden push with the chest (Fig.
rebounding and shaking power). remember to gather and withhold energy before delivering the strike. a capability that comes only with extended Quan practice.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. as the shoulders deliver Bei Kao backwards (Fig. 3. 3.99 Fig. This technique also uses Duan Jing (short power). Note: As mentioned in previous techniques. 3.100).7. You may lead with either leg. • When the weight moves forward the chest rolls inwards.99). Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. take a sudden breath in and push the chest forward quickly. 3. • When the whole body holds and collects to a moderate extent. shoulders slightly concave and with power guided by the thumbs (Fig.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. • Gently rotate backwards with both palms facing backwards. • Stand with feet parallel. and the shoulders execute Bei Kao to the right .100 102 .
6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. • Practice pushing from both the right and left sides. Note: If the opponent is at close-range.7. • Turn the body slightly to the left as the right hand rises. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig.101 103 . 3. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. extend the distance of your Kao slightly. • Gradually move the right arm downward toward to the inside of the right leg. if further away. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. fingers pointing down. continue to transfer your weight to the right. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. • Extend the right foot and arm forward.3. Find a stable centre of gravity with the body and gather your body in this position. • Once your root is stabilized.101). use short power in your push.
7.陈 氏 太 极 拳 推 手 技 法 3. Note: Power applied in the initial stages should be slow rather than quick. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). 王 西 安 Fig. 3.102 104 . • • • • Take a large step diagonally forward with the left or right leg.102). This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice. Incline the body forward in the same direction. Place the elbow below the knee (Fig.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. Practice this sequence in rounds from left to right.
3.104 105 . palm facing in. • At same time. Fu Na. Shuang He Fu Cai Na.104).103).103 Fig. 3. 3.8. Tui Na. • Relax the left side of the crotch and shift your weight forward to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in.3. • Rest the right hand near the right ribs. • Extend the left foot and left hand forward. and Shuang He Na. Xiong Na.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. Chan Rao Na. palm up (Fig. 3. 3. Diao gai Na.
but she evades your attack by ducking down. When seizing. this time reeling in Shun direction with the left hand and Ni direction with the right. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. you will be able to execute these changes quickly and smoothly. Your moves will become more effective as your internal Qi integrates more closely with the external movements. Repeat the above sequence. After seizing. move the weight slightly backward then move forward again. tighten the ribs. and lower your waist and Qi. drop the elbow. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. changing the weight from left to right. Try to relax at every step while applying the seizing action firmly. Note: Shun and Ni reeling are interdependent and cannot be separated. roll the chest in. . i. then you must respond promptly by swapping the reelings to the opposite hands. 王 西 安 106 Closing with the left while seizing with the right and vice versa. in order to block the opponent’s energy path. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. lower the shoulders. Seizing techniques are quite difficult to practice. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right.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. With practice.e. Shun reel with the right hand and Ni reel with the left. even though you deliver the power later than the partner. if you practice each side diligently.
and shift your weight to the right side. As you do this.107). At the same time. palm out. and clench the right hand into a fist.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. placing it in front of the chest. 3. 3.8.3. 3. tighten the ribs.107 王 西 安 107 . Again. • • • • • Step forward with the left foot and move the right hand in front of chest to fend the opponent off upwards to the right at head level (Fig.105). extend the left hand forward to rest in front of the body (Fig. 陈 氏 太 极 拳 推 手 技 法 Fig. Then lower the right hand to the right ribs. 3. 3. roll the chest in. The shift to the left enables you to hit the target clearly (Fig. relax the left side of the crotch and shift your weight to the left.106). 3. Relax the left side of the crotch.105 Fig. lower the Qi.106 Fig. Then rotate the right hand and body to the right.
• Close the crotch. Shift your weight forward and accumulate power well. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. and gather energy in the ribs. the palm forming a “八” (Ba) shape. roll the chest slightly inward and gather the ribs. • At the same time. The strike is actually applied by the left side of the chest.” 3. • Step the right foot forward and pass the right hand across the left side of the body. the force of upward suspension maintains the axis. Draw the arc with the intention of meeting the opponent’s hand. • Step the left foot forward and extend the left hand to the front. Match the speed of your movements to that of your partner.3 Fu Nang … Seize with the Abdomen This technique consists of seizing with the abdomen filled with descending Qi with the assistance of the hands. 3. Move the whole body in a natural and relaxed state. The left hand leads by closing the power causing the right hand to follow. while the two hands serve as supports. Move quickly and follow your partner but do not lose power. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. palm facing left (Fig. 王 西 安 108 .108).8. 3. • As the weight shifts to the left. palm facing right (Fig.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. Make sure to keep your own axis when seizing the opponent.109). lower Qi to the abdomen in preparation for the inward roll and seizing. Relax the crotch. rotate the body. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. reel with both hands in a Shun direction.
109 Fig.Fig. 3. 3. 3. clench the left hand. whose movement is heavier (Fig. seize with the right and roll the abdomen – these three actions combine to become one power.108 • • As the Qi descends. the left hand moves lightly and assists the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.110). The eyes look forward and to the left. 3. The abdomen provides the main supporting element.110 109 .
palms about 10 cm from the lower abdomen. 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. do not be kind to the foe for the opportunity to attack comes just once. while the hands use Na (seizing) power to collect inward. and commence shifting your weight forward.8. bending them at the elbows. roll the chest slightly inward.陈 氏 太 极 拳 推 手 技 法 In summary. push the abdomen out suddenly (Fig. Both hands extend forward in sequence. keep your intention firm for victory or failure will be decided in a second. As your weight shifts. . followed by the left. 3. facing in so that the fingers are directed towards each other. the right foot steps forward.111). whereby the abdomen gathers power to support the hands. the right hand moving down while the left moves up. • • • • 王 西 安 110 • • Take a half step forward with the right foot.112). capture and immobilize the opponent. and both feet standing steadily as the hands move. Concentrate your energies then pounce on your opponent like an agile cat. 3. Direct the eyes to the front. move the palms up to chest level and seize the opponent’s elbows using Na power. Move swiftly without hesitation. and gather them towards you (Fig. Continue to shift your weight forward. As you seize.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. 3. At the same time. extend both arms to the front. immobilizes their wrists by bending them outwards.
113). 陈 氏 太 极 拳 推 手 技 法 3. and lower Qi in your abdomen before protruding it forward.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. Step the left foot forward and shift your weight to the left. Lower the right hand then cover it with the left. Reel the left hand forward. • • • • Step the right foot forward and pass the right hand across the chest.Fig. 3.5 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.111 Fig. 3. fending the opponent off upward to the right (Fig. 王 西 安 111 . supported by the warding right hand. 3. so that you respond by moving your weight forward.8.
陈 氏 太 极 拳 推 手 技 法 Fig. this technique can be used effectively to break wrists. 王 西 安 112 Note: If Qi descends smoothly.114 • • • • Put your body in a squatting position by bending the knees slightly. But remember: practice like an adept. Collect the hands inward to about 15 cm in front of the chest. 3. Alternate practice on both right and left sides. .113 Fig. not like a thug. 3. tendons and veins. Combine them with the power of chest to become one power (Fig. bones. gathering the ribs and lowering the waist and Qi. Collect the body by rolling the chest slightly inward.114). 3. Step the right foot forward again and repeat the above steps. by taking a step forward (Shang Bu) each time.
115 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. roll the chest in and gather the ribs (Fig.3. • As the weight moves forward. The powers of the left arm and right hand unify as one.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. • Step forward with the left foot and extend the left arm to the front. 3. • As you step.8.115). lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni reeling to seize downward from the right side. 3.116 113 . the Three Powers (Jing Qi Shen) combine to seize the opponent. 3. and move both hands to assist the left leg. In this way. fingers pointing forward. relax the crotch. • Bend the left arm inward to gather both palms. shift your weight forward and bend the knees slightly so that the body squats like a bent bow. • As the knee swings inward. Lower your Qi. • As soon as the right hand reaches the level of the left leg.
陈 氏 太 极 拳 推 手 技 法 • • • After seizing.8. As you step forward. shift your weight quickly to the left and step forward with the right foot. gradually guiding it inward to rest in front of the right ribs. 3. 3. guiding it to the right ribs for support (Fig. 3.117). 王 西 安 Fig.118 114 . The changing of the legs happens quickly. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig. spiral the right hand up from the right side into an arc. Then step forward with the left foot. shift your weight to the front and extend the left arm again to repeat the steps and seize once more.116). • Step forward with the right foot. 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.117 Fig. 3. • Then lower the right arm by executing Lü downward in Ni reeling. • At the same time.
Continue to move the right hand and foot forward. As the right foot touches the ground. 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.119). As the hands move. 3.119 • • • • • • As soon as the right foot touches on the ground. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. 3. lower the shoulders. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 . Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. 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. roll the chest slightly inward and bend the knees slightly into a squatting position.118). 3. When the right hand moves up.Fig. shift your weight to the right and step forward with the left foot.
Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. strengthed by whole body coordination.120). 3. Prepare for the seizing by lowering Qi to the Dantian.121). 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3. Bend your knees so your body squats like a bending bow.120 Fig. 3. 3. 3. This step marks the transformation of Peng (ward off ) to Na (seizing). Combine this with the power gathered in both hands and seize with one force. then gather both hands and grasp the opponent’s wrist firmly downwards.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize.8. At the same time.121 116 . step forward with the left foot and shift your weight to the front. rolling the chest inward and tightening the ribs. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig.
Qu Wan Fan Na Jie 6. eyes looking forward. Shan Jing Ce Jian Jie 7. • Hang the hands naturally at the sides. • Next. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. then the ring finger. Shan Jing Zhen Zhang Jie 8. Chuan Zhang Jie 5. • Stand with both feet in parallel.122). 3. • Move Qi in from the outside and lower it to the Dantian. Fan Na Cu Bu Jie 9. shoulder-width apart. ‘Wars Among Three Countries’ by Guan Yu. Diao Wan Qu Zhi Jie Tuo 3. This technique enables a practitioner to avoid capture or break a hold. middle finger.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 117 . the Guan Gong Jie Dai technique is said to be named after its creator. Guan Gong.3. and finally the index finger.9. Shuang Wan Zhi Jie 4. such as a waist grasp from the rear to throw you down. • Inhale. Guan Gong Jie Dai 2.
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. and also with the speed of Qi descending. 3. otherwise it is not easy to unfold (Fig. . This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip). the gathering of the ribs and the hooking of fingers should combine to become one unit.123). This technique becomes effective only after extended practice.122 Fig.9. hook the wrist and bend the fingers to escape. 3. 3.陈 氏 太 极 拳 推 手 技 法 Fig. In this way.123 • Synchronise the speed of this movement with that of the body. If the fingers are being held. 王 西 安 118 3. the squatting of the body.
As you move. 3. lowering the elbows.Fig. 3. By the end of your movement.124). join the fingers of your hand together and point them diagonally upward to the right (Fig. Practice these steps with both hands in turn. By doing this. 3. 3. rolling the chest inward. relaxing the shoulders. your conjoined fingertips and knuckles should be able to escape with ease (Fig. 陈 氏 太 极 拳 推 手 技 法 This technique is only to be used if you have become proficient in it after extended solo practice. Move your body to transform the attacking power. so that Tuo (escaping) power can reach the fingers effectively.124 Fig.125).125 • • • • • If the fingers of one hand are seized by the opponent. unblocking the arm area being attacked. slowly bend the wrist and fingers. 王 西 安 119 . you relax and elongate your encaptured arm. and lowering your Qi as you do so.
bend the arms. 3.126).9. Just focus on relaxing and lower the Qi.126 Fig. 3. • • • Step one foot forward and shift your weight to the other leg (Fig.127). closing your hands while opening the opponent’s. then move your arms forward and upward as your weight shifts forward (Fig. 3. At the same time.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. lower the shoulders and elbows. and lower the Qi so that power can flow smoothly to the inner side of the wrists. clench both hands into fists. 3. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3. While doing this. It is not necessary to use large movements in this technique. tighten the ribs.127 120 . roll the chest inward. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand.
two eyes look forward horizontally. tighten the ribs. 3. 3. and Qi. • Two feet stand flatly and the body stands straight.129 121 . 3.128 Fig. and lower the shoulders. elbows. • Bend the knees slightly to place the body in a squatting position.128).9. 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). placing the right hand on the left (Fig.4 Chuan Zhang Jie Tuo Escape by Crossing the Hands before the Chest This technique consists of crossing both hands before the chest when you move to the left or right to transform power. and roll the chest inward. • Bend both arms 90o inward and cross them in front of the chest.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
9.131 122 . 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.129). Do not rush forward but defend you territory in straight postures (Fig. If you choose to turn to the right: rotate the body to the right then left. 3. 3. and move the right hand in Shun reeling while the left does Ni reeling. It requires you to twist the captured fingers outward in Shun reeling. 王 西 安 Fig. and lock the palms of the opponent. 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.130 Fig. 3. Then ward off (Peng) by pushing both palms outward.陈 氏 太 极 拳 推 手 技 法 • • • If you choose to turn to the left: rotate the body to the left then right. 3. then rotate forward again.
130).131). 3.133). 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. step the right foot forward (Fig. 3. 陈 氏 太 极 拳 推 手 技 法 Note: Use the waist as the boundary dividing rising energy above the waist and descending energy below the waist. wrist bent inward in readiness to seize and fend off danger (Fig. it will be difficult for opponents to overcome your attacks. then bend it about 450.132 Fig. Apply the principle of constant change and flexibility in Taiji circles.132). extend the left hand forward to support the right hand as it seizes downward (Fig. If you practice diligently. 3. As the right toes touch the ground. While rotating the arm. palm facing left (Fig. 3. As you do this. Rotate the arm about 1800 outward in Ni reeling. relax the shoulders. 3. raise the elbows.Fig. Your movements should be relaxed and executed with power at all times. 王 西 安 123 . 3.133 • • • • • Extend your right arm forward.
In response. roll the chest inward. • Simultaneously. 3. coordinating it with the lifting of the back and the descending Qi. Together.陈 氏 太 极 拳 推 手 技 法 3. the palm gradually guided by Ni reeling to slant externally to the right. palm facing right. then move swiftly to the right to destabilize the opponent. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). • The right wrist bends inward with the arm to rotate the hand in Ni reeling.134 Fig.9. so that the power of the left hand combines with the right to become one. • Extend the right arm horizontally and bend it 900 inward. you should rotate externally and upward in Ni reeling. • As the right palm reels outward. 3. move the left hand rightward to the front of the chest.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. right fingertips initially pointing downward. Next. this sequence of movements make up the Shan Jing Ce Shen Jie technique. 王 西 安 Fig.135 124 .
If the opponent seizes your forearms: • Retreat half-a-step with the left foot.135). The above movements of both arms and the right foot should occur in one very smooth and swift motion. Note: Move in Ni reeling while the opponent moves in Shun reeling.• • • As your left hand moves. because with these. shift your weight to the left . So Shan and Jing serve as the pre-condition of escaping.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. make a big step forward with the right foot. 王 西 安 125 . then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push).134). The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy.9. All the above movements of the hands. 3. 3. then quickly step the right foot forward (Shang Bu). feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. giving him a sense of losing of Qi. Almost at the same time. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. and thus enabling one to evade capture. 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. touching the ground with the toe tips (Fig. 陈 氏 太 极 拳 推 手 技 法 3.
palms facing up and eyes looking forward.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time. then Shang Bu (take a step forward).137 Fig. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. This power should be quick and strong. Simultaneously. 3. Next. and the extending palm reaches the right position at the same time. palms facing up and the two little fingers placed on the middle of each arm.138). 3. then the whole body sends a Dou in a circle in Shun reeling (short power). At the same time. 3. step forward quickly and attack with the palm (Fig. 3. 3.136). 王 西 安 Fig. 3. As soon as you surprise and destabilize them with your moves. slowly raise both hands and bend them inward about 1800.137). clench the hands into fists and place them at the sides of the body (Fig.138 126 . When the body and two hands send the Dou power. open both fists and shift them away from the sides of the body. the body squats. and both palms draw inward.136 Fig. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity.
As the right foot steps on the ground. which is against principle. because sometimes appropriate retreating gives one a closing power. holding and collecting a quicker speed.It is just like the poem reads: ‘It is not a failure if you retreat your pace. At the same time. and attacking by the Cu Bu or Dun Bu technique (stomping). Step diagonally right with the right foot.140). thumb separated from the fingers (Fig. Bend the knees slightly to place the body in a squatting position. since he or she can easily twist your fingers and get you caught’. palm facing out. It is not wise to grasp the opponent’s elbow with your fingers.139). 3. 王 西 安 127 . With Shan and Jing. first bending it inward then moving it outward to the right. fingertips slanting up (Fig. then shift your weight to the left and inclining the body to the right to hold and collect. extend the right hand diagonally forward to the side. the partner cannot reach you though his attacking power is strong. 3. extend the left hand from left to right.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. Then push the left palm to the right.9. you find escaping easy. 3. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. Two elbows draw inward and hands move outwards.
from long power to short power. paying attention to the upper and lower body and your surroundings. Even if you sense the opponent’s intention to move.陈 氏 太 极 拳 推 手 技 法 Fig. Then you will free yourself from capture.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. only by this will you increase in strength. Stand rooted like a big tree. 3. 3. Incline your body and explode the energy with great unity by stomping with the right foot. side pushing with the left palm and exhaling at one time. the body should move from high to low. Be patient and diligent with practice. 王 西 安 128 .139 Fig. During the practice. This power can only be gathered with greatly unified power. from slow to quick. do not react or become anxious but remain confident in your prowess.
9 Shuang Shou Wai Fen Jie Escaping by separating hands This technique is used to wrest free of a double wrist grip by separating the arms.3. the left hand in Ni reeling and the right in Shun reeling. roll the chest in.141). exhale. • Then bend both wrists inward. • Next. • Extend both arms forward. tighten the ribs and lower Qi to the Dantian. As you do this.141 Fig. • In this way. 3. 3.9. eyes looking forward (Fig. separate the hands to the sides of the body. the hands wrest free of the opponent’s wrist grip. lower the shoulders and elbows. 3. breathing in as you do this. palms facing in (Fig.142 129 .142). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Step the right foot forward. bending inward about 90o. palms facing each other.
keeping both arms tightly together like pincers.143). then separate them to each side. 王 西 安 130 .144).陈 氏 太 极 拳 推 手 技 法 Fig. If you cannot push the opponent’s hands away. then you transform and eliminate the seizing on your wrists. 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. 3. 3. finally returning them to the front of the chest to repeat the cycle (Fig. Palm Inserting Down) (Fig. 3. then raise your hands. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. During practice.143 Fig. insert both palms downward (Xia Cha Zhang. 3. 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 .
opening and closing. As Qing Dynasty Taiji Master. Wu Ji Zhuang (Wu Ji Posture) 2.1 inTrOducTiOn Taiji Yangsheng Zengqi Gong is a collection of health and Qi enhancement practices essential for the formation of robust Taiji and Tuishou techniques. 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). Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. Taiji Yangsheng Zengqi Gong can be divided into six postures. Ji and An. These movements are applied throughout the whole system of Taiji and Tuishou practices. each of which can be practiced individually or in sequence: 1. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. San Ti Shi (Three Postures) 5. Peng. Kai He Zhuang (Opening and Closing Posture) 4. states: “If a tree has deep and strong roots. Lü.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong).陈 氏 太 极 拳 推 手 技 法 4. Chan Si Zhuang (Reeling Silk Posture) 6. . incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. rising and falling. its leaves and branches must flourish. 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. Chen Xin.
2 wu ji zhuang (wu ji pOsTure) 4. eyes closed.1 133 .1 Postures a) Posture 1 • • • • Stand upright. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2. Open your eyes gradually. Concentrate your intention (Yi) in the Dantian. 4. keeping your mind relaxed. breathing gently and slowly. Hang both arms at the side of the body and relax. feet parallel and shoulder width apart.4.
when it should actually be solid. On the other hand. 4. 王 西 安 Fig.2). Lower the hands onto the abdomen. 4. the right over the left for male practitioners. palms facing downward and slanted diagonally (Fig. do not do it so gently that Qi becomes too soft and weak to reach every part of the body. the right hand rotating in Shun reeling and the left in Ni reeling. 4. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. Try to expand your arms moderately.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. Maintain the hands at shoulder height.3).2 Fig. Take care of these points and you will not lose power (Diu Jin) unnecessarily. 4. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body.3 134 . the reverse for females (Fig.
The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends.4. The whole body will be steady if you gather the internal organs consistently. lower it when exhaling. guiding the Qi and saliva through to the middle Dantian. Lift the buttocks and anus up a little. Pay attention to the following points when practicing the Zhuang posture: 1.2. 4. inhale and then swallow saliva down into the stomach. Gather the chest and ribs inward. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. the mind and facial muscles naturally relaxed.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture).2 The requirements for every part of the body 1. so that the waist descends naturally. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. The neck should be firm and straight. 3. 4. Your elbow joints should be lowered. bend the knees slightly and grasp the ground gently with the toes. Your shoulders should be loose and slightly lowered. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 .2. until they reach the lower Dantian. 2. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point.
Feel the sensation of all the body joints. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. lower the waist and gather the Qi in the Dantian. 3. leading to Qi filling and blocking the chest. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. until it reaches the Bai Hui point. keeping your body upright and lifting your back slightly. up along the spine.陈 氏 太 极 拳 推 手 技 法 2. you will enlarge your vital capacity and exercise the diaphragm muscles. across the Yu Zhen point. While lowering the internal Qi. roll the chest slightly inward. Maintain your vertical axis. through the Wei Lü Guan point. Practice also enhances your ability to guide Qi with Yi (intention). which will help with the distribution of Qi around the body. skin and fine hairs opening as the Qi rises. While exhaling Lower every part of the body. By practising the above key points. 王 西 安 136 . so that they all have the same rhythm. including the internal organs. Raise your Yi (intention) from the Hui Yin point (perineum). While inhaling Gather your chest and abdomen inward while breathing in Qi.
external movements) follows Qi. Only these can guarantee normal and healthy internal Qi circulation. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . During Wu Ji Zhuang. However. Qi cannot be separated from Yi (intention). Practitioners should modify the scope of their practice according to their level and progress. The key requirements for practice are relaxation. consciousness. just as Xing (posture. thinking.4.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. patients and the correct mastery of key points. Qi follows Yi. and emotions. and achieve the smooth Zhoutian circulation and help with body combat. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. quietude and concentration. Only through mastering your mental activities such as intention.2. Beginners generally find it difficult to remember the postures and key points. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). can the mind obtain full rest and be adjusted so that every organ system may be well promoted. these can be accomplished only by hard learning.
陈 氏 太 极 拳 推 手 技 法 4. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.3. is an important basic skill in Chinese Martial Arts.4 Fig.1 Postures 王 西 安 Fig. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation. 4. 4.5 138 . 4.” Hence.3 hunyuan zhuang (circle pOsTure) Zhuang skill.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.
waist and back straight. with practice duration increasing gradually from short to long. Keep the head naturally erect. 4.3. 王 西 安 139 .4). if closed. waist and crotch. Bend the knees so that the body is squatting a little. the neck. The palms face each other. 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. The upper body should be kept upright. mid-level and low. Next. Relax the shoulders. b) Posture 2 • • • Separate the hands when the left foot reaches ground. If your eyes are open. 4. then lower the waist (Fig.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. Stand with your feet parallel. focus your attention on the Dantian (Fig. a little more than shoulder-width apart. Lower the elbows and shoulders slightly.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. fingers pointing at their counterparts about 30 cm apart. then move them back to the middle. Leave your eyes naturally open or close them. 陈 氏 太 极 拳 推 手 技 法 4.5). Keep the fingers evenly open and slightly bent as if half grasping a sphere. Execute the posture as if embracing a big tree. focus on a static object at the same level as your eyes.
Que Qiao. although this may become more obvious with prolonged practicing at mid or low stances. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. becoming gradually longer. This relieves or may even stop the trembling for a period. For example. then a low stance. and guide the saliva down to the middle and lower Dantian. The trembling may only be detected by touch or by close observation of the leg muscles. Wei Lü Guan. Du Mai. graduating to midlevel. Beginners will find that the thighs may ache after two weeks of practice. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. Should this happen. Practice duration can last just a few minutes in the initial stages.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. and slight trembling may occur. At the same time. swallowing your breath with saliva. you should raise your stance slightly to rest. the thigh muscles and even the whole body may tremble rhythmically. At this point. Inhale again as the body rises. 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. until it reaches the Baihui point. 王 西 安 140 . Now lower the tongue and inhale. when doing Standing Zhuang at a high stance. through the Ren Mai. up the spine. increasing to thirty or forty minutes at later stages. then bend the knees to lower the body until the buttocks are at the same level as the knees. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). past the Yu Zhen point. raise Qi from the heels up the legs. then lower your body again. inhale slowly first. touch the palate with the tip of the tongue. In this case.
It rises and falls like a boat in the ocean. like a wild goose flies off and falls. the body quivers in a relaxed and peaceful state of mind. as it responds to the circulating blood.3 Breathing Breathing is an important element of Zhuang skill. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. The body weight is always subtly moving in various directions. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. Practice this process repeatedly.3. 4. breathing motions and digesting processes. 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. but the apparent non-activity is misleading. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 .As you exhale slowly. Standing on the ground steadily like a mountain.
4. The navel and Ming Men are in the same rhythm. as are the requirements and key points for the body parts.4. Gather the chest and abdomen. extend your breath slowly through the practice process.7 142 . the breath is usually short.陈 氏 太 极 拳 推 手 技 法 4. 王 西 安 Fig.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. 4. the body rises slightly with the inhalation. The only difference is that in this posture. 4. the palms face inward and the eyes are slightly closed (see Fig. The distance between both arms starts short then grows longer. the middle fingers connect.6 Fig.8). 4. At the same time. In the initial stages of practice. relax and open the internal organs.
use your intention to guide the current outward. All internal organs are filled with strength.Note: when you inhale and open up. Do this practice slowly. using your intention (Yi). Roll the chest slightly inward. crouch down and lower the elbows. Qi appears between finger tips of both hands like a magnetic force. lower the waist and gather the rib muscles.8 143 . At the same time. Focusing on your intention (Yi). Drop the wrists and hold the palms facing inwards in a concave shape. Relax the body. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. b) Posture 2 • • • • • • Exhale and gather the organs. the navel and the Ming Men Mai swell out. Acting slowly.
when extending the hands. the ebb and flow of Qi and strength (or power) are in synch with each other. intention and Qi. “the internal Qi moves inside”. as well as the internal Qi moving in the body with the guidance of your intention. For thought (or attention) to combine with intention. one’s thoughts need to implement intention consistently. Qi here refers to the fresh air exchanged between the lungs and the outside. . 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. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. This is called. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. For example. then your strength must be soft. and when Qi rises – the body and internal organs gather slightly. Lastly.2 The relationship between Thought. 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. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention.4. if you require the breath to be slow. as well as breath control. it also helps increase internal strength and distributes Qi around the whole body. In this way. For example. and also helps the practitioner build skills in relaxation and quietness. 4. This practice also strengthens the practitioner’s ‘root’.
the chest. With practice. Its purpose is to stimulate the nerve system by muscle movement. In particular. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . this movement becomes a conditioned reflex and helps move muscles which are normally static. Guided by intention.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. abdomen and back. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. and are one of the main requirements in Zhuang skill.
10).陈 氏 太 极 拳 推 手 技 法 4. Swallow the fresh air inhaled.9). inhale and move your weight backward. raise both hands above the right leg. the right hand in front of the left.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. . Purify this saliva with your intention. When the weight shifts completely to the left leg. then shift your weight forward from the left foot to the right knee. Next. focusing your intention in the Dantian. Expand the crotch like a circle. At the same time. then open your eyes and look into the distance. Start the posture with your eyes closed. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. then breathe it out slowly as you move forward (Fig. 4. make sure your eyes are drawn inward to looking internally. This posture could also be called a sideways Bow Step (Fig. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. Gather the Lao Gong points of both hands inward. The length of inhalation should match the speed of the weight shift. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. 4. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. The fingers are poised as if grasping the air. When inhaling.
10 Fig. Repeat this process alternating the left and right sides. then push both hands forward slowly (Fig. As you exhale and shift your weight forward.9 b) Posture 2 • • As Qi is lowered into the Dantian. close and fold your strength into your chest and waist. lower the waist. 4. You need to have the feeling of closing before opening. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 4. 4.11). 4.11 147 .Fig.
practitioners are required to cultivate their Three Spirits when they begin practice. and hold firm to these attributes throughout path of practice and study. determination. You can persevere only if you firmly believe in the benefits of Zhuang skills. and persistence. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. and great determination. Indeed. practioners will make the expected progress. with confidence and determination. Confidence in Zhuang skills grows with practice as difficulties are overcome. If. your belief is half-hearted. In sum. then your progress will be poor. 王 西 安 148 . your practice hesitant and inconsistent. persistence may be engendered.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. confidence is a critical prerequisite. So where does confidence come from? From practice. confident and diligent practice. on the contrary. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. Through serious dedication. With confidence comes determination. Only after prolonged practice can confidence be nurtured. leading to progress and experience of the benefits.
extend both hands forward with the right hand before the left. 4. As you step forward.6. both palms facing forward. In this way. Peng force is maintained while the foundation of the body is reinforced as well. 4. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. • The fingers of the both hands point to each other. 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.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. • At the same time. 王 西 安 149 .12). 陈 氏 太 极 拳 推 手 技 法 The difference of this posture from that of San Ti posture is: • Both hands extend outward with Peng energy to prepare for the opponent’s Lü gesture.4. inhaling all the while (Fig.
4. 4.14 . 4.13 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.12 王 西 安 150 Fig.
4. relax the right crotch and shift your weight gradually to the right. turn the waist and twist the crotch. When this happens. open both fists into palms facing inward.13). gather and close the whole body so it forms a posture prepared for opening activities. As this happens. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. Inhale and swallow saliva. inhale and crouch the body slightly. relax the left crotch and shift your weight to the left Move the left hand down in Ni (contrary) reeling and the right hand down in Shun (conforming) reeling. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. otherwize. relax both arms. the right hand in front of the left. When the left hand executes Lü (roll back) to the middle of the body. withdraw the right hand so it intersects the left.14). At the same time. 王 西 安 151 . step the right foot on the ground. rotate the left hand in Shun reeling in front of the lowered abdomen. drop the elbows. Both hands make a half fist when reeling. you will lose your weight and axis).b) Posture 2 • • • • • • • Next. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. lower the shoulders. As you shift your weight. As the weight shifts. 4. you start to repeat the sequence. suffusing it with Qi before lowering it down to the middle and then lower Dantian. keeping the left hand inside and the right outside (Fig.
inhalation/exhalation being one breath. When you practise Zhuang skills to a certain level. After mastering the key principle of natural breath. After practicing Zhuang skills for a period.陈 氏 太 极 拳 推 手 技 法 4. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. decreasing to seven or ten breaths 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. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). and even to one or two times per minute. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. Ren Mai starts 王 西 安 152 . This phenomena of “connected arteries. your breath should be natural and of the proper duration so that it enhances body combat and health. It is incorrect to exhale with a long breath and inhale with a short breath (known as “too much Yin”) or vice-versa (“too much Yang”). the breath can become slower and longer. you will feel your key joints and your arteries and veins become unblocked and re-connected. you should focus on increasing the duration and depth of your breath. Therefore. and comes only after accumulated practice.6. This helps in the exchange of carbon dioxide and promotes metabolism in the body. then to five times per minute. Dual practice with Yi (intention) and Qi connects the whole body. This is a primary sign of beneficial Zhuang practice. Inhalations and exhalations should be of proper length. Only by this can you avoid errors and side effects. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. The normal breath frequency of adults is six to twenty times per minute.
deeper. then infusing Qi into the Dantian.from the tip of the tongue. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. the difference being that Da Zhou Tian extends Qi to the lower limbs. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. all channels extended and unfolded. more gentle. The whole process of moving Qi through Ren Mai and Du Mai. For both. the body should be relaxed. even and quiet. reaches the perineum through the Dantian and then connects to Du Mai. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. the five sense organs internally gathered. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. Du Mai starts at the perineum. and Yi and Qi should move in the required routes. In Da Zhou Tian. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. except that the breathing in the former is longer. The Qi of Da Zhou Tian originates from the Yong Quan point. Jia Gu Guan. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . reaches the Bai Hui point through Wei Lü Guan. and Yu Zhen Guan.
16 154 . a) Posture 1 • • • Shift your weight gradually to the left leg.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. At the same time. 王 西 安 Fig.15 Fig. close your eyes and inhale. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. 4. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. Swallow Qi down with saliva and guide it down to the middle Dantian.陈 氏 太 极 拳 推 手 技 法 4. then bring in the right foot so that both feet are a shoulder-width apart. 4. 4.15). then infuse it into the lower Dantian. bring in the arms and place both palms in front of the abdomen (Fig.
4. fingertips pointing obliquely down. As the body lowers. separate the arms to the sides. pointing the fingertips upward. 4.18). Clench both hands into fists and lower them to ear level as the body lowers.17).18 155 . 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.17 Fig. 4.16).b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. finally placing them in front of the shoulders. 4. Then using the little fingers to guide the energy. lift both arms upright. palms facing in (Fig. palms facing each other. swallow Qi and saliva and infuse them into the lower Dantian (Fig. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig.
陈 氏 太 极 拳 推 手 技 法
c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
陈 氏 太 极 拳 推 手 技 法
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5.1 pracTice fOr The buTTOcks
The requirements for positioning the buttocks in Taijiquan practice are very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the end of spine) in an upright position when practicing, gathering and raising it naturally so that the buttocks do not protrude nor swing too much, otherwise the buttocks will be unable to rise and lower naturally. Taijiquan novices sometimes err on over-gathering or raising the buttocks, which can result in various negative effects. For example, if the buttocks are gathered too far forward, the posture will become unnaturally stiff and not follow the natural straight alignment of the body; in addition, this posture may also impede natural breathing as it blocks smooth circulation of Qi throughout the body and may even destabilize the firmness of the weight of the lower limbs. Gathering or raising buttocks in routine and Tuishou practice must be applied in accordance with each specific practice and not generalized. For example, while relaxing the the joints and muscles in the Lan Zha Yi posture (Lazily Tying One’s Coat), the buttocks should be raised slightly as the waist is lowered so that Qi can descend smoothly into the Dantian. If the buttocks are pushed too far forward, the lowering of the waist is impeded and consequently, Qi cannot cannot descend through the Dantian and separate into two streams to flow through the Yong Quan point through to the legs.
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5.1.2 Application to Sparring: Bei Kao
An example of applying this principle in Tuishou sparring is as follows: if the opponent executes Lü on you, you need to relax, lower your Qi and gather your buttocks before executing the Bei Kao move (Kao with the back). In this move, gathering the buttocks helps to concentrate power drawn from the heels and transported up the legs before it is unleashed at the target. In contrast, raising rather than gathering buttocks at this point will hinder full release of striking power and thwarts any attempt to transform the opponent’s energy. Bei Kao is an opening-closing move, consisting of lightening-quick power exertion and rebound, during which you need to guide Qi upward to explode energy. To do this, you need to roll the chest slightly inward and bend knees a little, then stamp on the ground to generate rebounding power and ascending Qi. The gathering of buttocks at this point is essential so that Qi can descend instantaneously after energy release. Protruding the buttocks will impede Qi flow downwards, resulting in Qi blockage at the chest which affects the stability of a practitioner’s stance and may even be harmful to health. These key points in the above example need to be practised and applied assiduously during routine and Tuishou practice.
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陈 氏 太 极 拳 推 手 技 法
5.2 pracTices fOr The crOTch (dang)
Dang refers to the crotch area where the legs connect to the body. To open the Dang area, the thighs need to be stretched apart as much as possible so that the waist and crotch can rotate freely. Any obstruction of Dang movement will negatively affect routine and Tuishou practice. The opening-closing of Dang, that is, the transition between emptiness and solidity of the crotch area, has a direct impact on the flexibility of the practitioner’s body and his or her ability to change speed and weight. The shift between emptiness and solidity of the Dang area is used as a measure to monitor and adjust movement and speed of movement, and also serves as the key point to increase the power to be exploded. The firmness of Dang relates to their exertion of power and resistance. Mastery of Dang power and posture in routine and Tuishou practice helps increase flexibility, emptiness and stability of waist and legs, reinforces the foundation and enhances your practice. Adjustments to the waist and Dang are usually the first steps taken when you feel there is something not quite right with your movements routine or Tuishou practice. As Master Chen Xin said, “When you attain realization of Taiji, even a bird cannot fly out from under you during Taiji movement.” In other words, the openingclosing of Dang is key to increasing and exerting power. When Dang is closed, the whole body is directed toward closing (He); when Dang opens, the body opens. Hence, Dang is essential to Xu (gathering), He (closing), Yin (guiding), and Fang (releasing) in routine and Tuishou practice.
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For example. After humans evolved to the upright posture and started to walk. To help you master correct Dang postures in routine and Tuishou practice. the left knee and ankle vertically aligned to each other and the ground. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. In ancient times. womb prolapse and so on. Ding Dang. In Taiji practice. a short introduction of key Dang movements. rectocele. advocating contraction of the anus during physical exercise as a remedy. Doing so over an extended period can have a positive effect in curing hemorrhoids. 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. and it became difficult for vena blood to flow to heart. Jian Dang and Tang Dang. Yuan Dang.2. the weight distribution is 3:7. the positioning of the anus also needs careful attention. A brief introduction is provided below. are described below: 陈 氏 太 极 拳 推 手 技 法 5.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. This realization caused the ancients to suggest that “the ground door should be always closed”. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. womb and so on. 王 西 安 161 . which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. The right leg should be relaxed with the right knee inclined slightly outward and the Dang gathered inward so that both form a strong pair.The Anus In the same way that the positioning of Dang is very precise.
Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. energy in the legs is strengthened and the body is well supported. it is very difficult to correct bad practice habits solidified with prolonged practice. That is. the root of Dang should be relaxed. which means there will not be opening-closing power if he or she crouches in the Horse Stance. Hence. when the right leg moves to the side. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction.2. “closing in opening” and that “Dang should open in a full circle”. As for practitioners. Some perform better than others due to learning abilities. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. there are many opportunities and responsibilities. innate talents. If a practitioner is advised to relax. 王 西 安 162 . 5. These traditional teaching methods should be changed as implied by the adage. and at this moment Dang should open in a circle so that both legs can support all parts of the body.” Indeed. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing.陈 氏 太 极 拳 推 手 技 法 In this way. 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. the body crouches as the right knee moves outward. In traditional teaching methods. at the end of the Dan Bian (Single Whip) posture. This should be corrected at the earliest stages of learning. For example. the right knee should incline outward. “It is easy to teach but hard to change what is learnt.
and quality and length of practice, rather than due to a teacher’s attention. Some practitioners are happy to help the teacher out and teach others, their intention being to allow the teacher more rest. Students are also happy to learn from co-practitioners as this may help to accelerate learning.
5.2.4 Jian Dang … Sharp Crotch
In Jian Dang position, the Dang area is shaped like an inverted “A”, the bottom tip of the Dang area is tight and not relaxed. In this case, Dang cannot be lowered during routine and Tuishou practice, and Yuan Dang cannot be formed at all. Moreover, the Bow Step is hampered, one’s gait becomes unsteady, and the upper body becomes heavy while the lower body is unrooted, swaying to the right or left, while the feet are also unsteady. This mistake may be tolerated by the old and weak if their aim is just to improve health, but cannot be ignored by younger practitioners who want to improve combat skills. Because with Jian Dang, some get easily unrooted, some find they can’t get clear distribution of weight, some find it so hard to shift the weight because they put exceeded weight onto one leg. If the habit of Jian Dang is allowed to form over a period of time, practitioners will become used to it and feel comfortable in this incorrect stance, which should be avoided. On the contrary, one must learn to identify and cultivate the twin qualities of emptiness-solidity in the legs through the practice of Taiji routines. Novices practicing Dang will inevitably develop aching feet. This is no cause for worry, as these are normal physical indications of body development and they will disappear when you reach a certain level. For example, after a bout of Tuishou sparring, novice practitioners may feel a little ache in the arms and legs, and indeed, the whole body may ache after a little rest. This is because you are not used to the intense exercise and some capillary blood vessels may have been strained. This ache will lessen gradually after extended practise, as the body becomes stronger, blood circulation improves and lung capacity is increased. At this stage, any additional
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muscle ache resulting from further increase in practice will ease off more quickly. Hence, do not be deterred by any aches and apply Yuan Dang when practicing Taiji and Tuishou, so that Jian Dang may be prevented from developing. Without patience, Taiji skills cannot be improved.
5.2.5 Tang Dang
Tang Dang happens when the legs are spread too far apart, out of proportion to the weight distribution required on the legs and the lowered Dang. As a result, the movements of the legs are hampered as they are not able to move forward and back or turn to the sides with natural ease. This situation is also called Ta Dang, meaning collapsing Dang. The Taijiquan routine is a whole body practice, suitable for people of all ages, body constitutions and those engaged in mental and physical work. Typically, practice methods for Taijiquan routines start from large circle movements to smaller ones, then from smaller circles to no-circle movements. However, the opposite is true for Dang practice, which starts with smaller scale movements, growing to larger-scaled practice. This requires Dang to be positioned a little higher in the beginning before becoming lower and wider gradually. As with Ding Dang and Jian Dang, be careful not to form the habit of committing to Tuishou movements that bring a lot of pressure to the knee joints, as Tang Dang not only increases pressure, but may also cause harm. This results in chronically tight muscles which will eventually cause bad blood circulation in the legs. The Tang Dang posture has particular impact on the stimulation of the on the nerves in the knee joint, so hindering the supply and renewal of blood in the leg muscles. Prolonged Tang Dang positioning will result in aching knee joints and a very heavy feeling in the legs. In some large-scale movements, Tang Dang
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may actually be intentionally applied, such as in the Seven Cun Kao movement, that is Kao applied in the Xie Xing or oblique walk where the distance between the ground and shoulder is seven cun (about 23 cm). Yet even in this movement, heavy pressure on the legs last only an instant and the legs can recover quickly, so Tang Dang poses no real issues. However, large-scale movements cannot be applied to the whole practice; hence Tang Dang is considered harmful to health and body combat if applied for extended periods in routine and Tuishou practice. Generally speaking, Dang practice should begin modestly with a slight lowering of the body, gradually growing to bigger movements. Most importantly, it should match the physical conditions of the practitioner and the requirements of body combat so that the practitioner does not incur any injury.
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陈 氏 太 极 拳 推 手 技 法
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Chen sTyle Taiji Tuishou CaTegoRies
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since both the attacking and defensive movements are interrelated and cannot be separated. the attack-defense stances change dynamically. 王 西 安 168 . you can defend using An (pressing). practitioners may master its secrets and principles with serious study. For example.1 Overview Within the Chen style Taiji routine. if the opponent attacks using Jian Kao (Kao with shoulder). Tuishou is commonly divided into eight categories. your opponent may respond defensively with Xiong Kao (Kao by chest). Indeed. we will describe how to apply these eight Tuishou techniques in sparring practice.陈 氏 太 极 拳 推 手 技 法 6. if you advance using Ying Men Kao (Kao diagonally to the front). For example. While the combinations of Tuishou moves are infinite. In this chapter. then strike back with Jian Kao. with attackers changing to defensive roles in an instant and back again without warning.
which is regarded as the highest level of Tuishou. Dan Wan Hua (Coiling Flower with Single Hand. Da Lü (larger scale movements) 7. He Bu Tuishou with static footwork. while Tuishou) 8. i. Jin San Tui San (both parities advance and then retreat for 3 steps.1. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. where the the practitioners are no longer oblidged to the sequences or fixed routines.6. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 .e. and any movements can be exerted by intention. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. normally a forward step then a backward step) 6. silk reeling in the shape of a flower) 2.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Luan Cai Hua (Picking Flower. Shun Bu Tuishou (Tuishou with movable footwork.
An) is usually applied.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. Dian Bu (stepping on toe-tips) . Xuan Wan (rotating wrists) 4. Cha Bu (inserting steps) 6. Shuang Tuishou (Tuishou with double hands) 3. Bing Bu (step touch. i. Lü. Zou. feet placed together ) 7. Si Zheng Shou (Peng. Qie Zhang (palm chop) In static footwork. Ji. Bie. and not be limited to one or the other. However. Duli Bu (standing on a single foot) 8. There are many categories of footwork techniques. novices should start by learning one set at a time. Dan Tuishou (Tuishou with single hand) 2. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require.陈 氏 太 极 拳 推 手 技 法 6. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. Si Yu Shou hand techniques are always used. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. or Kao hand techniques. Ding Bu (static footwork) 2. these consist of the Cai.e. as follows: 1. During sparring. including: 1. Huo Bu (moving footwork) 3.1.
2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. it is also applied to Gun (roll).1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout.2.1 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. palm facing in.2. one arm is extended horizontally sideways. When cutting downward. The elbow must be dropped. Da (meet) and Sao (sweep) movements. 6. 6.2). when both players retreat after being mutually warded off. with the forearm bent toward the upper arm at an angle of 450.1). roll the chest slightly inward and lower the waist and shoulders. you need to place the body in a crouching position.2 TuishOu handwOrk Techniques 6. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. 6. the four fingers extended and joined together to form a slightly concave palm (Fig.6. 6. 6. In single practice. The roots of the fingers are relaxed.2 171 . with the wrist lowered and fingers relaxed. Shuan (bind). In this posture.
change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. one player may guide the other to reel first in the Shun direction. when hands are rotating horizontally in a circle. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig.2.4 172 . the hand is stretched upward to the sides (Fig. where the raised hand lies above the middle of the upper arm. the little finger is used to guide energy and draw inward toward the thumb. Xie Tuo Zhang is also applied in the process of Big Lü. 6.陈 氏 太 极 拳 推 手 技 法 6.3 Fig. In this instance. 6. 王 西 安 Fig.3). The palm posture during this direction change is called Xie Tuo Zhang.4). if the opponent executes Lü on you. During sparring.3 Wa Long Zhang … Roof Tile Palm The Wa Long Palm is shaped like a Chinese roof tile where the sides curl upward and the middle is low. 6. 6. 6.2.4 Xie Tuo Zhan In this technique. For example. As you rotate the hand downward or outward. then reverse to the Ni direction when the hands arrive at his or her body. the power lies in the root of the palm. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory).
• Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. Cha Zhang is widely used in Tuishou. and gradually press your hands toward the opponent. 6. insert your hand downward and rotate it in the Shun direction. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. separate them and switch to Cha Zhang.5). the hand is inserted upward or vertically/diagonally downward. then lower your shoulders and drop the elbows.6.5 Cha Zhang … Slanting Palm In this technique. fingers slightly parted (Fig. This technique is called Diagonally Upward Cha. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. see above). • In Luan Cai Hua (palms reel in non-predictable angles. 6. for example: • When you rotate both hands in vertical circles.2. see above). Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above).5 173 . as the hands insert downward.
and the little finger bending inward. Fig.6 王 西 安 174 .陈 氏 太 极 拳 推 手 技 法 6. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. When you guide your partner via Shun reeling to the front of your chest.6). you can rotate your arm with the middle finger. This way. 6.2. while the thumb and the index finger form a “ 八” shape.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. 6. the ring finger. and your partner exerts An to your hand. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle.
6. One knee is bent so that the body is in a half crouch. toe tips bent slightly inward. following the principle of ‘closing in opening’. following the principle of ‘straightening in bending’.3 TuishOu fOOTwOrk Techniques 6. the Yong Quan point should be empty while the Dang is open with the intention to close. the knee positioned approximately above the tip of the foot (Fig.7 王 西 安 175 . the thigh nearly parallel to the ground.7). This knee is turned slightly outward to provide a frame for all parts of the body. The other leg bends with the intention to straighten. 6.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. 6. In this posture. the sole fully touching the ground. 陈 氏 太 极 拳 推 手 技 法 Fig. The toe tips point slightly inward.3.
3. the heel touches the ground with the toes pointing up at about 450 (Fig. if the opponent presses on any part of your body with his or her hands or arms.9).2 Hou Zuo Bu … Back Seat Step In this posture. 6. Fig. 6. Position both feet fully on the ground.陈 氏 太 极 拳 推 手 技 法 6.8 6. you can move your the weight back to transform their power by raising your toe tip and hence causing the heel to touch the ground naturally.8). for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles). It is applied widely in Tuishou. knee bent slightly over the toe tips. toes grasping the ground.3. 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. When the weight is completely transferred. straighten the front leg so that the back leg becomes the Bow leg. 6. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork.3 Qian Dian Bu … Forward Tipping Step In this step. 王 西 安 176 .
6. if an opponent applies Lü on you. and Luan Cai Hua For example. followed by the sole then heel (Fig.10). 6. move your weight back and withdraw the front leg backward by stepping the toe tip back first.9 6.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6.10 177 .Fig.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü.
Hence the name ‘Falling Step’.陈 氏 太 极 拳 推 手 技 法 Fig. 6. 6. When the opponent applies Big Lü on you.12 .11). 6. which now lies close to the ground.e. in the ‘Dragon sweeps ground’ form. Big Lü and Luan Cai Hua. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. 王 西 安 178 Fig.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. 12). This posture is applied to Shun step. For example. and is widely used in forward or backward movements (Fig. 6. Lü applied through large-scale movements) (Fig.
with the little finger guiding energy as it points to the thumb when it is drawn inward. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory.1 Shun Chan … Conforming reeling In Taijiquan.4. while simultaneously executing Kao on the opponent. 6. In addition. In Silk Reeling technique. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. with the other fingers slightly turned outward. Shun Chan means to spiral energy from the outside to the inside. the shoulders guiding the elbows and the waist guiding the shoulders. exerting Ji and Na in confronting reelings).13 179 .e.6. enters the bone marrow through gaps in the scapula and travels down the arms. power rises from the heels up the legs. you draw the opponent inward into your territory.4 hand Techniques in TuishOu reeling 6. in Bei Zhe Kao (Lean with back). It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. when the opponent executes Lü on you. the term ‘reeling’ means to spiral energy. For example. spirals around the waist and shoulders. This move is called Shun Ji Shun Fa (i. you can use Shun Chan to gather energy and edge into the opponent’s territory. The principle of Shun Chan is that with the elbows guiding the hands. where it returns to its original position of circulation.
Ni Chan is used to open outward. the thumb gathers inward and guides the little finger. In horizontal circle rotations with single hand. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent.15 180 .14 Fig.3 Shun Ni Zuo Wan Wrist descending in Shun and Ni directions This technique consists of lowering the wrist gradually during the transition from Shun to Ni Chan. concentrate you energy in the wrist. 6. 6.15). shoulders and elbows. by using the waist to urge the shoulder. 王 西 安 Fig. Here. roll your chest slightly inward and lower your waist.陈 氏 太 极 拳 推 手 技 法 6. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’.4.4. 6. 6.14). while the other fingers turn out slightly (Fig. the shoulders to urge on the elbows and the elbows guiding the hands. In Ni Chan. Note: to apply this technique precisely. Zuo Wan (descending wrist) technique is adopted (Fig. 6.
Diao Wan is also widely applied in response to a Lü attack.16 181 . At this point. by holding on to the opponent by the hand.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. Ji.6. Lie. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). Zhou. and adhere to him or her. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. 6. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. Lü. while trying to ‘listen’. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. in case of single hand rotation in the horizontal circle. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. The wrist is drawn inward to form a Diao Wan (Hooked Wrist).16). Kao). your right hand rotates at 90o towards the right side of body in Ni reeling. 6. • For example. which is formed by pointing the little. the Shun hand changes to Diao Shou (Hooked Hand). to provide a closing and opposing force with the three fingers (Fig. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). Cai.4.
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6.4.5 Shun Chan Yang Zhang Raised palm in conforming reeling
This can be divided into inward Yang (palm rising) and outward Yang (palm rising), which are always used in the four front oriented techniques (called ‘Si Zheng Shou’ in Chinese, i.e. Peng, Lü, Ji, An) and four side oriented techniques (called ‘Si Yu Shou’ in Chinese, i.e. Cai, Lie, Zhou, Kao). First, if the partner executes Lü on your right arm, you insert loosely in Ni reeling, and then advance and press inwards by Shun reeling, raising the hand while advancing. It is called Yi Yang Zhang (palm raised inward), because at this time the palm is facing inward and upward. Second, if you guide the partner and withdraw your step, the partner will likely expose some weak point after you raise your palm in Ni reeling. To lift the partner in this ‘openning’ provides preparation for your ‘closing’, i.e. to capture your partner in Shun reeling quickly. At this time your palm is facing upper outward, so it is called Wai Yang Zhang (palm raised outward) Internally, whether in outward Yang or inward Yang, you should coordinate whole body movements coherently. Yang is a kind of opening, so at this time the body should close, so as to support each other and not be separated. Practitioners must pay attention to these principles in practice.
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6.5 TuishOu sTeps 6.5.1 Shang Bu … Forward Step
Shang Bu is a forward step with one foot, and begins with both a step forward and the bending of the knees so that the body is slightly crouched, five toes grasping the ground (Fig. 6.18). This preparatory posture resembles a cat ready to pounce on a rat, and allows you to step forward lightly and flexibly. Like a cat, you should prepare first by gathering energy, then extending the foot while listening and feeling intently. Step first with the heel then uncurling the rest of the foot flat on the ground. This procedure will limit your vulnerability.
6.5.2 Tui Bu … Retreating Step
The Tui step consists of moving one leg backward in an arc, and it can consist of more than one step (Fig. 6.19). Key to the Tui Bu is the bending of the weight-bearing knee. How much this knee bends and hence how much your body squats depends on the size of the Tui step. The bigger your retreating step, the lower you will have to bend your knee. However, it also depends on your body condition. Whatever the case, the Tui step has to be done flexibly and lightly and not with stiffness.
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Fig. 6.18 Fig. 6.19
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6.5.3 Gen Bu … Following Step
The Gen Bu can also be called the Dian (adding) Step (Fig. 6.20). This step is used in the situation where one normal step is too small to reach the target while two steps too excessive. In this instance, one is said to Gen (follow) or Dian (add) a small step after a normal step to reach the target distance. Gen is applied to the four front orientated techniques, Si Zheng Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua. The main purpose of Gen Bu is to get closer to the opponent to decrease their chances of escape. However, note that the Gen step is completed without the opponent’s awareness, a technique called Die Fa (a general concept of body combat techniques, referring to the comprehensive techniques and strategies to defeat the opponents, on the basis of quality ‘listening’ to their speed, weight and power in Tuishou). The importance the Gen step in Tuishou is reflected in the saying, “You cannot reach the depth and secrets of Tuishou without understanding Die Fa.”
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solo pRaCTiCe in Tuishou
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Solo Tuishou practice consists of individual practices useful for improving flexibility, agility and responsiveness to combat. Typically, body movements are initially executed at a high stance, gradually lowering to mid then lower stances. However, practitioners should practise according to their body condition. Likewise, beginners should start with practicing at slow speed, gradually working up to faster then very swift movements. At each stage, slow movements should not become blocked, fast movements not energy-losing, and very fast movements not chaotic. In other words, you should not lose energy in slow practice, nor be obstructed in fast movements. On the contrary, you should keep the consistency, coherence and Liu He (the Closing and Consistency of six parts of the body), and avoid any disorder and energy loss.When one part of body moves, all other parts follow and coordinate. In solo Tuishou, you should act as though following your partner neatly, and always keep attention concentrated, shoulder blades relaxed, and movements flexible. Execute solo practice as if you were actually fighting with a partner, with the fight so vivid that it brings you more interest in your practice. As a result, after thorough sole practice, the whole body moves flexibly, neatly and smoothly, and you are able to do well in actual paired Tuishou.
王 西 安
2. precise and full of intention of listening. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig.2).2. Shift your weight slowly to the left leg. relax the crotch and lift the right knee. empty the Yong Quan point. Step the right foot forward. 7.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. 7.3). 王 西 安 187 . in preparation for the right leg step forward lightly. 7. Maintain the vertical axis. 陈 氏 太 极 拳 推 手 技 法 7. Relax the arms and hang them at the sides. eyes looking forward (Fig.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. palms lightly touching the sides of the legs. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg.e. the left toes grasping the ground. 7. stepping without thought) (Fig. then slowly roll down the rest of the foot to the ground.1). As your weight shifts. heel first with toes pointed up. Continue relaxing the crotch. Your step should be light.7. straightening the neck and lifting the top of the head. so as to avoid empty stepping (i.2.
7.1 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.3 7. the left elbow and the right hand should move coherently in collaboration with each other. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. 7. right elbow and wrist. Complete the movement by raising the right fingers to form the Li (erect) palm. As the weight shifts. 7.2 Fig. 7.4).2. relax the left arm so that the left hand hangs down. While the right arm moves. thumb behind the fingers (Fig.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. 王 西 安 188 Note: in later movements. .
7. relax the left side of the crotch and shift your weight slowly to the left so that the inner side of the right foot touches the ground.Fig.2. 7.5).4 Fig.5 7. 王 西 安 189 . 7. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.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.
The other fingers reel outwards in coordination with the elbow (Fig.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left.7 7. The right forearm now moves transversely in front of the abdomen.7). When the right arm moves downward. 7. At this point. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. .6 Fig. right palm facing down and wrist bending 450 inward using the little finger as a guide. 7. 7. the elbow in a slightly warding off (Peng) position in coordination with the little finger.2.陈 氏 太 极 拳 推 手 技 法 Fig.6). the weight shifts completely to the left. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. Step the right foot either flatly on the ground or with toe tips pointing up. 7.
7.2. three Shun reelings and two Ni reelings.2. extend the right hand slightly forward.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. Rotate the waist to the right. Ni. shift your weight to the right. While the right arm reels. 7.7 Part 7 • • • • Using the little finger to guide the energy. Ni. 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. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. until it reaches the front of the right ribs.9 Part 9 • • Now using Ni reeling. changing into Ni reeling. Shun. Shun.8).7. draw the chest slightly inward and relax the right side of the crotch. bend the knees slightly to place the body in a squatting position. using it as a pivot to rotate the right shoulder rightward. Then place the palm downward (Fig. pointing the right knee slightly outward and moving it in a helix. followed by the hand. At this point. Return the bent arm and the bow leg to their original positions (Fig. that is. The 3600 rotation of the arm follows this sequence of changes: Shun. As the arm changes to Ni reeling. 王 西 安 191 .9). a 900 arc to the right side of body.2. power is most concentrated and exerted on the external side of the thumb and index finger. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. 7.
Ni. 7. the arms rotate with the waist and the axis while the hand guides the energy. Shun. Ni. Notes In these horizontal-circle rotations. rotate the wrist. practice on the left by switching to the left leg and the left hand. the upper body guides the lower body’s movement.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. Practice alternating rotations with both arms so that there is a feeling of balance. 王 西 安 192 . the lower body follows. the reeling sequence being Ni. The movement of every part of the body should be continuous and synchronised – when the upper body moves. three Ni reelings and two Shun reelings. When you feel tired practicing on the right. when one body part moves then all other body part follow.8 Fig. Shun. and ensure your body weight moves back and forth in synch with the body movements. that is. that is. The middle body moves in coordination with the upper and lower bodies.9 • The left arm rotates from the left. all parts moving together collectively. Relax the waist and shoulders. 7.
drawing an arc of about 90o to the left. Bend the left leg so that you squat slightly. Next. then switching to 90o Shun reeling. It only requires vertial hand revolution and very small shifts in weight.10). This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice.12). then turn the body to the left and raise the right hand in Shun reeling. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. with the rest of the foot gradually fully touching the ground.7. 7. Focus the eyes on the right palm (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . Next. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. switch to Ni reeling. lower your Qi. relax the left side of the crotch.11). • • • • • Keep your body weight on the left leg and step forward.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. Finally. palm slanting upward with intention to gently guide and draw in. drawing an arc of about 180o which goes downward and then up to the right. The whole movement is mainly guided by the rotating waist and relaxed shoulders. 7. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. heel first with the right foot. with eyes looking forward (Fig. 7.
Finally. Vertical arm rotation is guided by spiraling movements of the waist and back. 7.11 Fig. 王 西 安 194 . 7. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward. Practice rotating both arms in turn. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. reel in Ni to the right at 90o. then reel in Shun.陈 氏 太 极 拳 推 手 技 法 Fig. 7.12 • • When rotating in the opposite direction.10 Fig. Notes The single-hand vertical circle is not completely vertical but slightly slanted at an angle to allow you to guide and draw the opponent in.
toes relaxed and pointing downward (Fig. 7. shift your the weight gradually forward. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.13).16). This body posture is now one of holding and collecting. then raise the right foot. Relax the left crotch and while focussing on the right crotch.14 Fig.13 Fig. 7.14).15 195 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. pushing both palms forward (Tui Palm) at the same time. 7. the palms should move forward at an inclined angle (see picture).7.15). Note: when applying Tui Palm. 7. 7. in preparation for action (Fig. Shift your weight gradually to the left leg. otherwise the shape of the posture will be lost (Fig. eyes facing the front (Fig. 7. Raise the forearms 90o upward. Also. Bend the left knee to put the body in a crouching stance. 7. the forward shift of the body should stop once the palms reach their natural end position.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. palms facing to each other.
15) by drawing a circle by the sides of the body. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. 7. 7. then pushing both hands forward. this time relaxing the right crotch and focussing on the left crotch. shift your weight backward and separate both hands to the sides of the body.16 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. Repeat the Tui Palm movement again.17 • • • Next. 7.17). then lowering to the front of the abdomen. 王 西 安 196 . Practice this cycle. imagining the hands seizing the opponent’s wrists by Diao (Fig. palms vertical. 7.
stated as follows: Stand at attention with the body upright and relaxed. 7. in preparation for action (Fig. This body posture is now one of holding and collecting.7. eyes facing the front.18 Fig. drop the elbows and sink the Qi downward. 7.19 197 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.18). draw the chest inward. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. While raising the hands. Raise the forearms 90o upward. Bend the left knee to put the body in a crouching stance. toes relaxed and pointing downward (see Fig. 7. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. Shift your weight gradually to the left leg. palms facing to each other.19). 7. then raise the right foot.14). Grasp the ground lightly with the toes and face the eyes forward (Fig. 7. lower the waist and shoulders.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand.
7. extending the hands forward so that the left hand crosses over the inner side of the right wrist. stopping at shoulder level (Fig. . Next. palms facing forward. At the same time.陈 氏 太 极 拳 推 手 技 法 Fig. cross both hands slowly in Shun reeling. continue to draw your chest inward.20). open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. Extend both hands forward in an ‘offering’ stance. 7.21).21 • • • • 王 西 安 198 • Next. Then. finish the weight shift to your right leg. During this process. As both hands separate upwards. 7. step the left foot on the ground and shift your weight forward (Fig. the palms descend to the sides. after another small Ni reeling upward. 7. both palms facing inward.20 Fig. with the intention of supporting something upward. push the crossed palms over the head in Ni reeling.
the chest. so as to start a new cycle. palms cross together. while weight totally switches to the left. Both hands then draw a downward arc to fall to each side of the abdomen. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. upper arm. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. shoulders. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . strike out in succession to the sides so that the arms become a pulled bow. forearm. only that palms in the latter move horizontally. • • Now the left hand reels in Ni while the right hand reels in Shun. then hands. palms facing each other. that is. With body gathering. Closing form: palms continue to Shun reel.Note: as both hands separate outward. finger-tips pointing down. You will feel the power after long practice.
extend the right hand diagonally forward to the right. act as if sparring with a partner. and An. • Stand at attention. palm facing in.22 Fig. Extend the left hand transversely and place it on the middle of the right upper arm. eyes. Ji. • As the weight shifts.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. Coordinate the movements of your hands. body and steps.23 200 . heel first. then bend it inward 45o. 7. The key points are the same as those of solo Tuishou. 7. Note that one should practice with intention rather than by force. Lü. with the foot gradually stepping fully on the ground. • Shift your weight to the left leg and lift the right foot to step forward. palm facing forward. When practicing.陈 氏 太 极 拳 推 手 技 法 7. thumb pointing down and the little finger pointing upward. 王 西 安 Fig. Open every body part to make your rotations natural and flexible.
7.23). the wrist bent slightly inward and palm facing inward. the left hand ahead of the right. At the same time.24 Fig. Shift your weight to the left slightly then to right. and the eyes look forward to the right (Fig. 7. Meanwhile. and so continue to Peng upward before executing Lü. Move the right hand in Shun reeling. raise both hands in Ni reeling. As the left hand rises. 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. 7. Relax the right crotch and turn the body to the right. shift your weight left and focus your eyes on the front of the right hand (Fig. 7.25 201 . relax the left crotch.• • • • • The left arm intends to Peng outward. During this process. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. the arm opens like a circle. focus your intention on meeting and holding the opponent’s hand. lower the right shoulder and drop the right elbow. 7. Next. as the left hand moves inward in Ni reelings. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.24).22).
Repeat the process.22). an instant. visualize your left hand pressing down on the hand of the opponent. The edges of the hands become power-exerting points. Execute An forward with both hands the palms facing each other about 33 cm apart. As this happens. Peng and An are transitional actions executed in 王 西 安 202 . At this point. The right hand reels in Ni direction also with the intention to push outward (Fig. pushing it outward. You will also need to use your left shoulder to push and use the right hand to help press forward.陈 氏 太 极 拳 推 手 技 法 • • • • • Relax the right crotch and shift your weight to the right as the upper body moves and turns right. alternating left and right sides. 7. shift your weight forward to the right leg. the right hand executes Peng. eyes looking forward. This is the same as the starting posture of Da Shou posture. and the left hand helps the right to execute Lü. 7.25). 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. Note: In this movement.
• • • • Step forward with the right foot then shift your weight forward. Lower the waist. As the weight moves forward. Keep the eyes looking to the front right (Fig.7. Lü. draw the chest inward. 7.26 Fig.27 203 . Hand movements consist of four Zheng hands: Peng.26). moving backward uses Peng and Lü hand movements.7 shun bu TuishOu (sOlO TuishOu wiTh a fOrward and backward sTep) Shun Bu Tuishou consists of two basic steps – one moving forward and one moving backward. moving forward is combined with Ji and An hand movements. sink the shoulder downward and drop the elbows. where the pushing power is exerted. 7. These actions drive two the hands forward. outward. 7. Ji and An. raise both hands to attack by pushing them to the front right of the body. Face the outer hand edges. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. In practice. Step the left foot on the ground with the inner side of the foot touching the ground.
7.29).28 Fig. and in preparation for moving. thumb pointing down and palm facing down. followed by the arm and the hand (Fig. Note that Qi should not be allowed to float upward. As this happens. rotate the right hand slightly downward in Ni reeling. 7. Bend the left leg to squat further and extend the right foot forward. turning the right elbow out and upward. 7. As the arm moves. with the intention to close before opening. At the same time. shift your weight to the left and lift the right foot.28). tiptoe first. 7. Push the shoulder forward. . At the same time. toes pointing down (Fig. The body moves forward following the shift in weight. withdraw the left hand gradually and place it on the middle of the right upper arm. move the left hand downward then draw a forward arc to form a Lü posture with the right hand.29 • • • • • 王 西 安 204 • • • After the pushing attack. Relax the left crotch after pushing and shift the weight to the left. 7. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body.陈 氏 太 极 拳 推 手 技 法 Fig. Eyes look to the front right (Fig.27). Raise the right hand in Shun reeling.
30 Fig.Fig. Raise the right foot and take a step backwards to the right. the upper and lower body form a balanced block of strength with the waist as the boundary.32). As the weight shifts.31 • • • • • • Relax the left crotch and shift your weight to the left. 7. gradually squat the body. raise the right hand quickly to push forward together with the left hand toward the left side of the body.which takes place in an instant. Eyes look to the front left (Fig. then draw a circle downward. 7.30). 7. While the right hand switches to Lü. then in Shun direction downward to the left. raise the left hand in a spiral to form a Lü movement with the right hand. Reel the left hand first in Ni direction. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . Eyes look to the front left (Fig. 7.33). thumb pointing down and palm facing forward. The outer edges of the hands are power-exerting points. Next. then shift your weight to the right. 7. The front push of the right hand provides an instant defense. 7. Both hands are about 33 cm apart (Fig. Eyes look to the left (Fig. Then the right hand switches to Lü. Visualize sending the opponent’s right hand out to the left side of your body. Next.31).
32 Fig.35 206 . until the left hand reaches the middle line of the body.34 Fig.33 • • • Both hands execute Lü from left to right following the body. the right arm then bends to 450 inward.34). 7. At the same time. 7. 7. take a step forward with the right foot. As the weight shifts. 7. Raise the body gradually and slowly shift your weight to the left leg.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 Fig. Eyes look to the front left (Fig. extend the right hand to the right front of the body following the right foot. 7.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. 7. Then shift your weight slightly rightward. 7.38 Fig. 7. 7.36 Fig. 7.Fig.37 • • Simultaneously.35). Note that the waist power descends to the left first then the right.39 207 . thumb pointing down. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy.36). Eyes look to the front right (Fig. Eyes look to the front right (Fig. place the left hand on the right upper arm.
Next. execute Lü downward with the left hand. 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. At the same time. Relax the right crotch and shift your weight to the right.38). move the right hand in front of the left hand quickly.39). Start a new cycle (Fig. visualizing that you are pushing the opponent’s hand outward to the right. Eyes look to the front right (Fig. then move it out to the right. 王 西 安 208 . As soon as both arms finish pressing forward. 7. 7. 7.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left.37). raise the right hand quickly and exert An forward with power. Eyes look to the right (Fig.
the only difference being that the extent of the steps in Da Lü is bigger. we will only refer to two main Da Lü postures as shown in the pictures which follow.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. whereby Player B executes Lü on Player A.41 209 .40 Fig. Furthermore. Zou. then the fives methods of solo Tuishou practice. Lie. Ji and An is the same to those in Shun Step (forward or backwards Step). and Kao. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. a major weakness with which you cannot even hope to attack the opponent. Zhou.7. The circulating of steps in Da Lü when practicing Peng. Bie Zou. It is not easy to practice Cai. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. beginners should first practise the routines. 7. It uses the combat techniques of the four hand techniques in corner directions – Cai. Bie. Lü. As such. In this chapter. One is Da Pu Bu. and Kao. The other movements are the same as the movements in Shun Step (forward or backward step). Lü Ji and An. the whole body will become stiff when you try to squat down in the big body movements. If not. The other picture demonstrates the big Frontward Bow Step. literally meaning “big falling step”. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. Kao with large-scaled body movements.
7. Luan Cai Hua is also built on the foundation of Peng. and flexible. In the Luan Cai Hua Tuishou practice.42. The body movement and gait should be neat and swift. Lü. It’s features include free movement with no fixed direction. you should pay attention to the following points.陈 氏 太 极 拳 推 手 技 法 7. 王 西 安 Fig. Ji. precise rotation.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). and An. and also uses the Si Zheng Shou. See how to execute Dian step in Figure 7. This way you will not lose energy unnecessarily nor become stiff.42 210 . You need to rotate neatly when executing a step forward as the partner changes his or her direction. 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.
Ji. Do not just practice at fast speeds or you will lose your energy or get stiff. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. looking for the attacking opportunity. Your movements should be quick but not chaotic. the only difference being in the stances of the body. getting close to their upper body while causing them to raise their lower body or slant it. light but not empty and floating. heavy but not stiff. and entice the partner to advance and show his or her weak points. It is not easy to apply Die Fa. you feel the partner’s energy as you rotate. If you are able to put the partner in a passive position you can fullfil your intention without being noticed.In this technique. and thus impede any progress in Tuishou. You should practice listening repeatedly. When circulating the four Zheng hand techniques (Peng. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. An). Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . the steps are small but the speed is fast. When you apply Luan Cai Hua in Tuishou sparring.
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 .
In addition. gathering speed in the later stages. agile. the practice stance should start high. If both partners have Taiji proficiency. flexible and rapid. flexible and without weaknesses. I hope that the reader will use this to practice diligently and master the key points. Faster progress may be made if your partner is proficient in Taiji. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. pair practice should start slowly. like a flowing river: smooth. whereby your actions should be precise. Lastly. If possible. development should follow the stages of San Shou to Zhan (coherence). then pair Tuishou may be described as “acting as if there is no partner although you have one”. Pair practice Tuishou improves combat skills.陈 氏 太 极 拳 推 手 技 法 8. Nian (sticking). Lian (connecting) and finally Sui (following). moving as the partner moves.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. 王 西 安 214 . lowering to mid-height then low stance. so you must strive to concentrate. similarly. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. pair practice becomes beautiful to watch. try to choose a partner of similar level for pair practice. Like solo practice. movements in pair practice should start simply before gaining in complexity. Pair Tuishou embodies the essence of Taiji Tuishou. An introduction to Tuishou pair practices has been provided in the following pages.
王 西 安 215 . The distance between both right feet should be about 10 cm. Their bodies are upright.1 Posture 1 Both players stand at attention facing each other. arms hanging relaxed by the sides. an arms length from each other so that their fists touch when arms are outstretched.1 Both players take a step forward with their right feet. gradually forming a front Bow Step.2. 8. These may be shortened to ‘A’ and ‘B’. 陈 氏 太 极 拳 推 手 技 法 Fig. 8.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. toes pointing slightly outward to form a 八 shape. Player B refers to the female practitioner dressed in red.8.
Both players watch their hands throughout this step.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. with the middle fingers at nose level. and his body crouches slightly to form a closing power. corresponding with the rotation of the waist. Fig. Alternatively. eyes focussed on the right hands.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. .2 8. 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. The back of the palms touch each other. B’s weight continues to move forward to form a single-hand An (pushing) power. The right hand extends forward with the left hand akimbo. both players raise their right palm and extend it forward.2. the left hand can also be placed naturally along side the body. using the middle line of the nose as the boundary. A’s weight shifts backward.
Fig. 8. 8. then she guides A’s hand to the front of his abdomen. B shifts her weight gradually backward while her hand draws an arc following Player A. then Ni reels 90o to the front of Player B’s abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. At the same time.3 8.2. Repeat this cycle.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right.4 217 .
2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand). both hands perpendicular to each other and eyes looking forward.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation. Player A guides Player B to move first in Shun reeling.5 8.3. then then draws a 90o arc to the left.3 single-hand verTical circle wan hua in pair pracTice 8.陈 氏 太 极 拳 推 手 技 法 8. Fig. the only difference being that here the Da Shou (meet partner with hand) position is higher.3. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. . Both players then rise. 8.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.7 219 . guiding Player B to Ni reel 900 to his right side.3 Posture 3 Player A relaxes his right crotch and turns his body to the right. Partner B relaxes the left crotch.3. with eyes looking at the same direction. 8. For example. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. turning to the right (B’s left side). when A draws an arc to the right side. 8. B always adheres to A. During the above process.6 8.Fig.
Both players step forward simultaneously with their right foot. they lower their waists. draw their chests inward and gather their ribs. eyes looking forward. having first shifted their weight onto the left leg.陈 氏 太 极 拳 推 手 技 法 8. Player A raises two hands in front of his chest. with aim to form a front Bow Step. ready to move and attack if hands touch. heel first. 8. 王 西 安 Fig. placing them outside A’s hands. toes turned up (optional).8 220 .4. Then Player B extends her hands forward.1 Posture 1 Both players stand at attention facing each other. Now both players wait in a defensive mode.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. lower the shoulders and drop the elbows. Both right feet start to uncurl to the ground. While waiting.
In other words. A’s weight shift to the right foot has been fully completed. 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. He stops pushing when his hands are 20 cm away from Player B’s chest. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks. As B’s weight moves backward. 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.8. 8. 陈 氏 太 极 拳 推 手 技 法 Fig. B’s little fingers “stick” to A throughout the process. her hands reel in Shun.9 王 西 安 221 .4.
He shifts his weight backward. then separates Player B’s hands to the sides of her body at shoulderlevel.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction.10 8. B moves her weight forward to form a Bow Step. She relaxes her chest as her hands separate. While Player A separates. Fig.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. Then both players return to the original position. 8.4. 王 西 安 222 . While A draws arcs.陈 氏 太 极 拳 推 手 技 法 8. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. 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. using the outer edges of his palms.
8.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .Fig.
with the inner sides of both feet facing each other and 10 cm apart.5. The positions of all hands are higher than the eyes. B has been shifting her weight to the left. Now. A’s weight is all at the right foot. guiding Partner B to raise her hands. and separate hands to the sides of the body at shoulder level. 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.5.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8.1 Posture 1 Player A and B stand facing each other. Fig. .2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward. all eyes look forward. then step their right feet forward simultaneously.陈 氏 太 极 拳 推 手 技 法 8. the weight for both parties starts to shift to the right. 8. The two parties’ eyes always follow their movements. draw a vertical circle outward. Now.12 王 西 安 224 8.
3 Posture 3 Player A switches to Shun reeling. 8. his little fingers slightly catching Player B’s wrists. 8. Player A draws outwards while Partner B draws inwards.14 225 . While Player B rotates her arms downward following Player A.Fig. she shifts her weight forward to form a front Bow Step. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and draw arcs to the lower abdomen.5.13 8. Both players’ eyes face forward. while he shifts his weight backward.
陈 氏 太 极 拳 推 手 技 法 8. Then Player A returns to the original position by Ni reeling and separating his arms outward. his hands crossing before the chest with both palms facing in.4 Posture 4 Player A continues Shun reeling.5. whether Player A separates B or vice versa. Both players can practice this in turn. Player B follows Player A closely and feels his change. and continues to move her weight forward. Repeat this cycle. 王 西 安 226 . the body squats to prepare for openning. Both players face forward. Note: The steps are the same.
Both players then shift a little more weight to the right. yet start to shift to the right.6. 陈 氏 太 极 拳 推 手 技 法 Fig.8. then step their right feet forward simultaneously. with the inner sides of both feet facing each other and 10 cm apart.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. the weight for both parties are both in the left.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 . 8. Player A and B stand facing each other. eyes looking forward. and then extend their right hands forward so they cross each other. Now. backs of the hands touching.
Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. .6. In this way. both of B’s arms form an An (Pushing) power.2 Posture 2 Player A shifts his weight forward. While the right arm turns. then extends forward to press against A’s left forearm. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture.6. then turns his right hand left in Shun reeling following the turn of his body. Player B places her left hand on the right upper arm of Player A as he moves. Player A relaxes his left crotch and moves his weight slightly leftward. At the same time.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. gradually switching from Peng (ward off ) to Lü leftward. he places his left hand on the middle of the right upper arm.16 8. Her right hand presses Player A’s right hand slightly downward. 8.陈 氏 太 极 拳 推 手 技 法 8. Fig. During this process. he places his right hand on the middle of B’s left upper arm.
Player B switches from An (push) to Peng (ward off ). Player A executes Lü on B’s hand and presses it downward. Partner A withdraws his pressing hand and places it on his own right upper arm. thus returning to the original position. In response. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. shifting his weight forward to add more pressure. Repeat this cycle. In response. 8.18 229 .6.17 8. 8.Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and executes Lü (roll back) again.4 Posture 4 Player B executes Ji (press) on Player A. Then Player B wards off Player A’s left hand upward.
so that both knees touch (A’s inner knee and B’s outer knee). Both players look at each other from the side. placing it on the outside of A’s right leg.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. bending it 450 inward.7.19 230 .1 Posture 1 Both players stand at attention.陈 氏 太 极 拳 推 手 技 法 8. Player A steps his right foot forward to form a front Bow Step. Player B’s right hand crosses the outside of A’s right hand. and places her left hand on the middle of A’s right upper arm. A’s left hand then crosses with B’s left hand. Player B steps her right foot forward at the same time. then places his left hand on the middle of his right upper arm. 王 西 安 Fig. Player A raises his right arm as his right leg moves. palm facing outward. 8.
Player B shifts her weight forward to double her pressing power. executing Lü (roll back) with his right hand. and moves his weight leftward. and switches both hands to double-hand Shun reeling to ward off outward gradually. Player B continues to move her weight forward when Player A applies Lü. 8.7.8. shifts his weight slightly to the 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. he places his right hand on the middle of B’s left upper arm.7. As Player A’s body turns right. At the same time.2 Posture 2 Player A then relaxes his right crotch. This switch from Peng to Lü happens in an instant.3 Posture 3 Player A relaxes his left crotch first. 陈 氏 太 极 拳 推 手 技 法 Fig. turns his body to the right. Both players look to the front and gather themselves to prepare for futher movements. 王 西 安 231 .20 8. he lowers his left shoulder and left elbow. Simultaneously. Both players look to the front. and then wards off Player B’s left hand upwards. raises his left hand.
At the same time.21 8. he presses Player B’s left hand downward to the front of her lower abdomen.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. 8.22 232 . Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. with the coordination of his right hand. forming an An force. 8. with the aim of getting her to fall to his right side. 王 西 安 Fig. When Player A presses downward. then pushes her left hand rightward.陈 氏 太 极 拳 推 手 技 法 Fig. A then extends his left hand up and forward and presses the middle of Partner B’s right hand.7.
Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. A’s upper and lower body move as one. tiptoe first.6 Posture 6 Player A shifts his weight back to the left leg after pushing. Player A moves his weight first to the left and lifts his right foot quickly to step forward. 8.5 Posture 5 Player B’s left foot steps on the ground.7. then her foot gradually steps on the ground fully. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. In this move. At the same time. 王 西 安 233 .23 8. her right crotch relaxes and she shifts her weight to the right.7. At the same time. As Player B executes Lü. 陈 氏 太 极 拳 推 手 技 法 Fig. his right hand switches to Ni reeling to force Player B to step backward. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. 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.8.
turns his body slightly left and shifts his weight slightly leftward. Simultaneously. and steps within A’s left leg so that their two knees connect. shifting her weight gradually rightward. then takes a step forward with her right foot.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. Player B wards off slowly outwards with both hands in Shun reeling. In response.7. B also places her left hand on the middle of her right upper arm. palm out. 8. . shifts her weight leftward. Fig.24 8. Player A places his left hand on B’s right upper arm. Both players look diagonally to the front. Player B relaxes her left crotch. While this happens. then pushes Player B’s right hand first down then left using the pressing power of his left hand.陈 氏 太 极 拳 推 手 技 法 At the same time. to form Ji (press) power with her right arm. B steps forward in synch with A’s guiding hand. so as to form Peng and Lü with both of his hands. Both players look to the side at each other.
At the same time.Fig. Player B lowers her left shoulder and left elbow.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left.25 8. then raises her left hand in an upward Peng on A’s left hand. 8.7.26 235 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. B also places her right hand on the middle of A’s right upper arm. 8. then switches her left hand instantly from Peng to Lü. Simultaneously.
8. then quickly forms a pushing power towards B. As Player B pushes A’s left hand downward. 王 西 安 Fig. Player A continues to shift his weight forward. In this instance. Then with her left hand. 8. she presses forward on the middle of A’s right lower arm.7. both A’s arms form an outward Peng power. His right hand then comes into contact with B’s right hand. A responds first by flowing downward. At the same time. then to her left.陈 氏 太 极 拳 推 手 技 法 As this happens.27 236 .9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. Both players look diagonally to the front. then raising his left hand upward onto B’s right upper arm to warding off (Peng). Both B’s hands work together to form an upward pressure pose. Both players look to the sides. 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.
Player B shifts her weight first to the left. Both players should defend and stick to defend their own territory.7. 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. leading to increased exposure to attacks. following A’s Lü power.8. Player A steps his left foot on the ground.10 Posture 10 Both players keep moving and rotating. 王 西 安 237 . and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. relaxes his left crotch. 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.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. He moves in Lü until his left hand reaches the mid-line of his body. In response to A’s Lü. 8. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest.
You may have found that. Both playesr look diagonally to the front.25. her right hand changes to Ni reeling to force Player A to step back. 8. Player A places his left hand on the middle of his right upper arm. for both of the two players. At the same time. and 8. Simultaneously. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. as well as an accomplishment of one cycle of Peng.26. her two hands forming a Lü posture.陈 氏 太 极 拳 推 手 技 法 8. B places her left hand on the middle of A’s right upper arm.7. Player B shifts her weight backward to her left leg. The rotating methods are the same as those on Figures 8. 8. A relaxes his left crotch. Finally. to form a Ji power with his right arm. palm out. foot gradually steps fully on the ground. Ji and An. 王 西 安 238 . Lü. shifts his weight leftward. tiptoe first. Both their knees connect. and are ready to start a new cycle. 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. As B shifts her weight backward. both players return to their original positions.11 Posture 11 After pushing forward. At the same time.28.27.
29 王 西 安 239 . In this low body movement.8 pair pracTice in da lü TuishOu (large scale lü TuishOu) Da Lü Tuishou pair practice is the fourth technique of of Chen-style Taiji Tuishou. which is aimed at reinforcing your lower body stance and leg power in this technique. 陈 氏 太 极 拳 推 手 技 法 Fig. 8. Zhou and Kao. Bie. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground.8. you should combine Si Zheng Shou practice with Si Yu Shou. and is based on Shun Bu Tuishou. This technique consists of larger scale body movement. which is Cai. 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.
try to feel the Gongfu level gap between you and your opponent by listening. Only this way. During combat. nor the location of your body weight. depending on the circumstances. With this method. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. In Da Sao. reel them in Shun and Ni directions. If you choose not to attack under some circumstances. push and press against the opponent to force them into a defensive mode. 王 西 安 240 .陈 氏 太 极 拳 推 手 技 法 8. Shuan means to put an arm across the chest like a locked door bolt to protect against attack.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. Instead of sweeping the arms horizontally. or power direction. use your elbow or Kao (shoulder strike) to attack when you find a weak point. Bi Ya (push and press) and so on. the opponent cannot discern your target. Sao means to sweep or clear away. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. Gun Shuan (roll and seize). left and right. up and down. Gun Shuan is an extension of Da Sao. can you win consistently. 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). so as to transform the opponent’s power. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. From this position.
Your footwork should be based on the speed. Actually. This is an example of the Die Fa.31 王 西 安 241 . you can advance two or three steps to gain a territorial advantage. Apply Ti (lift) and Long (holding close) unpredictably and precisely.32 Fig. For example. direction and angle of changes. 8. agile and swift. Your Dian Bu should be light. Combine the power of both your hands so that they become one indivisible power. which you think harmful to your opponent.Your footwork should be coordinated with your handwork. 8. if the opponent retreats one step. 8. there are no restrictions in the application during practical body combat.30 陈 氏 太 极 拳 推 手 技 法 Fig. coordinated with Shang Long Xia Ti. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). flexible. These are the main methods and purpose of Luan Cai Hua pair practice. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. Fig.
culminating in the modern-day Chen. one of the pre-eminent representatives of Yang Taiji family. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. According to this philosophy. Sun and Wu Styles. . the philosophy of Taiji attempts to explain the workings of the universe. that is. At its foundation. through Taiji forms and postures. of two fundamental forces: Yin and Yang. Earth or Human realms. much of the theory in this book is based on the guidelines written by Yang Chengfu. Yang. our world and the human body through the interactions. For this reason. we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. Taiji Philosophy is most easily expressed and understood through the use of body language. opposing and complementary. While the Taiji form has undergone many changes through the ages.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. 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.CHEN XIN The illustrated Canon of Chen Family Taijiquan “The Illustrated Canon of Chen Family Taijiquan” is universally acknowledged by the Taoist community and Taiji practitioners as the seminal sourcebook of Taiji philosophy and techniques.com . and a referential resource for Taiji instructors and practitioners for generations to follow. The English translation of this canon marks the first ever attempt to translate into English Chen Xin’s highly esoteric and detailed technical explanations of Chen-style Taijiquan techniques.inbiworld. A work of intense scholarship which took over fourteen years to complete. www. this tome was intended by its author to be both the first ever written repository of Taiji lore.
chenxiaowang.Chen Village Restoration Project • Q.com . Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. Henan Province. www. How do I purchase calligraphy or make a contribution A. China. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. Q. founder of the Yang style. Who was Chen Changxing? A. Q. Wenxian. How is the project being funded? A. All people who buy calligraphy or make a direct contribution will have their name and the amount carved into a stone tablet to be displayed in Chen village. Q. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. What is the Chen Changxing - Chen Village Restoration Project? A.
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