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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 .
Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . Atsuko Noguchi January 1998. an impressive feat of concentration and energy considering Master Wang’s teaching workload. belongs not only to China but to the rest of the world. In the spirit of Taiji’s original meaning. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. to consist of everything’. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. as an expression of the profound spirit inherent in all human beings. ‘to exist everywhere. newly written by Master Wang Xian. More than ever. 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. is to be published. One of the finished manuscripts resulted in this book. Indeed. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. I look forward to Master Wang’s future works with great enthusiasm. we believe that Taiji. Tokyo. indubitably a result of the efforts of Taiji followers in both countries.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
......................... Reeling Silk ......................................................................................................................... The Relationship Between Three Stages of Taijiquan Practice and Tuishou ...............................................105 9..................................................................................................21 4...................................... Lian Sui Energies ....13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1......................................................................................... Zhan Nian Techniques. Listening to Energy ...........................34 10..........................................29 8.......................................................................................................................55 4........................................................................38 2......................16 2............................................................................................................. Jietuo (Escape) Practices..... Leg Practice ............................................................ Na (Seizing) Techniques ............63 5...............................................................................................25 6...............................................................10 5..Table of Contents Chapter One: Introduction 1................................. Kao (Push) Practices.................. The Origin of Taijiquan Tuishou .............................................. 3...................... Misleading and Transforming Techniques ..........31 9... 2...........................................................3 Tuishou Practice – Going Inward........117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix . Dongjin – Realization of Energy ..........................4 The Core of Tuishou ...............72 6................23 5..... Tuishou: the Only Criterion to Judge the Gongfu of Taiji............... Elbow Practice ..............26 7..... Na (Seizing) Practices ...............................................18 3...................... Fist Practice ...........84 7........................ Palm Practice ............................................................................................................... Feet Practice ...... Energy Explosion ............................ Introduction ................................... Step by Step ......................................................................... Ti (Raising) Energy ....... Opening and Closing .............................................97 8. 4..35 Chapter Three: Single Form Practice 1............................40 3.......................................................................................................................................................
. Hunyuan Zhuang (Circle Posture) ......... 183 Chapter Seven: Solo Practice in Tuishou 1...............................240 王 西 安 x ........................ Solo Double-hand Flat Circle Wan Hua .........................193 4.....197 6..........................200 7.......................................................................................... San Ti Shi (Three Postures).................... Solo Ping Yuanwan Hua .................. Tuishou Handwork Techniques ........................ Pair Practice in Luan Cai Hua Tuishou....................... Solo Double-hand Wan Hua in a Vertical Circle ....................................... Tuishou Footwork Techniques...... Pair Practice in Shun Bu Tuishou....132 2.......................................................... Classifications of Tuishou ........ Solo Luan Cai Hua Tuishou .. Introduction ................................................. Chan Si Zhuang (Reeling Silk Posture) .............. Hand Techniques in Tuishou Reeling. Kai He Zhuang (Opening and Closing Zhuang) .....................227 7... Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ...................................................... 157 Chapter Six: Chen Style Taiji Tuishou Categories 1..........220 5....................171 3........................................187 3..............................214 2........................... Single-hand Vertical Circle Wan Hua in Pair Practice ...............................................................142 5........................................................................... Solo Tuishou With Static Footwork .............................................................. Solo Wan Hua ..........................179 5............................195 5...................... Single-hand Horizontal Wan Hua in Pair Practice ...149 7.................................................................................................................................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1........................ Introduction .........209 9......................203 8. 138 4......218 4........ 133 3....................................................... Solo Danren Da Lü Tuishou ........ Introduction ........175 4........ Pair Practice in Da Lü Tuishou .168 2.................................................................................................239 9.......................................................................... Tuishou Steps .................................................................................230 8..................................146 6..............................................................210 Chapter Eight: Pair Practice in Tuisho 1...................................... Wu Ji Zhuang (Wu Ji Posture).......................................... He Bu-Tuishou ................................224 6.. Shuang Shou Ping Yuanwan Hua ............. 215 3..................... Shuang Shou Li Yuan Wan Hua.. Shun Bu Tuishou ............................................................................154 Chapter Five: Practice for the Buttocks and Crotch ...............................186 2.................................................................................
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. originally known as Jieshou or Dashou. throwing and striking.1. Its creator. Wenxian County. With the accelerated pace of modern life. Chen Wangting. gender. In doing so. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . sword and stick routines. Henan Province. As it is not stressful to the body. and he was recognized as the creator of Chen Family boxing. (also known as Zouting) was a famous martial arts master. it helps maintain fitness. ‘The Family Tree of Chen’. is a practical combat technique based on grabbing. According to the book. transforming. China.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. Taiji Tuishou practice is not restricted by a practitioner’s age. location or access to equipment. Chen Wangting. 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. reducing illness and prolonging a healthy life. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. agility and flexibility. he drew on the theories of the Yijing (I Ching. Tuishou. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. and will continue to do so in years to come. the ‘Book of Changes’). in the period between the Ming and Qing Dynasty. as well as the principles of Yin and Yang. catching. As a combat techniqiue.
enabling you to throw opponents meters away without hurting them. 王 西 安 4 . Tuishou translates as ‘push hands’. pacing your learning step-bystep. Follow the circling movements with the whole body. or appreciate the interplay of the slow/quick. You will not realize inner transformation. so much that you will be able to apply combat techniques. Tuishou practice should be soft and modest. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. and striking. Less well known is Tuishou’s other application as a technique for internal transformation. Become familiar with the single hand horizontal and vertical practice. such as grasping. from the realization of Jin. Initially. hard/ soft. catching. and what it consists of. Literally. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. listen to each other’s energy flow.2 TuishOu pracTice – gOing inward. to the Deity’. intuitive and subconscious. nor will you be able to intuit your opponent’s energetic intention. that is. ‘From the familiarity of forms. you will be able to release explosive energy to both small and large targets. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. sTep-by-sTep To practice Tuishou. you must know its significance. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. and do not disconnect or oppose your partner’s energy. principles. With sustained practice over a period of time. followed by the double hand horizontal and vertical practice. A Taijiquan proverb pertains also to Tuishou. Relaxation is fundamental. throwing.陈 氏 太 极 拳 推 手 技 法 1. an athletic activity based on mutual pushing. to the realization of Jin. with greater efficacy and subtlety. be relaxed. transformation is the basis. As you reach the level of adept.
Skill arises from consistent and accumulated practice. Practice makes perfect. you will ultimately enhance your health and combat techniques. As long as you practice persistently and make progress. but never practice just in order to practice. mind and spirit with determination. your intention and commitment must be deeply held. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . be calm and concentrated in your demeanour. To cultivate ‘inner listening’. imagine a partner practicing or competing with you. force and speed in your actions.Remember that ‘inner listening’ is the one essential skill required to improve your technique. combining your heart. In solo practice.
follow) and Chansi Jin (Reeling Silk). Lian. it will enable you to feel. your partner’s weight. You will learn to follow your partner’s intention and forget your own. while its theoretical basis builds on the philosophies of Yin and Yang. upward or downward movements. opening or closing. continue. When you can control these energies within yourself. attacks or retreats. with the lightest of touches.陈 氏 太 极 拳 推 手 技 法 1. Qing (light) and Zhong (heavy). Tuishou practice is based on thirteen ‘forms’ or energies. distance and direction of energy. . and so on. 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. gathering or exploding. Kuai (quick) and Man (slow).3 The cOre Of TuishOu The core of Tuishou consists of Zhan. speed. which are also the essential elements of Taiji. Movements alternate freely between Gang (hard) and Rou (soft). Nian. Sui (stick. adhere. you will develop the capacity to subconsciously anticipate quick or slow changes. actions to the left or right. At a more advanced stage.
‘if the opponent moves slightly. be calm and relaxed To release bursts of energy effectively. it is the force of friction that enables you to hold and seize their arms etc. When releasing explosive energy. Like a balloon whose air has been exhausted. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. or other deformation. expansion. 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’. 王 西 安 7 . Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. ‘if the opponent does not move. this energy refills automatically to its original ‘full’ state.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. stretching. concentrate on one direction at a time. 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’. ‘follow slow attacks unhurriedly’. don’t move’. move before they do’ etc.
The canon of Taiji teachings is rich with such sayings. results in the shaking off of the opponent’s upper body and lifting of their lower body. Even if attacked by a monster. none of your opponents can defeat you. I always follow their intention. whether they strike or twist. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. push or strike your opponent you do so without alerting them in order to capture their energy. 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).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. Similarly.” Chen Changxing. push or strike. and is worth remembering. 王 西 安 8 . Using this. also states: “No one knows when I gather or stretch. when you move forward in your turn to press. the 14th generation master. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. whether ascending or descending. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. no matter how hard they press. I perform strictly to the principles so as to make me unassailable. I follow my partner. I can conquer a force of a thousand jin with a tiny force of four Liang. utilizing the techniques of Kao.” This technique.
requiring us to further our exploration and improve our practice of it. One with four Yin and six Yang is among the group of the adepts. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . I sincerely hope Taijiquan followers will embark on a serious study of this art and strive toward the as yet unbounded acme of this science. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. As a science.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. Only one with five Yin and five Yang is called adept. In order to inherit and develop this Chinese cultural heritage. Here. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds.
Zhao Shu (familiarity with the forms) Outer form drives Qi. 2. as stiff as a stick’ evolves to ‘two-yin eight-yang. . Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. 3. The three stages of Taijiquan are: 1. Zhong Quan (medium circle) At this stage.陈 氏 太 极 拳 推 手 技 法 1. ‘three-yin seven-yang. with fuller details available in Chapter Two of my book. still regarded hard’ turns into ‘fouryin six-yang. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. Dong Jin (realizing the inner energy) Qi drives outer form. one comes into the group of the adepts’. ‘Chen Style Taiji Laojia’ (Old Routine).4 The relaTiOnship beTween The Three sTages Of Taijiquan pracTice and TuishOu A brief description of the three stages of Taijiquan practice will be provided here. Correspondingly. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. is San Shou’. 2.
By this stage. At the third stage of Shenming (deity). in addition to a diligent assimilation of knowledge. along with the Tuishou practice of Zhong Quan (medium circle). The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. possess abundant internal energy. the complete fusion of external form and internal spirit. Note that ‘no circle’ denotes a state of subtlety and skilfulness. as well as the combination of the respective techniques applied in the big. random alternations between states of energy gathering and releasing within a relaxed and elastic body. all parts of the body become as highly sensitized as finger tips so that when competing. and does not mean total stillness. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness.3. enjoy a feeling of lightness. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). Following a correct program of practice as outlined above. one is regarded as a Deity’. an adept may say. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). We must pay attention to different methods during different stages of practice. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. That is to say. and be able to achieve constant internal changes between Xu and Shi (void and solid). along with the Tuishou practice of Da Quan (big circle). we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . At the second stage of Dong Jin (realization of energy). that is. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. that is. at the first stage. medium and small circles.
This is not unattainable. 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’. if you don’t make efforts to go forward.” 王 西 安 12 . even though I don’t know how I do it’. “Taiji practice is like rowing in the river. you surely go backwards.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. as our ancestors tell us.
In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. Without the latter. Ding meaning ‘stiff resistance’). 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. However. This is called. Nevertheless. Skilled practitioners rely on a highly developed sense of touch.5 TuishOu. the stronger force) also can defeat the weaker force. Remember too where your weight is placed to maintain control of your centre of gravity. meaning ‘loss of energy’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . While appearing deceptively easy. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. When forces are equally matched during competition. In other words. it doesn’t imply Diu (a common defect due to failure in Zhan Nian.1. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. 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. Tuishou develops one’s sensitivity to others. nor is it just a matter of pitting one’s physical force against others. no techniques can be executed. Hence. It is this dynamic that we need to explore during practice. It simply requires practitioners to have sufficient physical force for competition. These reflexes are faster than thought and only come with constant practice. ‘Weak side strikes strong side. softness can break through hard. tough energy. 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.e. four Liang defeats thousands of Jin’. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. ‘thousands of Jin’ (i. hence it is essentially a competitive activity. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation.
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 .
sensing through the skin enables reaction in any manner within the rules. continue. but also with the eyes. What is listening with the skin? It means following the command of the heart and mind.1 lisTening TO energy In the context of Taiji and Tuishou. Similarly. One’s skin is the key weapon. adhere. What is listening with the bones? It is the ability to anticipate an attack by listening through the skin and responding swiftly to an opponent’s attempt to seize. the act of ‘listening’ has profound resonances. a practioner’s body can react instantly with great accuracy and flexibility. position and magnitude. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. with the skin and with the fine hairs on the body surface.’ 王 西 安 16 . Listening can be divided into three areas: listening with the bones.陈 氏 太 极 拳 推 手 技 法 2. With your skin. alluding not only to listening with the ears. squeeze and press. The entire body surface of a high level practioner is highly sensitive. and taking Zhan Nian Lian Sui (stick. the skin. when an opponent touches one’s fine body hairs. Hence the saying. one’s force is injected into the marrow. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). follow) as fundamentals. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. ‘Without being known. and a highly-tuned awareness of sensations in the heart and nerves as well. On receiving these signals. no matter if the changes are in the opponent’s rotation. her changes in rotation. her body light and flexible. filled with abundant internal Qi. allowing both body and mind to enter into the level of deity and transformation. At this stage. a rise or fall in height or changes in weight. I know others and sweep all enemies aside. During Tuishou sparring. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. feel your partner’s movements.
Your reactions will become slow. very few achieve the ability to listen with the skin. Without this preparation. descending. Just as a deaf person is unable to comprehend a conversation as he cannot hear. Only through accumulated practice can one’s sensations detect the smallest changes. opening and closing (快、慢、沉、稳、虚、实、 开、合). This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. rising to the upper body. Failure to do so will cause one’s energy to remain stuck in the chest. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. where every knot of one’s body opens and stretches without crude force. slow. While the majority of practitioners are able to listen with the bones. In all this. ‘descending Qi and steady steps’. making all one’s muscles stiff. leading only to failure. Listening is essential to Tuishou. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. let alone the attainment of energy for combat. listening would be impossible. special attention should be paid to ‘the intervals of fastness and slowness’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . blood and breath. You will look without seeing. calm. so a practioner cannot generate energy for sparring if he or she is unable to listen. emptiness. listen without hearing. you fight back. defending and attacking blindly. How good it would be to attain this level. Nervously. As Sunzi Bingfa says. ‘clear manifestation of emptiness and solidness’. your listening untrue. solidity. “The most super-human strategy is formless and soundless.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. your judgement confused. that is why it destroys the strongest of enemies”. until it is too late to repel danger. which is essential for constant adjustments to frequently changing circumstances.
We call such shortcomings. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. Qi (insult). Bo (move with hand). Fa (引yin – lead. length. 发fa – explode) at the appropriate opportunity. direction. speed. Failure to overcome these shortcomings would be to fail to realize energy. Ting (stick out). Ya (push down). 化hua – change. that is. Teng (jump). Peng. An (press). Without ‘hearing’ the energy of one’s partner. Ke (knock). “faulty palms” or “faulty body”. hardness and softness. Zhe (hide). While beginners may find this difficult to achieve. Gua (hang on). this skill may eventually be attained with diligent practice and a good teacher. your posture too straight (Zhi). 拿na – capture. Ba (seize by force). magnitude and hitting point. Jia (stiff ). Duo (escape). Cuo (rub). 王 西 安 18 . Ba (pull out).2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Lou (hold). Qin (intrude). Even for those who achieve this skill. Pai (squeeze out). Hun (mix up). Na. you cannot realize it. Hua. await them. Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. vertical axis and flexibility. the ability to circle and the principles of Zhan Nian Lian Sui. Zhi (straight). Ji (hit). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Ying (stiff ). Meng (sudden). Ling (pressing). transform. Realizing energy is based on listening. Shi (tight). Be warned that mistakes will occur on this learning path. Zhan (chop). Di (resist) and Gun (roll). Tui (push). Zhuan (cheat). Shan (dodge or flash). Li (leave). your energy too resistant (Ding) or being lost unnecessarily (Diu). Gou (hook).陈 氏 太 极 拳 推 手 技 法 2. It is the ability to note present or potential changes in emptiness and solidity. straightness and curvature. you cannot note any of the above changes in the oponent. Dang (block off ). You may find yourself being too stiff (Jiang). new challenges such as ‘being too fond of competing’.
I follow my partner. they share the common practice of ‘realizing energy’. In fact. relaxation and health practice for the old and infirm. jumping. Tuishou is the combat application of Zhan Nian Lian Sui. Whilst acknowledged as a combat technique in its own right. but also in the combat arts and and Sanda (free sparring). Concordant with the adage that ‘external forms are the method and the pathway’. twisting. Hence. and shares many common principles with Sanda (free sparring). An. look around and maintain an upright axis during Tuishou practice. Cai. Lü. the poplular stereotype of Taijiquan as a non-combat. angle. Lie. Sanda complies with basic Tuishou principles. striking. grasping. I always keep remembering to follow their intention. these eight techniques form the method for Tuishou. Ji. ‘The Taijiquan Formula’: No one knows when I gather or stretch. utilizing the techniques of Kao in spiralling. with Taijiquan. Whilst all Chinese martial arts possess unique characteristics. says in a verse from his book. which is used not only in Tuishou. form and quality of Tuishou. Sanda can simply be taken as a higher evolution of Tuishou. rather than use them as disparate forces to enhance one’s attacking prowess. is misleading and does not take into account its fundamental role across the Chinese martial arts. changing one’s centre of gravity and flexibility) in synchronous movements. falling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 .The practice for ‘realizing energy’ also tests one’s position. When attacking. Zhou and Kao). ultimately. As Chen Changxing. the Tuishou practitioner must aim to apply these techniques (seizing. Ultimately. dodging. and also in one’s facilitiy with the eight energies or techniques (Peng. no matter if they use the technique of Kao or twist. The quality of one’s form practice and Tuishou level speaks for itself – it is reflected in one’s ability to freely move forward or backward. developed from further transformations of Tuishou routines. hence its continuing ties with Tuishou and. In effect. transforming. 14th generation Taiji master from the Chen family.
until I come to the level of Deity”. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. the Chinese martial arts have evolved into health and fitness promoting practices. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. In addition to applying Master Chen Changxing’s advice. The third. leading to a wider understanding of the profound benefits and applications of Taijiquan. we can clearly see that in all movements. Again. press and hold back. fourth and fifth sentences refer to the application of Taiji Sanshou. The attacks from me by twisting. step by step. Hence. that is. As mentioned. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. Indeed. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. ‘listening and realizing energy’. and horizontal Cai are also irresistible. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. Everyone knows how to hook. that is. to forget about one’s own intentions and follow the opponent’s. adaptable to both Tuishou and Sanshou. to act naturally and follow one’s intention. Chen Xin once said. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. With the development of modern weapons. to the realization of energy. The author stressed the importance of ‘follow’. ward off. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. push or press. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . this verse confirms Taijiquan as a profoundly practical Martial Art. strike. Li. The second sentence of the verse means to follow the other partner’s intention while circling them. “From the familiarity of forms.
extent. that is. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development.” Zhan literally means ‘stickiness’. like glue. capturing and transforming his energy and using it to attack at the first opportunity. Ultimately. and come to realize the laws of movement and force. with which one’s opponent will find difficult to escape. on reaching the final stage of ‘deity’. At this point. Only with the awareness of both oneself and others can others be conquered. the first being ‘familiarity with form’ and the last being ‘realizing deity’. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . this results in a deeper and more precise understanding of energy. Zhan Nian techniques develop one’s capacity for high precision. This ability comes through great patients and a life-long perseverance of effort through the three stages. Conversely.effectively. the adhesive force that allows a practitioner to become strongly attached. magnitude. A practitioner. will be able to instantly sense the delicate changes in the movement. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. 2.3 zhan nian Techniques Zhan & Nian are forces directed forward. and its natural and intuitive use. This is why it is said. Whilst it is said that form practice cultivates a capacity to know oneself. Nian means to chase and follow one’s opponent. “Form practice is the essence of Zhan Nian training. It is commonly used in attacking strategies. in this way maintaining the upper hand at all times. Tuishou practice cultivates the capacity to know others. direction and the position of a partner’s energy flow. Zhan Nian energies work as a pair. while Tuishou exposes the quality of Zhan Nian techniques. to one’s opponent. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. Through reeling-silk practice. so that he finds it hard to escape.
slow reactions to slow attacks’. beginners find Zhan Nian energy difficult to comprehend let alone detect. these techniques will lead the opponent into faulty moves. yet arrives at the hitting point earlier than the opponent)’. Understandably. one can never accomplish quality ‘chasing’ (Nian). and then through the entire body. but even many long-term practitioners find total understanding or realization elusive. During Tuishou. It is Zhan energy that envelops the body.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). inflexible muscles and joints. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. When Zhan Nian techniques are applied. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. victory or defeat is decided in an instant. ‘Fast reactions to fast attacks. ‘I don’t move if they don’t move’. the practitioner can exert Zhan Nian forces towards the opponent. an internal energy manifesting externally. and forget my own’. but certainly achievable for diligent practitioners with good teachers. ‘I move before them on feeling their slightest motion’. flow up the arms to the shoulders and back. Ultimately. and so on. Simultaneously. as reflected in their stiff bodies and tense. despite prolonged practice. This is why it is said that at this relatively high level. 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. Once the whole body is enveloped. Zhan Nian energies can be detected by sensations that start at the palms. 王 西 安 22 . ‘I win by striking after the enemy has struck (My fist starts late. Not an easy task for ordinary practitioners. as indicated by these teachings: ‘Follow my partner’s intention. especially those who. continuous and diligent practice. have failed to attain high proficiency in the art.
Used in concert with Zhan Nian energies. Lian has a rich amalgam of meanings. so that ‘as one falls. Once palms come in contact. and can only exist in the presence of the latter. no resistance). ‘to react while following’. non-pressing. including consistency. another rises’. can we execute Yin Jin Luo Kong efficiently.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. In so doing. moving effortlessly between quick/slow and forward/ backward movements. that is. and no chance to escape. follow and move in the same direction as one’s opponent. there can be no Lian. one observes and reacts to the opponent’s Zhan Nian techniques. Without Zhan’s adhesive force over the partner preventing escape. slow reactions to slow attacks.2. how can Sui be achieved? Sui technique means to react. adhesiveness. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. taking any opportunity to attack. non-forcing. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. the opponent cannot escape because if one follows closely using Zhan Nian. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. It can be summarized as ‘co-relating to the opponent’. Lian is dependent on one’s use of Zhan. Sui. ‘Bu Diu Bu Ding’ (no loss of energy. emerges from the application of Lian. Unless one follow’s the opponent with Lian (co-relation). fast reactions to fast attacks. continuity.
” Here we refer to the ability to keep every part of the body functioning as an integrated whole. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. 王 西 安 24 . Beginners may attain the preliminary stage of Lian Sui.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. the basic ability to follow the opponent’s movements. whether through form practice or Tuishou”. Adepts. without any break in flexibility or continuity. upper and lower coordinate any motion in the middle. therefore it is advisable to practice the combined application of both. As the teaching says. following their energy flow without interruption. It is vital that beginners are able to feel the movement of internal energy inside their bodies. Lian and Sui can never function without the other. successfully use Lian and Sui to attack and prevent escape. so that they can ascertain if their energy levels match the purpose and intention of their actions. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. “The lower body automatically follows any motions of the upper body. 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. on the other hand.
When we feel the changes in our opponent’s energy flow. For instance. so as to mislead my partner’s energy and upset their centre of gravity. Literally meaning ‘to draw’ or ‘to lead’. and in this way mislead and neutralize your opponent’s energy. While moving. and cannot exist without Yin first being applied. elbows. knees. or feet to upset their centre of gravity. Hua is the transformative force. Using these complementary techniques. using Lian Sui to follow their energy flow. the adept draws the opponent into his or her domain. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). Note that while applying Yin and Hua forces. palms. neutralizing any opportunity for attack.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. going up or down. one should avoid Diu and Ding (losing energy and resistance). Yin is the ability to draw the opponent’s energy into one’s control. legs and so on”. When applying Yin. reeling my back inward before suddenly striking outward. then gradually upwards. hands. turning left or right. I apply Shun reeling downwards.2. Use these principles whether you are going backward or forward. A particularly effective combination is Luo Kong. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). we should apply She Ji Cong Ren without being detected. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . As Chen Xin explains. 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. I lower my body then stretch my right foot toward his or her crotch. Once neutralized. using our arms. hence ‘misleading’ and transforming the opponent’s energy. if my partner presses my right arm with their palms. we then use our shoulders. hips.
It is important to remember that one must gather energy well before misleading one’s opponent.e. look one way and go another”. the more one stretches the bow. i. destabilizing their centre of gravity and transforming their energy in order to conquer them. just as one should attack forcefully without hesitation. and their pain penetrates right to the marrow. As Chen Changxing advises. touch. explode energy as if releasing the arrow”. elbows. one must cultivate the forces of Yin.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. I “roll over. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. That is to say. As Chen Xin suggests. I know my partner without being known. and hence the harder the opponent falls. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. dodge. 2. using all these techniques to mislead my opponent.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. When I attack. they are conquered. Instead. In this way. meaning the direction which hurts the natural structure of joint. wrists or hands to inhibit their rotation or movement. he or she can easily capture his opponent through the combined use of all . that of Taijiquan is accepted as the most refined. the further one’s arrow flies. Opponents will feel as if their tendons and bones are about to break. “gather energy as if pulling on the bow. depending on circumstances. In Tuishou and San Shou. Hua and Xu (gathering). sweep. hence rendering them helpless. Any hard fan guanjie (joint twisting. However. my Taiji harmony within emerges so that even ghosts fail to predict my next move. so as to accumulate and release energy effectively. rotate an opponent’s joint towards its unnatural direction. shock. tie up.
agility. throwing. Tuishou accentuates Taijiquan’s martial power. transforming and striking. you must react quickly and flexibly to any changes in your opponent. Hua (transforming) are all preconditions for striking (Da). I utilize Na to prevent my partner from escaping or from transforming their energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . This is why it is said that Na is the pre-condition of Da.their gathered forces. Indeed. thus reaching their goal. These recovery measures also depend on a light. a Tuishou practitioner can exert the invincible might of Taiji. Na (seizing). ‘Only this.’ as Sun Zi Bing Fa says. agile. so that I may capture my opponent without hesitation or detection. so that I can strike them cleanly and successfully. If you fail to attack lightly and skilfully and your intentions are detected. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. If he or she succeeds in escaping. ‘Na (seize) always goes with Da (strike). you need to seize first’. you still have the opportunity to move in quickly and seize them by their palms before they move away. With the combined application of seizing. techniques such as Zhan Nian Lian Sui. ‘is called the “best of the best”’. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. Zhua (grabbing). I move using the principles of Qing Ling Huo Qiao (lightness. flexibility and skilfulness). To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. There is a saying. in order to strike well. applying the energy smoothly and judiciously without over-exertion. This is called ‘dual-utilization of seizing and gathering’. To apply Na effectively. When utilizing Na. Shuai (throw). Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. The seizing technique in Tuishou is very important. In Tuishou.
with no part tense. By relaxing. When relaxed. remember to maintain a relaxed state by lowering your whole body. Exert your energy first lightly then with force. and your ribs. the targets for both being the arms. stomach and the protruding and concaved parts of the shoulders.陈 氏 太 极 拳 推 手 技 法 When applying Na. ‘No part of my body is not peaceful. both palms covering his right wrist. your root will become unsteady. Na is the synchronous manifestation of the internal and external. Then strike directly forward in a spiral and hit your target accurately. application of appropriate angles and techniques. in which case. stomach and legs. shoulders and crotch all gather downward in concert. Miscalculations often result in injuries. use the Na technique carefully to avoid hurting your sparring partner. whether you exert Na by the co-ordination of your hand and chest or with your ribs. and all parts in a gathering motion. he will be able to press forward. During practice. just as it is stated. every part of your body works in harmonious cooperation. Common problems. In peace every part of my body moves at the time of movement’. you have no option but to relax your joints. especially amongst beginners. How then can you hope to seize another? Indeed. If you fail to Peng (ward off ) your opponent adequately.’ 王 西 安 28 . seize him then guide his pressing force into your territory using Lü energy. Never let Qi float upward and never let your feet lose their roots. twist his right arm inward with your left hand. ‘Never be rude and rash when you begin to practice Na. your centre of gravity destabilized and you will find it difficult to protect yourself. releasing your force like bullets rushing out of a gun. Next. making sure your hitting points are clearly defined. Using this will overcome the opponent without fail. include controlling one’s speed and magnitude of attack. hence it is advisable to heed the teaching. and sensing the amount of force the partner’s joints can withstand. your chest rolls inward naturally. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. if you want to seize your opponent. Na technique works together with Cai technique. chest. If Qi ascends.
making sure all movements are steered by the waist. Mengzi. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). Closing (He) means to draw in. opening and closing illustrate the subtlety of Taijiquan. Keep every joint relaxed before you exert Na.Work on your technique step-by-step: develop a closed crotch. often meaning to ‘guide and attack’ in the martial arts. 2. Inhale from the stomach so that it remains solid. Remember – to attack your target with agility and flexibility requires long accumulated practice. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. transform. As Chen Xin says. Sanda and form practice. every part of the body is engaged in the action of opening and closing. This is an important concept which bears deeper contemplation. bend and gather. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. are widely used in Tuishou. Even masters of Chinese philosophy – Kungfuzi. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. just as Chen Xin mentioned in his works. Indeed. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. relax the shoulders. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. Gather the ribs. OpeningClosing techniques.7 Opening and clOsing In the martial arts. Opening (Kai) means to stretch and reach. one cannot ‘open’ without first being ‘closed’ and vice-versa. In all Tuishou and Taiji movements. As complementary opposites. preserve. solid stomach and slightly concave chest. gathering versus exploding. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 .
this means that one needs to be closed first before one can open. filling you with great vigor. muscle energy (Qi). these changing motions. from the soles of the feet. Without closing well. so that your targets become accurately defined and attacks successful. While standing. In practice. Your heart acts as the guide and leader during energy explosion – when your heart opens. The Opening-Closing technique starts from the closed state. and sometimes they disappear. pressing the ground with your heels to empty the Yong Quan points. Closing not only means to bend and withdraw your upper body. Likewise.’ Only diligent practitioners have the opportunity to experience this phenomenon. the rebounding force exerted by the ground can be used to energise any upward movement. ‘Opening-Closing. your ‘opening’ explosion will be natural. grasp the floor with the toes and soles. Yi moulds changes in external shape while Jin (force) rises with Qi. Thus positioned. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. your intention (Yi). since Yi (intention) follows wherever Xin (heart) goes. As the saying attests. you will find that Qi penetrates your whole body more smoothly and powerfully. with the qualities of both solidity and emptiness. 王 西 安 30 . you will find your opening powerless. swift and powerful. every part of your body follows suit. external shape (Xing) and spirit (Shen). forceful. The quality of the effort you put in to closing determines your ability to open with power and effect. sometimes appear before our eyes. but also to coordinate the heart (Xin). so that all parts of the body work together. Kai (opening) energy originates in the root of your body. if your energy is gathered and conserved well. the louder the explosion. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. that is. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. crude and slow.
is limited by its short duration and small coverage which extends only as far as your body. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. Beyond this range.33 cm. Practitioners also need to build-up a reasonable level of muscular strength. lower your waist and let Qi flow along the spine. keep your elbows down. then to every corner of the body. The solution is to make your energy round. then spiral your internal energy up the legs to the waist. or you may find your Kai technique lacking in power and precision. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. After exploding energy. To gather energy of this quality. strikes may not find their mark. roll your chest slightly inward. The explosion should be short. land on the ground on your in-steps. To master this elastic force. or worse still. your centre of gravity may be lost. presenting your partner with opportunities to attack.As you explode energy. the energy released unhindered. spirals up the legs to the waist control-center. you will need to drop and relax the shoulders. you need to train your muscles in relaxation and gathering. albeit swift and powerful.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). 2. This energy originates from the soles of the feet. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. and to develop high sensitivity and rapid responses to external stimuli. flexible and compact enough to mislead and upset your opponent’s centre of gravity. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . the whole body returns to a state of softness and relaxation. while being mindful of the adage. which then distributes it to the other extremities. Exploding energy at close-range is best as Kai energy.
counter forces. which manifests as our weight. your opponent is vanquished. abundant internal energy and intense physical and energetic concentration. Constant diligence. Gathering. internal forces. and to explore the interactive relationship between them. and with that outburst. it is necessary to distinguish clearly the respective functions of internal force and external force. one must explode energy smoothly. and exploding energy with elastic vibrations. When doing Tuishou exercises. Without these. not relying on rigid or crude force. you must practice Changjin 王 西 安 32 . To combine the power of the three. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. dissipate or absorb her external force. To do this. all these are prerequisites to “destroy something already in a state of ruin”. straight forces. Failure to counter your partner’s force means. that you are unable to neutralize. consistent good performances will not be achievable. though random wins may happen. 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. Transforming and gathering are complementary and cannot function without each other. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. but also that of your internal energy and combat strategy. However. horizontal forces and so on. transforming and attacking are closely related. The external force of both parties affects each’s internal energy flow. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. The main external force that we humans experience is gravitational force from the earth. not strength”. in effect. Your performance in competition depends not only on the quality of your sensitivity. flexibly and harmoniously. The force that you and your partner exert on each other in Tuishou is external force. spiral forces.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. skilfully. there are also a myriad of other forces which influence our bodies – supporting forces. frictional forces. utilize.
a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. imagine a line between the navel and Mingmen. will find the opponent flung far and wide. Still Tough’ and ‘Four-Yin Six-Yang. the whole body moves as a synchronized force to follow the slightest movement of intention. while downward flowing energy helps maintain a firm and stable root. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . Continue developing these techniques step-by-step until the level of deity is reached. Alternate between these three with slow. one should not attack at close target. By mastering the key points of energy explosion. This means that if one finds it difficult to attack from a distance. you will find it easier to hit targets more accurately and swiftly. easy conquest of the opponent does not necessarily follow. For example.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. and even when elastic cunjin (hitting a target at very close range) is executed. instantaneous. As it is said. below which energy flows downward and above which energy flows upward. Only very high-level practitioners may achieve this. At this level of Gongfu. Upward energy and downward energy exist in opposition to each other. as their attacks flow naturally from their heart and intention. elastic or vibrating variations. An attack. At the transitional stage between ‘Three-Yin Seven-Yang. during Tiaozhou practice (upward strike with elbow). especially exhaling-inhaling and opening-closing motions. Close-range attacks require a high-level of competence. Good Hands’. leading to very smooth and swift responses. there would be no striking the partner from one inch”. even with the slightest touch. beginners need to do the following: do the big circle practice. it is not advisable to exert Changjin (long energy). the medium circle practice. “Without striking the partner from a distance of three metres. quick. despite its ferocity. To reach this level. and the small or no circle practice.
First. The arms and legs work together. never let your partner know your intention before you act. To apply Ti successfully requires the whole body to work in coordination. then your instant and precise attack can never fail”. waist and arms. As Qi flows up the spine. This means that no matter what Tuishou techniques you use. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control.陈 氏 太 极 拳 推 手 技 法 2. Remember to maintain full concentration. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. The rising force is difficult to use if forced. and may lead to loss of control. Even if not thrown completely off balance. 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. while you maintain a state of relaxation. At the same time. and intention into one entity. while you keep your intentions and energy flow undetected. your opponent’s upper body will shift out of their control. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. keeping your axis upright and combine your eyes. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . spiral your forearms upward with guidance from the waist toward your opponent’s upper body. rotate your Dantian so that your body lifts with greater speed and accuracy. heart. Remember to maintain your centre of gravity with the coordination of the other leg. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. powered by upward spiralling energy. Instead. Using Zhan Nian Lian Sui. combine your rising force with your elastic force. To conquer your opponent.9 Ti (raising) fOrce Ti means to ‘rise spirally’. shadow your opponent with agile steps. When applying Ti. 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.
and manifests externally as it permeates through to the fine hairs on the skin. 2. so you feel able to “protect your descendents and kill the rebels”. on the verge of losing their centre of gravity. whether you rise or descend. but once attained. Attaining high-level skills will make you braver. your attacks will never fail. reeling to the left or reeling to the right. until it reaches the fine hairs of the skin. When this happens. go forward or backward. reeling outward. Do not try to strike others before you have attained a reasonable level of competence.10 reeling silk Reeling Silk is a spiralling. For beginners. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . This energy is created using the Reeling Silk technique and penetrates all movements during form practice.and power. your force will reach its target just with intention. tie. you will be able to transform energy while striking. their root and they will certainly fall. The Reeling Silk consists of great varieties: reeling inward. Adequate practice will naturally lead to success. You roll. passes through the legs up the spine and arms. touch or sweep in response to the circumstances and you remain always observant and alert. Though undiscernible initially. you will come to sense it with practice. as it emerges from the feet. You will attack like a flying dragon. Mastering this energy requires much effort and practice. reeling upward. you will find it easier to follow. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. you will lose awareness of your physical body and location. walk with such assurance as to shock evil spirits. and not even know from whence your power emanates. revolving energy which originates internally in the body. transform and defeat your opponent’s attacking energy. mislead. follow the primary principles and develop your skills stepby-step.
When being utlilized. one must avoid being too soft or too tough. focusing your energy internally and guiding the flow of your responses from Yin to Yang. reeling forward and backward. excessive toughness makes you get too rigid. all these reeling movements are always comprehensively combined together and closely connected. collapse the waist and establish a stable centre of gravity in the legs. remember to keep your Zhongqi (energy to keep your axis upright). and thus renders you unable to react properly and to be easily manipulated by the opponent. Be humble and respectful during form practice.陈 氏 太 极 拳 推 手 技 法 small circles. Yin (guiding. Keep a firm root. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. reeling to the front or reeling aside. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. maintain the interplay between solidness and emptiness. misleading) always comes with Jin (approaching forward or attacking) and vice versa. and so on. remain balanced. When using Reeling Silk energy. While reeling. and apply opening and closing techniques. Shun reeling (conforming) and Ni reeling (contrary). reeling horizontally or reeling vertically. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. The solution lies in the middle path: keep a balance between softness and toughness. As for posture. 王 西 安 36 . quiet and calm.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
Ji. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Ti. Shuai (fall).1. Kao. medium and high-level stages. who is then inevitably conquered. Cai. It also demands a period of diligent practice to ascend gradually through the primary. keeping your energy tracks undetected by the opponent. Hua (transform) and Na. This means that Yilu fosters Zhongqi so that. Tui (go backward). as well as techniques focussing on various target areas of the body. Erlu explodes In this technique. This practice requires a solid foundation in preparatory exercises. if practice is diligent. for example. Zhou. Lü. you need to execute Jin (go forward). Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 38 . Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Erlu and Single Form practice help to accumulate and strengthen Gang. 3. As we know. relaxed and soft. goes through the Sanguan (Three Gates).1 inTrOducTiOn This is a practical lesson in combat practice. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. Single Form practice is vital for hand-to-hand Gongfu combat. where ‘Qi spreads to the whole body. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought.1 Yilu cultivates Qi. A wide variety of single movements must be practiced repeatedly. Zhan (battle). full relaxation of the joints. Faji (attack) effectively under any conditions. and exerting energy too forcefully (Ding) while exploding energy. An. movements gradually become agile and flexible. Da. Qi will flow around the body to the extremities and skin. so the Single Form Practice and Erlu help to compensate for this disadvantage. Lie. Shan (dodge). Because Yilu lacks speed and Gang (tough) energy. To win.’ In this way.
These clearly advise diligent practice of the shoulders. No matter how steady his partners stood in the beginning of a fight. more like a relaxing stretch to enjoy the subtle. we have Master Feng Zhiqiang who is venerated for his steady. elbows. so that the path to deeper understanding and realization may be paved. after you practice the form ten thousand times’. hands. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . inner meanings of the mysterious art rather than a competition. He was known to say that he found throwing partners too easy. you fail’ and so on. Though widely differing in style. 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)’. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). Hence. Well known examples include the foot techniques of Li Bantian. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. be they exponents in internal Gongfu or external Gongfu. such as: ‘Profound principles emerge by themselves. the seizing techniques of Eagle Claw King. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. each have their own unique combat style drawn from continuous tempering in their practice. If prolonged. Chen Zhaopi was the undisputed master of 滚Gun (rolling). ‘Skills come naturally when you are familiar with forms’. To do otherwise would be to ‘attend to trifles and neglect the essentials’. 搭Da (touch) and 扫Sao (sweep). you harvest. legs and hips using relevant principles. 拴Shuan (tie). they always got hit and thrown to the ground. neglectful practice becomes increasingly difficult to rectify. Single Form practice is of vital importance. Lastly. ‘You practice. back. sober movements and his relaxed yet vigorous energy explosions. 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.Gongfu masters. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. resulting in loss of vigor and effectiveness.
stomach gathered and head suspended from above. horizontally. trampling. bend and raise your knee slightly.1 . face to the front. 3. alternating between both legs: kicking forward.2 feeT pracTice Feet practice includes the following movements. pedalling forward.陈 氏 太 极 拳 推 手 技 法 3. upwards and sideways. chest rolled slightly inward.2.1 Exercise One • • Squat slightly. With one hip relaxed and the opposite foot slightly touching the ground. 王 西 安 40 Fig. 3. swinging up and down and so on.
• Relax the feet so energy can reach the toes where it is required.2. stepping. Descriptions of some of these exercises are provided below. pedaling. 3. feet hanging backward and so on. collecting the energy at the abdomen. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. horizontal. sideways. upward and downward swing. • Roll the chest inward and aggregate energy with the whole body. up and down. bend the other leg with toes grasping the ground to maintain a firm centre of gravity.3.2 41 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. make sure your in-step is stretched moderately tightly. • Kicking smoothly.
use the rebounding force of the earth to bounce up and propel your kick (Fig. 3. 3. It should be practiced with both feet so that.3 • This technique is applicable to the toes. if you kick with the right leg.3). 3. edges of the foot plate and the sole (Fig. for example.陈 氏 太 极 拳 推 手 技 法 Fig. they will be able to direct energy explosions to targets with precision and ferocity.4. On landing with either foot.5). Beginners should practice slowly. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). your left foot prepares to kick with the toes or instep as the right foot lands. 3. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. . At this point. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen.
6 43 .4 Fig. 3. 3.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.Fig.
7 The Upward Kick is used for high targets. a principle also applicable to the Double Kick (Er Qi Jiao). Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. The Upward Kick should match the rhythm of the hands’ movements. • Switch your centre of gravity to the left foot. flexible and quick. practice kicking with each foot sequentially. There is no jumping in the Upward Kick. instead.陈 氏 太 极 拳 推 手 技 法 Fig. The whole body must be kept balanced and straight when kicking upwards. The kick should be light. usually the opponent’s chin. . 3.
but try to keep some weight in the un-weighted side as well. 王 西 安 45 . raise the right knee gradually (Fig. keeping the right foot at the same distance from the left foot as before. all the while rolling the chest slightly inward. cup your right fist and left wrist together in front of the chest.8). 陈 氏 太 极 拳 推 手 技 法 Fig. feet firmly grasping the ground. standing with left leg. As your right foot explodes energy stamping downward. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. 3. 3. exploding energy as quickly and fiercely as you can.• Bend the left knee. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. grasp the ground with the left toes and.8 • • • Then stamp your right foot on the ground. Then empty the Yong Quan point.
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. 3. you can practice with the alternation of legs (after praciticing with the right leg for a while. 王 西 安 46 . remember to follow instantly and quickly with the other leg.10). In Single Form exercise. practice with the left leg) (Fig. Kick as high as your opponent’s stomach and chest. 3.9). The key points here are the same as those for the previous segments. 3. including the alternating use of the legs (Fig.9 Regardless of which leg steps forward first.陈 氏 太 极 拳 推 手 技 法 Fig. e) Forward Kick This consists of a straight kick forward with the sole of the foot.
Fig. As you reach a higher level of skill. with hitting points mainly on the inside of the foot (with the occasional use of the outside). Before kicking.11 Kick mainly with the heels. 3. 3. prepare well by relaxing the chest and stomach to ensure your kick is fast. 3. fierce and perfectly targeted.12) and the Outward Kick (Fig. 3. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig.13). sometimes with the soles. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity.11).10 Fig. • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front. 3. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. 王 西 安 47 .
explode energy like releasing the arrow”. while the body becomes straightened when kick is streched).12 Fig. with the hitting points mainly on the outside of the foot (occasionally inside).13 • The Outward Kick is executed outward and upwardly. the whole body gathers together then opens up with an explosion of energy. In the Sideways Kick. 3. this reflects the relationship between Yin and Yang’. 3. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking.陈 氏 太 极 拳 推 手 技 法 Fig. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. 王 西 安 48 • .
15). be it with the right or left foot. Always coordinate the kick with your hands. then swing it outward in a natural arc. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.14 49 . toes grasping the ground and all muscles of the body relaxed. smack the foot with your hand to ensure the integrity of the energy. 3.14). Your swinging foot is targeted at the back of the opponent’s head.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. Before kicking. 3. 3. While swinging outward to the level of the shoulder. use the Gen Bu (follow-on Steps). turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. which allows you to use quick and continous forward steps. Kick upward with the back foot. while your hands are targeted at the face. then bring it backward (Fig. If kicking with the right foot. Squat slightly. Eye your target and prepare for the kick by gathering your internal energy and lowering it.
And smash enemies to pieces. 3.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig.15 With openings and closings. I smack in the air by switching into the track of a swing arc. 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility. I take the back of the opponent’s head as target. And kick upward along with palms coordinated with Lü. .
• Hang one foot backward. coordinating both with Tou Bu (sneaking steps). palms facing outward. keep your footwork flexible and neat. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. Gua (hanging) and Gai (covering) in a second. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. • Swing both hands backward to the side of the back hanging Foot. The powers of hand and foot combine together. You should finish Lü. No matter which you use. During solo practice. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. • Hold the body in a squatting position for the next few movements. • Pay attention to that you finish this action with the guiding of the waist and back. remember to balance upward Long (close) movements with downward Ti (raise). rotating it slightly so that it slants to one side. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. • The foot hangs to the calf suddenly to make the opponent lose his balance. depending on the distance between you.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). • Use both hands to execute Lü on one arm of opponent behind the body. • The action must be quick and powerful.
3. As a Tuishou poem states: With Yin and then Jin techniques. 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. I explode my energy with the rotation of my waist.16).陈 氏 太 极 拳 推 手 技 法 Fig. twisting the waist and rotating the back to exert more power (Fig. Move forward with Tou Bu (Sneaking Steps). I take the opponent’s upper body and chest as target. And kick upward along with palms smashing downward. your face looking upward. Hold your position and collect yourself enough to kick upward then swing downward. And enemies fall to the ground with face to the air. .16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. 3. Then lower your foot to the ground.
3. since these are in a constant state of flux depending on the circumstances. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 . The attacking leg must be flexible enough to swing to the left or right. Note that while weight distribution ratios may be used as a guide (e. 3. Use Front Bow Steps to practice this movement (Fig.Fig. 30:70.18.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. mindful that while one is in the air.17). 3. 40:60. 20:80)..19). the other should not leave the ground until the centre of gravity is transferred to the heel of the front foot to lighten its weight.g. Practice this transfer of weight by alternating the legs. these may not provide an accurate picture of weight changes required in practice or combat.
I explode and shock the ghosts. . Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. waist and hands. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. 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’. shock their lower limbs and unbalance their upper body with my feet. As one master said: 王 西 安 54 I move my centre of gravity.18 Fig. 3.陈 氏 太 极 拳 推 手 技 法 Fig. 3.19 Using Short Energy: Short energy should be used in both inward and outward kicks. making your intention easily anticipated.
王 西 安 55 . Lower the tip of the toes of your unweighted right foot to the ground. Nichan Tui (Legs Reeling in Ni Circles). Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. As the toes touch the ground. Xiacai Tui (Downward Cai energy). making sure your leg is no higher than 15 cm above the ground. ‘Yong Yi Bu Yong Li’. just as in form practice. Keep your legs reeling from left to right.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. repeating the movements while keeping reeling from the left to right.3. change the weight to the right and step out with the left foot. Change your weight to the left. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). working up your speed in gradual stages. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. 3.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). step your right foot 40 cm forward to the right. When the right foot lands fully on the ground. that is. look in the direction of the moving leg. Lihe Tui (Inward Knee Strike). Practice continuously alternating both legs.3. Waibai Tui (Legs Swinging Outward). Begin with slow practice. toward the target. a shoulder width apart from the left foot. Move the left foot half a step to the left. Use intention (Yi) rather than physical force (Li). then squat and step out with your right foot.
Next. step forward 40 cm with the right foot. 王 西 安 Fig. 3. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner.20). 3. Inner knowledge can only develop with concerted.3. and then rotate 360o left stepping on the toes (Fig. Step the right foot forward. striking to both sides with each leg.陈 氏 太 极 拳 推 手 技 法 3. You also need to practice Nichan and Shunchan with both legs. then step forward 40 cm to the left. continuous practice.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. transferring all your weight to the left. rotate to the left forward at an angle of 360o. Practice these steps in continuous alternating cycles. transferring all your weight to the right. Raise the left foot. remembering that the inner side of the heel is the striking point.20 56 .
In Huobu Tuishou (Tuishou while walking).21). • While practicing.22 57 . practice with both legs and with change of directions. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg. then transfer your weight to the left before moving the right foot forward (Fig. • Stand at attention. attack with Lihe and then move 90% of your weight to the back leg (Fig.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). 3.21 Fig. 3. As such. change your weight to the front foot. 3.22).3. we usually attack with Lihe Tui using the right leg. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3. 3. • Combine Lihe Tui with the rotation of the waist and spine.
陈 氏 太 极 拳 推 手 技 法 3. Through diligent solo Tuishou practice. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig.3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). and requires a sudden outward swing of the leg as weight is transferred. regardless of whether you practice day and night (Fig. During practicing Waibai Tui. step forward with one leg and swing the other outward and then closing inward. practitioners will come to realize the deep significance of their efforts. Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. Being content with a superficial understanding is fruitless. 3. Waibai Tui is usually applied during Da Lü (Lü in large scale movement) and the best way is to seek out opportunities for attack is while moving.23).24 58 .24). 3. 3. 王 西 安 Fig.23 Fig. 3.
3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. • To do Ni Cai: move the back leg forward. The outer side can also be targeted once your ability improves.26 59 . Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. • Start with your centre of gravity at the back leg.3. placing your toes slightly outward.25 Fig. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent.5 Xiacai Tui … Downward Cai Energy Cai means to pull down. Cai to the right. placing your toes slightly inward. Xiacai Tui consists of Cai to the left.3. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles). Shun Cai and Ni Cai are based on Front Bow Steps.
王 西 安 Fig. bending consists of stretching’. Practice with alternating legs during Single Form practice. With a spiralling move forward.25).6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. you can enter the opponent’s territory (Fig. 3.26). striking to the front. keep ankles relaxed and Qi descending (Fig. Deepen your understanding of Jin Li (energy and force distribution). 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). 3.28 60 . 3. Bend your knees about 40o – more than this and you will lose your centre of gravity. 3.27 Fig. striking inward and striking outward. 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
Rest the left fist beside the left leg (Fig. Rotate the body to the right then strike downward with the back of the right fist. 王 西 安 66 Fig. 3. at the same time hooking the left fist upward.陈 氏 太 极 拳 推 手 技 法 3. However. fist centre facing inward. 3. • • • • • • Take a half step to the right with the right foot.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. 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 right toes slightly outward as the foot lands.37).37 . Next.4. change your weight to the right leg and step your left foot forward. Hold the right fist close to the left side of the chest.
3. After striking. involve your whole body in the attack. and lower the left fist from its upward strike position back to the left side of the body). the left fist rises above the right side of the chest and smashes down to the left. 3. step the left foot horizontally over the right one. as the left foot steps forward (weight on the right). Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. Then repeat with the other foot.39) 王 西 安 67 . Practice these steps. (Fig.38).Fig. when the right foot steps forward (weight on the left). the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. For example. both left and right fists rise and descend at the same time. alternating both sides continuously (Fig. stepping the right foot forward and exploding the fists before landing.38 Fig. Likewise. downwards on the right and upward on the left. 3. 3. For each step. 陈 氏 太 极 拳 推 手 技 法 In summary. the right fist is raised above the left side of the chest for more power and then smashes down to the right.39 • • • • • Again.
• Gather the right fist under the right rib (Fig.40 Fig. Practice this technique on both sides. • Sychronise both arms so that while the right fist flings forward. stretching the left hand upward. • Sink your weight into the right foot and rotate the waist to the right to gather energy. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power.40). the left arm gathers inward and strikes backward to the left with the elbow. This counter-balancing movement helps to accelerate the punch of the right fist.41 68 . • Step the left foot forward. concentrating your power in the Quanding (the front of the fist). 王 西 安 Fig.4. 3. • Then fling the right fist forward in Ni reeling. 3. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’.41).5 Dan Bi Zhi Chong Quan … Single Fling Fist Single Fling Fist is a forward punch unique to Taijiquan in that its power is generated by rotating spiral energy at the waist and back. fingers vertical. 3. 3.陈 氏 太 极 拳 推 手 技 法 3. avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig.
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. • • • • Step the right foot forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. energy does not manifest externally. The power of this technique depends very much on the practitioner’s physical condition. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist).42 Fig.43 69 . 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.42).43). Repeat with the other side. 3. only about 40% of the jin force generated is exerted as short rather than long energy. 3.3.4. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. Instead. Then step the left foot forward. simultaneously gathering the right fist beside the right ribs. the main difference being that in the former. and practice alternating both sides. bringing the left palm to the front of the body (Fig.
4. 王 西 安 70 Fig. • Strike with force and ferocity with this fist using short energy. • Brace the middle finger with the index and ring fingers. 3. This forms the ‘peak’ of the fist. • Attack to the left or right. 3. like hammering a nail. • Clench your fist so the middle joint of the middle finger protrudes.陈 氏 太 极 拳 推 手 技 法 3.44).7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. up or down. and press the tip of the thumb against the middle fingernail.44 . This makes the fist ‘peak’ stable and solid. using small agile steps (Fig.
gather the ribs and lower your energy to the Dantian (Fig. Roll the chest and shoulders slightly inward. 3. Place your weight on one leg.3.45).8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’.46 71 . 3. Bring the fists together in the middle about 25 cm apart. hence creating a dual attack with both fists and knee (Fig. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Practice both methods using both legs.45 Fig. Bend the other leg then strike both fists upward together. Method 1 • • Method 2 • • • Step forward with either leg. Guanyang means to hit the temples with two nails.46). 3. Form two nail-shaped fists and strike from both sides using short energy.4.
though in the initial stages. 3.5 palM pracTice 3. • Place your hands in front of the chest. • Step forward with the other leg.47 Fig. • Prepare for the strike by ensuring your axis is upright. 王 西 安 Fig. thrusting them forward with explosive force. and lower the energy to the abdomen (Fig. 3. palms facing forward.5. the chest rolled slightly inward and the spine slightly lifted.47). transferring your weight to the front.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. 3. • Strike forward with both palms. the ribs gathered. 3.48).48 72 . while making sure the chest is relaxed. fingers pointing up (Fig. • Step forward with either leg. practice using long energy first.
52).5. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push.50. 王 西 安 73 . • Thrust the right palm forward or diagonally to the side.49 When practicing with short energy.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. As the energy reaches the wrists. 3. a Double Palm Push needs to be sudden and exerted directly forward. • At the same time step forward with the left leg. 3. • Repeat using the left palm. 3. 陈 氏 太 极 拳 推 手 技 法 3. The power.49). lower your energy abruptly and push forward with short energy using small steps. 3. using long or short energy (Fig.Fig. speed. 3.51. Make sure your shoulder. Just before the explosive strike. elbows and wrists are lowered. thrust your arms out about 50% (Fig. To be effective. gather the chest and stomach like a cat stalking a rat.
you will be able to explode energy with natural ease by combining both external form and internal spirit. and hence conquer your opponents without effort. 3.51 Fig. abruptness and power of the push. gradually increasing the speed. 3. Fig.52 .陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. With continuous practice.50 王 西 安 74 Fig. 3.
5. 3.54 王 西 安 75 . This creates an energy balance that stabilizes your centre of gravity. 3. whilst using the other palm to push at the opponent’s chest or strike at their stomach. 3. while gathering the other hand beside the ribs (Fig. 3.53).53 Fig.3.54). Direct energy above the waist upward and energy below the waist downward. • • Step one foot forward and ward off an arm attack with one hand. 陈 氏 太 极 拳 推 手 技 法 Fig. enabling you to hit your target with more precision and power (Fig.3 Bi Peng Qiantui Zhang … Push with Ward-Off This technique is used to fend off an arm strike from the opponent with an upward hand strike.
press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). • To push with the right palm: bend the right knee. open the right side of the chest and stomach.55). and then straighten it while pushing the right palm upward. while gathering energy on the left side. • At the same time.55 76 . 3. first at an angle then vertically upward. 王 西 安 Fig. Explode this energy through the right side of body out through the right palm.陈 氏 太 极 拳 推 手 技 法 3.5.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. • Keep the hips relaxed. • As you push upward. 3. the stomach gathered and the chest rolled inward (Fig.
3. 3.56). rotate your body to the right.5.56 Fig.57 77 .’ Apply this technique during Single Palm practice. 3. • Then swiftly draw the opponent into your domain by touching their back with your left hand.58).57). stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’. Shun means ‘sequence’) (Fig.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3.3. Keep your body and energy lowered while doing this. then quickly striking their chest with your right palm (Fig. • At the same time.
apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right.5. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. For example.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. and gather the ribs and dantian. • As you lower the body. moving the body quickly forward. lower the shoulders. left and right. if the opponent seizes your right hand and twists it outwards with Shun reeling. 3. Coordinate the movements of your body with those of the palms.陈 氏 太 极 拳 推 手 技 法 Fig.58 • • Also apply the usual principles: roll the chest inward. 王 西 安 78 . 3. This helps to concentrate energy in the palms.
thrust forcefully at the opponent’s ribs.59 Fig.60 • • • As you do this. extending the thumb and fingers (Fig. 3. • Key points are the same as with the left hand push above. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling.60). • Again. this time at the left side with your right hand. 王 西 安 79 . lower your body then extend it forward with Shun reeling. 3. Unify the three actions of stepping forward. 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. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. Next. respond in this way: • Step forward with the left foot.Fig. 3.59). 3. inclining outward and exploding with the left palm (Fig.
3. so that energy flows to the very tips of the body. dominates the waist and penetrates to every part of body. goes through legs. 3. • As you seize. change your centre of gravity from the left to the right.” 3.61). “Energy comes from heels. • 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. as advised in an essay.5. Relax your joints to enhance energy application.陈 氏 太 极 拳 推 手 技 法 Fig. Also. roll your chest slightly inward and bend your right arm inward. coordinate the waist and legs when exploding energy. especially when stepping forward and exploding energy (Fig. regardless of the technique or force used. .61 Increase the effective of solo practice by sparring with an imaginary enemy in mind.
reach under your opponent’s front arm.63). palm open. Change your right hand to Shun reeling and your left to Ni reeling.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.5. guide or bring along . 3.62 Fig. • At the same time. Thus. 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. To speed up your response. 王 西 安 81  ‘Dai’ means to lead. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig.62). If the opponent escapes. you are able to use both palms to seize the opponent (Fig. 3.Fig. practice alternating the seizing between right and left hands. 3.63 • • • With your right arm. 3. listening closely to your partner as you do so.
Transfer your centre of gravity to the front. face the left palm outward.陈 氏 太 极 拳 推 手 技 法 Fig.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. moving your arms to stabilize this rotation. fingers to the front (Fig.64 Fig.5. gather the right hand beside the ribs.64). Change your weight to the back and turn to the right.65). fingers up. As your step forward. . 3.65 • • • • • Extend your right arm forward. Clench the left hand into a loose fist and push it forward. fingers pointing to the front (Fig. Bend your right arm 90o inward and form a fist with your right hand. palm up. 3. 王 西 安 82 3. 3.66). Then hit the opponent with the right arm (Fig. 3. 3. Practice on both sides.
66 Fig.67 • • • • • • Lift the left palm over the right. place the left thumb and little finger in opposition while the remaining fingers face forward. Next. 3. and then explode both palms forward with a piercing thrust. move the left hand and foot quickly forward together. 3. 王 西 安 83 . to increase the speed and power of the explosion. As the right foot lands on the ground. Also. reel the right hand in Shun reeling to the right and step the right foot forward. 3. Return the hands to their original positions before the next energy explosion. To increase the precision and power of the fingers. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms.Fig. coordinate the waist and spine when shaking the right palm forward in Shun reeling. left under right and right under left (Fig.67).
As you change your weight to the front. 3. strike forward with the right elbow while hitting backward with the left elbow.68 Fig. 3.陈 氏 太 极 拳 推 手 技 法 3. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. Practice striking with both elbows with corresponding weight changes to either side.69). 3.69 84 . 3. In this case.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot. palms facing in (Fig. the left arm counter-balances the movement of the right.6. At the same time.69). Remember to apply long energy before you apply short energy (Fig. 王 西 安 Fig.6 elbOw pracTice 3.
3.6. wrist turned inward and the palm facing backward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. As the right elbow descends. Step the right foot forward and strike the right elbow down forcefully as the foot lands. 3. and clench the right hand into a fist. gather it close to the right ribs. Lift the left hand when the right elbow completes 90o of its descent. At the same time. Then strike the right elbow down for the second time (Fig. slap the right shoulder with the left palm.70 Fig. bend the right elbow inward.70).3.71 85 . 3. step the right foot forward again and extend the left arm forward. palm up. 3. return the elbow to the right side. At the same.2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. take a small step forward with the left foot. Alternatively.71). After the strike. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig.
73 Fig. 3. Rotate slightly to the left.74 86 . Fig.6.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. 3. then turn right with the right toes facing slightly out.陈 氏 太 极 拳 推 手 技 法 3.72 王 西 安 Fig. 3.
Step the right foot to the left and bend the right arm.72). palm facing in. clasping the right forearm with the left palm. 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. raise the right hand across the front of the chest to the left in an upward arc.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. then step forward with the right foot. 3. Gather the body by bending it slightly. clench the right hand into a fist.73). 3. Move the body to the left and transfer your centre of gravity to the right and back. 3. clasping the right forearm with the left palm.75). 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. so that both feet are approximately 50 cm apart. 3. Gather the body to prepare for attack by lowering the body slightly (Fig. 王 西 安 87 .74).• At the same time. gather the ribs and lower your Qi. toe tips slightly touching the ground. transferring your centre of gravity to the left.6. 3. Turn to the left and strike out explosively with the right elbow. Remember that the right leg moves forward with the right arm and vice-versa. Step the left foot forward. as if warding off (Fig. • • • Practice with the other arm. As you do this.
with the following differences: . balancing this movement with the left hand. 3. • In the initial stages.76).6. use short and fast energy. strike the right elbow to the right. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). 3. Practice with both sides (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. palm down. practice with long and slow energy.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. Once familiar with the practice. Next. step right with the right foot. Simultaneously. 3. gathering it horizontally in front of the chest.76 • Spiral the right arm forward with Ni reeling. turning the body to the right.75 Fig. the right fist lowered to front of the left armpit. 王 西 安 88 3.
In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig.77 Fig. • Simultaneously. while Xin Zhou is targeted to the front (Fig. palm facing right. Before the foot lands. jump slightly with the right foot.6. • Turn the body to the right and reel the right palm across the chest to the right. 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. fingers pointing up. palm down. 陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 89 .78).77). toe tips on the ground. 3. 3. • Stand at attention with the arms relaxed at the sides. 3. 3. • Jump the left foot half a step to the left.78 3.• • Shun Lan Zhou is aimed slightly to the back. Touch the right knee with the right palm. landing approximately 50 cm apart from the left foot.
balance the energy between the upper and lower body. Look to the right side of body while striking upward. While striking on the right. . toe tips touching the ground (Fig. After the strike. 3.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. followed by the right foot. Practice on both sides. 3. then gradually using short and fast energy. Instead.79). step the right foot forward.陈 氏 太 极 拳 推 手 技 法 Fig. toe-tips on the ground. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity).79 Fig. then transfer your centre of gravity to the right. Next. avoid letting all your energy flow upward as this will destabilize your root.81).80 Fig. starting with slow movements initially until the steps become familiar. 3. As you change weight. Move the right fist toward the right shoulder using Shun reeling. 3. placing the left fist below the right. clench both palms into fists. taking the waist as the dividing line.80). 3. Return the left fist beside the right ribs (Fig. Also. 3. step the left foot to the left. bending the wrist before striking upward quickly with the back of the right fist.
陈 氏 太 极 拳 推 手 技 法 Fig. Gather the fists close to the chest (Fig. In this position.6.83 王 西 安 91 .3. then exploding both elbows horizontally. Practice alternating both sides.82 Fig. Change your weight to the left. looking to the left and concentrating energy in the elbow tips (Fig. If you stepped to the left.83). then strike with the right elbow. 3.7 Shuang Kai Zhou … Double Open Elbows This technique consists of striking simultaneously with both elbows by holding the arms in front of the chest.82). the right elbow executes the dominant attack. 3. 3. place the left arm inside the right. 3. while the left the supplementary strike. • • • • Step to one side with either leg.
As your weight transfers to the front. looking to the front and rolling the chest and shoulders inward.陈 氏 太 极 拳 推 手 技 法 3.85 . 王 西 安 92 Fig.84). 3. Try to feel the effect of this preparation during practice (Fig.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows.6. prepare for the stike by gathering the wrists inward. • • Step one foot forward.84 Fig. 3.85). holding fists on either side of the ribs (Fig. This increases the force of your attack. 3. 3.
clench the left palm into a half fist and place it beside the left leg. take a big step forward with the right foot in front of the left. As your centre of gravity shifts to the left.87 93 . extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. 3.6.86 Fig. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. palm to the front. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. then lift it so that the right elbow is positioned over the right knee (Fig.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. Practice alternating both sides.3. rotate the body to the right. Simultaneously. 3. palm facing inward and inclining backward. 3. clench the right hand into a fist. As the weight shifts to the left. At the same time.86).87).
• Shift your weight abruptly to the right and form a half fist with the left palm. • At the same time. In this way. • All movements are guided by the rotation of the waist and spine. As one of the Eight Forces.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). 3. the legs should be parallel to each other. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. 3.6. moving it beside the left ribs. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. 王 西 安 Fig. • After exerting Pie force.88). palm up. • Step the right foot forward. shifting your centre of gravity to the front. Make sure both hands move and arrive at their destinations simultaneously. then lower it over the right knee.88 94 . strike forward explosively with the right forearm using a short-energy (Fig. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng).陈 氏 太 极 拳 推 手 技 法 3. • Extend the right hand outward. • Change your weight to the left.
use Cai technique to strike out explosively with the outside of the right forearm and elbow. The thumb and index finger form the character Ba ‘八’.6. both internal and external movements are integrated with the movements of the body and limbs. • Step backward with the left foot shifting your weight to the left. closing it slightly. • Raise the right hand from the right side. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.89).3. and extend the left hand forward to the right. using downward Ni reeling. • While lowering the left hand. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. lower the left hand from the front of the chest to the left ribs. Shift your weight more to the left as you do this (Fig.89 95 . using guiding energy from the little finger. 3. palm up. Form a hook (Diao Shou) with the right hand with the little. ring and middle fingers. 3. bending the elbow. • Keep the left hand open so the thumb is separated from the fingers. In this way.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. • Then.
90 Fig.6.陈 氏 太 极 拳 推 手 技 法 3. the right thumb guides energy flow.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. Note: For maximum effectiveness. 3.90). and extend the right leg backward. 3. moving your weight to the right (Fig. • • • • Bend the left knee. and then. you raise the right hand in Ni reeling to descend the elbow (Fig. make sure power is gathered properly through the whole body and that your timing is correct before you strike. At the same time. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. 3. 王 西 安 96 Fig. 3. especially useful as a defensive move when being attacked while in a passive situation.91 . toes grasping the ground. strike the right elbow backward at an upward angle (Shang Chuan Zhou).91). While transferring weight.
92). Xiong Kao. As you shift your weight to the right. The right foot and right arm should reach their positions at the same time (Fig. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm.3. 3. Ying Men Kao. 3.7. 3. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. Shuang Bei Kao and Qi Cun Kao.93 97 .1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. Ce Jian Kao. 3.92 Fig.
On completion of the shoulder push. Repeat these steps for both sides. As the heel touches the ground. if you find you get into an appropriate space for attacking. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. 3. As the body inclines forward significantly during this move.93). Then step the right foot forward again to execute Zai Kao for a second time. The left hand follows the right hand in support and comes to a rest in front of the right shoulder.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. pushing it forward and down. Then take another big step forward with the right foot. use the outside of the right shoulder to execute Qian Zai Kao. take care to maintain your centre of gravity by not stretching too far forward (Fig. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. 3.7. After executing the above. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). step forward with the left foot and place it next to the right foot. . 3. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory.陈 氏 太 极 拳 推 手 技 法 • • • Then. Note: Only push when you are in the correct position.94).
This only comes with closely combining the Yin (guide). then techniques such as Ying Men Kao can be used to penetrate defences and attack. lowering down but not stiff. arms are a defense against attacks.Fig. conversely if one is able to ‘open’ the doors of the opponent. light but not floating” .3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors. 王 西 安 99 . 3.7.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. Dai (lead and pull) and Ji (attack) energies together. 3. When firmly closed.
3.陈 氏 太 极 拳 推 手 技 法 Fig. • You can use more of the shoulder surface in the attack. the right hand above the left. fingers pointing up and palms facing the sides of the body. At the same time. move the left foot forward parallel to the right foot and repeat the sequence for another attack.96). move both arms to each side of the body and push the right shoulder forward in attack (Fig. Note: There are two ways your can attack with Ying Men Kao: • You can lower your power slightly so that the tip of the shoulder protrudes more. .95 Fig. Separate the hands of the opponent to expose his chest (Fig. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. 3.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot. Next. Once the attack is completed. It is easier to hurt the partner using a narrower attacking surface. 3.95). 3. cross the hands in front of the chest.
3. shifting your weight to the front.3. Only with a thorough mastery of this technique. move the left foot parallel to the right. 3. can you execute it in actual combat (because you may easily hurt yourself ).97 Fig.7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. 3. • Step the right foot forward.98). • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. 3. • After this move is completed. using this shift to deliver a sudden push with the chest (Fig. • To begin. Note: Focus on sharpening your sense of timing during practice.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent.98 101 . • Extend both arms from the sides to the front in an embracing gesture. • Then roll the chest inward and shift your weight quickly from left to right.97). the chest and waist are in a collapsed position. A good sense of timing is essential for defeating the opponent.
Note: As mentioned in previous techniques. a capability that comes only with extended Quan practice.100). 3. and the shoulders execute Bei Kao to the right . 3. rebounding and shaking power). 3.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3. • When the weight moves forward the chest rolls inwards. take a sudden breath in and push the chest forward quickly. shoulders slightly concave and with power guided by the thumbs (Fig. as the shoulders deliver Bei Kao backwards (Fig.7. remember to gather and withhold energy before delivering the strike. • When the whole body holds and collects to a moderate extent.100 102 . • Stand with feet parallel. 3.99). Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. • Gently rotate backwards with both palms facing backwards. This technique also uses Duan Jing (short power).99 Fig. You may lead with either leg.
use short power in your push.3. • Turn the body slightly to the left as the right hand rises. fingers pointing down. 3. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. • Gradually move the right arm downward toward to the inside of the right leg. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig.101 103 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Practice pushing from both the right and left sides. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. 3.7. Note: If the opponent is at close-range. • Extend the right foot and arm forward. continue to transfer your weight to the right. if further away. Find a stable centre of gravity with the body and gather your body in this position. • Once your root is stabilized. extend the distance of your Kao slightly.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao.101).
This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice.102 104 . Place the elbow below the knee (Fig. Practice this sequence in rounds from left to right.陈 氏 太 极 拳 推 手 技 法 3. 3. Note: Power applied in the initial stages should be slow rather than quick. 王 西 安 Fig.7. 3. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). Incline the body forward in the same direction.102).7 Qi Cun Kao … Seven Cun Kao The name of this technique indicates that the body should be seven cun (approximately 23 cm) above the ground. • • • • Take a large step diagonally forward with the left or right leg.
• At same time. and Shuang He Na.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling.104 105 . Shuang He Fu Cai Na. 3. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig.8.103 Fig.104). Chan Rao Na. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. Tui Na. Xiong Na.103). • Extend the left foot and left hand forward. • Relax the left side of the crotch and shift your weight forward to the left. 3. palm up (Fig. 3. Diao gai Na. • Rest the right hand near the right ribs. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. Fu Na.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. 3.3. palm facing in.
you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. Seizing techniques are quite difficult to practice. Try to relax at every step while applying the seizing action firmly. Shun reel with the right hand and Ni reel with the left. in order to block the opponent’s energy path. you will be able to execute these changes quickly and smoothly.e. Repeat the above sequence. but she evades your attack by ducking down. then you must respond promptly by swapping the reelings to the opposite hands. changing the weight from left to right. move the weight slightly backward then move forward again. even though you deliver the power later than the partner.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. tighten the ribs. and lower your waist and Qi. When seizing. drop the elbow. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. lower the shoulders. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. Your moves will become more effective as your internal Qi integrates more closely with the external movements. After seizing. . spread the energy up and down the length of your body like a bow so that power is distributed everywhere. With practice. i. 王 西 安 106 Closing with the left while seizing with the right and vice versa. this time reeling in Shun direction with the left hand and Ni direction with the right. if you practice each side diligently. roll the chest in. Note: Shun and Ni reeling are interdependent and cannot be separated.
107 王 西 安 107 . At the same time. 3.107).105 Fig. 3. and clench the right hand into a fist. Relax the left side of the crotch. Then rotate the right hand and body to the right. Again. roll the chest in. 3.8. 3.105). lower the Qi. placing it in front of the chest.106 Fig. 3. and shift your weight to the right side. • • • • • 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. extend the left hand forward to rest in front of the body (Fig.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. palm out. Then lower the right hand to the right ribs. 3. As you do this. The shift to the left enables you to hit the target clearly (Fig.106). relax the left side of the crotch and shift your weight to the left. tighten the ribs.3. 陈 氏 太 极 拳 推 手 技 法 Fig.
and gather energy in the ribs.108). 王 西 安 108 . Match the speed of your movements to that of your partner. palm facing right (Fig. lower Qi to the abdomen in preparation for the inward roll and seizing. rotate the body. Draw the arc with the intention of meeting the opponent’s hand.8. while the two hands serve as supports. • As the weight shifts to the left. • Step the left foot forward and extend the left hand to the front. the force of upward suspension maintains the axis. 3. roll the chest slightly inward and gather the ribs. 3. Relax the crotch. Make sure to keep your own axis when seizing the opponent. The left hand leads by closing the power causing the right hand to follow.” 3. reel with both hands in a Shun direction. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground.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. Move the whole body in a natural and relaxed state. Shift your weight forward and accumulate power well. • Close the crotch. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. Move quickly and follow your partner but do not lose power. • Step the right foot forward and pass the right hand across the left side of the body.109). palm facing left (Fig. the palm forming a “八” (Ba) shape. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. • At the same time.3 Fu Nang … Seize with the Abdomen This technique consists of seizing with the abdomen filled with descending Qi with the assistance of the hands. The strike is actually applied by the left side of the chest.
110).109 Fig. The abdomen provides the main supporting element. the left hand moves lightly and assists the right. whose movement is heavier (Fig.Fig. 3.108 • • As the Qi descends. seize with the right and roll the abdomen – these three actions combine to become one power.110 109 . 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. clench the left hand. 3. 3. The eyes look forward and to the left.
bending them at the elbows. Both hands extend forward in sequence. roll the chest slightly inward. immobilizes their wrists by bending them outwards.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. As your weight shifts. the right foot steps forward.陈 氏 太 极 拳 推 手 技 法 In summary. and commence shifting your weight forward. push the abdomen out suddenly (Fig. facing in so that the fingers are directed towards each other.111). 3. gather the ribs and lower Qi to the abdomen so that internal strength flows through the Dantian and the Three Powers (Jing Qi Shen) may unify to guide the attack. and both feet standing steadily as the hands move. do not be kind to the foe for the opportunity to attack comes just once. Continue to shift your weight forward. As you seize. 3. 3.112). followed by the left. move the palms up to chest level and seize the opponent’s elbows using Na power. keep your intention firm for victory or failure will be decided in a second. . Move swiftly without hesitation. the right hand moving down while the left moves up. palms about 10 cm from the lower abdomen. while the hands use Na (seizing) power to collect inward.8. whereby the abdomen gathers power to support the hands. and gather them towards you (Fig. • • • • 王 西 安 110 • • Take a half step forward with the right foot. Direct the eyes to the front. capture and immobilize the opponent. At the same time. Concentrate your energies then pounce on your opponent like an agile cat. extend both arms to the front.
Fig. fending the opponent off upward to the right (Fig. 王 西 安 111 . Reel the left hand forward.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. 陈 氏 太 极 拳 推 手 技 法 3. supported by the warding right hand. • • • • Step the right foot forward and pass the right hand across the chest. 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. 3.113). 3.111 Fig. and lower Qi in your abdomen before protruding it forward. so that you respond by moving your weight forward. Step the left foot forward and shift your weight to the left.8. Lower the right hand then cover it with the left.
3. gathering the ribs and lowering the waist and Qi. Alternate practice on both right and left sides. But remember: practice like an adept.113 Fig. 3. Step the right foot forward again and repeat the above steps. 3. tendons and veins. . 王 西 安 112 Note: If Qi descends smoothly. not like a thug.114). bones.114 • • • • Put your body in a squatting position by bending the knees slightly. Combine them with the power of chest to become one power (Fig. by taking a step forward (Shang Bu) each time. this technique can be used effectively to break wrists.陈 氏 太 极 拳 推 手 技 法 Fig. Collect the body by rolling the chest slightly inward. Collect the hands inward to about 15 cm in front of the chest.
• As the weight moves forward. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. and move both hands to assist the left leg. shift your weight forward and bend the knees slightly so that the body squats like a bent bow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • As soon as the right hand reaches the level of the left leg. • As you step.3. roll the chest in and gather the ribs (Fig. • Step forward with the left foot and extend the left arm to the front.115). relax the crotch. the Three Powers (Jing Qi Shen) combine to seize the opponent. • Bend the left arm inward to gather both palms. • As the knee swings inward.115 Fig.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni reeling to seize downward from the right side. The powers of the left arm and right hand unify as one. Lower your Qi. 3. In this way. 3.8.116 113 . fingers pointing forward. 3.
117).117 Fig. gradually guiding it inward to rest in front of the right ribs. • At the same time. guiding it to the right ribs for support (Fig.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. 3.118 114 . extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig. 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. 王 西 安 Fig. 3.116). As you step forward. spiral the right hand up from the right side into an arc. shift your weight quickly to the left and step forward with the right foot.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. 3. 3.8. The changing of the legs happens quickly. • Then lower the right arm by executing Lü downward in Ni reeling. • Step forward with the right foot. 3.
The intention is to have the whole body collecting and seizing together with the hands. As the right foot touches the ground. Continue to move the right hand and foot forward. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig.Fig. 3. As the hands move. 3. Then move the right hand forward in Shun reeling until it reaches the same level as the nose.119 • • • • • • As soon as the right foot touches on the ground. roll the chest slightly inward and bend the knees slightly into a squatting position. lower the shoulders. 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. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 . When the right hand moves up. shift your weight to the right and step forward with the left foot.119). shift your weight to the right and move the left foot and hand forward (Fig.118).
• • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig.120 Fig.陈 氏 太 极 拳 推 手 技 法 3. At the same time. 3. rolling the chest inward and tightening the ribs.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize. then gather both hands and grasp the opponent’s wrist firmly downwards. 3. 王 西 安 Fig.120). 3. This step marks the transformation of Peng (ward off ) to Na (seizing). 3. Prepare for the seizing by lowering Qi to the Dantian. Bend your knees so your body squats like a bending bow.121 116 . Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. Combine this with the power gathered in both hands and seize with one force.121).8. strengthed by whole body coordination. step forward with the left foot and shift your weight to the front.
王 西 安 117 . then exhale as you bend the knees slightly to put the body in a squatting position (Fig. Guan Gong Jie Dai 2. Diao Wan Qu Zhi Jie Tuo 3. Shuang Wan Zhi Jie 4. • Move Qi in from the outside and lower it to the Dantian. and finally the index finger. This technique enables a practitioner to avoid capture or break a hold. such as a waist grasp from the rear to throw you down. the Guan Gong Jie Dai technique is said to be named after its creator. • Next. • Hang the hands naturally at the sides. Shan Jing Ce Jian Jie 7. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. • Inhale. Shan Jing Zhen Zhang Jie 8. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. shoulder-width apart.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. • Stand with both feet in parallel. then the ring finger. 3. ‘Wars Among Three Countries’ by Guan Yu.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. Guan Gong. Fan Na Cu Bu Jie 9. middle finger.122). Qu Wan Fan Na Jie 6.3.9. Chuan Zhang Jie 5. eyes looking forward.
otherwise it is not easy to unfold (Fig.123 • Synchronise the speed of this movement with that of the body.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. This technique becomes effective only after extended practice. .陈 氏 太 极 拳 推 手 技 法 Fig. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip). In this way. the gathering of the ribs and the hooking of fingers should combine to become one unit.9. 王 西 安 118 3.122 Fig. If the fingers are being held. hook the wrist and bend the fingers to escape. 3. 3. 3.123). the squatting of the body.
and lowering your Qi as you do so.124 Fig. 3.124). 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. lowering the elbows. so that Tuo (escaping) power can reach the fingers effectively. Move your body to transform the attacking power. rolling the chest inward. slowly bend the wrist and fingers. 3. 王 西 安 119 . By the end of your movement. join the fingers of your hand together and point them diagonally upward to the right (Fig.Fig. your conjoined fingertips and knuckles should be able to escape with ease (Fig. relaxing the shoulders. Practice these steps with both hands in turn.125 • • • • • If the fingers of one hand are seized by the opponent. 3. 3. you relax and elongate your encaptured arm.125). unblocking the arm area being attacked. As you move. By doing this.
It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. 王 西 安 Fig. 3.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. Just focus on relaxing and lower the Qi. bend the arms. 3.陈 氏 太 极 拳 推 手 技 法 3. While doing this. 3.127 120 . then move your arms forward and upward as your weight shifts forward (Fig. roll the chest inward. 3.127). It is not necessary to use large movements in this technique.9. closing your hands while opening the opponent’s.126). tighten the ribs. 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. • • • Step one foot forward and shift your weight to the other leg (Fig.126 Fig. At the same time.
3.3. • Bend the knees slightly to place the body in a squatting position. • Bend both arms 90o inward and cross them in front of the chest. 3. and Qi. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.128). elbows.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. tighten the ribs. 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).9. and roll the chest inward. two eyes look forward horizontally.128 Fig.129 121 . • Two feet stand flatly and the body stands straight. 3. placing the right hand on the left (Fig. and lower the shoulders.
9. then rotate forward again. then to follow your opponent by bending your wrist in Ni reeling while you rotate to the right position so as to extend the left hand and seize with the right. swapping the Shun and Ni reeling to the opposite hands.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. If you choose to turn to the right: rotate the body to the right then left. and move the right hand in Shun reeling while the left does Ni reeling.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. It requires you to twist the captured fingers outward in Shun reeling. Then ward off (Peng) by pushing both palms outward. 3. 王 西 安 Fig. 3. and lock the palms of the opponent.129).130 Fig.131 122 . Do not rush forward but defend you territory in straight postures (Fig. 3. 3.
3. 3. extend the left hand forward to support the right hand as it seizes downward (Fig. Rotate the arm about 1800 outward in Ni reeling. wrist bent inward in readiness to seize and fend off danger (Fig. Your movements should be relaxed and executed with power at all times.Fig. 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.133). raise the elbows. 3.133 • • • • • Extend your right arm forward.132).130).132 Fig. it will be difficult for opponents to overcome your attacks. then bend it about 450. 王 西 安 123 . As the right toes touch the ground. 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. If you practice diligently. relax the shoulders. As you do this. 3.131). step the right foot forward (Fig. palm facing left (Fig. While rotating the arm. Apply the principle of constant change and flexibility in Taiji circles. 3. 3.
Together. Next. roll the chest inward.135 124 .9. right fingertips initially pointing downward. so that the power of the left hand combines with the right to become one. 3. • Extend the right arm horizontally and bend it 900 inward.134 Fig. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). move the left hand rightward to the front of the chest. • Simultaneously. • The right wrist bends inward with the arm to rotate the hand in Ni reeling. coordinating it with the lifting of the back and the descending Qi. you should rotate externally and upward in Ni reeling.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. In response. this sequence of movements make up the Shan Jing Ce Shen Jie technique.陈 氏 太 极 拳 推 手 技 法 3. • As the right palm reels outward. then move swiftly to the right to destabilize the opponent. the palm gradually guided by Ni reeling to slant externally to the right. 王 西 安 Fig. palm facing right. 3.
feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. shift your weight to the left . The above movements of both arms and the right foot should occur in one very smooth and swift motion. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall.135). So Shan and Jing serve as the pre-condition of escaping. giving him a sense of losing of Qi. and thus enabling one to evade capture. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. 王 西 安 125 .9. If the opponent seizes your forearms: • Retreat half-a-step with the left foot.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. then quickly step the right foot forward (Shang Bu). 陈 氏 太 极 拳 推 手 技 法 3. 3.• • • As your left hand moves. 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. Almost at the same time. touching the ground with the toe tips (Fig. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. All the above movements of the hands.134). Note: Move in Ni reeling while the opponent moves in Shun reeling. 3. make a big step forward with the right foot. because with these.
3. clench the hands into fists and place them at the sides of the body (Fig. When the body and two hands send the Dou power.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time. As soon as you surprise and destabilize them with your moves. open both fists and shift them away from the sides of the body. the body squats. palms facing up and the two little fingers placed on the middle of each arm.137).138).137 Fig. This power should be quick and strong.138 126 . 3. 3.136). use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. Simultaneously. 3. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. slowly raise both hands and bend them inward about 1800. At the same time. 3. and the extending palm reaches the right position at the same time. palms facing up and eyes looking forward. then Shang Bu (take a step forward). then the whole body sends a Dou in a circle in Shun reeling (short power). Next.136 Fig. and both palms draw inward. 3. 王 西 安 Fig. step forward quickly and attack with the palm (Fig.
and attacking by the Cu Bu or Dun Bu technique (stomping). 3. 3. the partner cannot reach you though his attacking power is strong. 王 西 安 127 .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. which is against principle. fingertips slanting up (Fig. 3. you find escaping easy.140). then shift your weight to the left and inclining the body to the right to hold and collect. Then push the left palm to the right. thumb separated from the fingers (Fig. It is not wise to grasp the opponent’s elbow with your fingers. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm.9. since he or she can easily twist your fingers and get you caught’. holding and collecting a quicker speed. extend the left hand from left to right. At the same time. Two elbows draw inward and hands move outwards. palm facing out.139). With Shan and Jing. first bending it inward then moving it outward to the right. Step diagonally right with the right foot. As the right foot steps on the ground. because sometimes appropriate retreating gives one a closing power. extend the right hand diagonally forward to the side.It is just like the poem reads: ‘It is not a failure if you retreat your pace. Bend the knees slightly to place the body in a squatting position.
only by this will you increase in strength. Even if you sense the opponent’s intention to move. from slow to quick. the body should move from high to low. 3. 王 西 安 128 . paying attention to the upper and lower body and your surroundings. side pushing with the left palm and exhaling at one time.139 Fig. from long power to short power. 3.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. During the practice. do not react or become anxious but remain confident in your prowess. Incline your body and explode the energy with great unity by stomping with the right foot.陈 氏 太 极 拳 推 手 技 法 Fig. Be patient and diligent with practice. Stand rooted like a big tree. Then you will free yourself from capture. This power can only be gathered with greatly unified power.
• Then bend both wrists inward. • Extend both arms forward.3. bending inward about 90o. 3. the left hand in Ni reeling and the right in Shun reeling. palms facing in (Fig. 3. 3. exhale.141).142). roll the chest in. breathing in as you do this.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.142 129 . the hands wrest free of the opponent’s wrist grip. tighten the ribs and lower Qi to the Dantian. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. eyes looking forward (Fig. As you do this.141 Fig. separate the hands to the sides of the body. • Step the right foot forward.9. • Next. • In this way. lower the shoulders and elbows. 3. palms facing each other.
You can escape from seizing by one closing and one opening. then raise your hands. insert both palms downward (Xia Cha Zhang.143 Fig. 3. 王 西 安 130 .陈 氏 太 极 拳 推 手 技 法 Fig.144 Notes The extent to which you separate your hands depends on the opponent’s grip. then separate them to each side. During practice. finally returning them to the front of the chest to repeat the cycle (Fig. 3. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. Palm Inserting Down) (Fig.143). 3. keeping both arms tightly together like pincers. If you cannot push the opponent’s hands away. If you still can’t free your wrists with this technique. then you transform and eliminate the seizing on your wrists. 3.144).
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
Taiji Yangsheng Zengqi Gong can be divided into six postures. Chen Xin. Chan Si Zhuang (Reeling Silk Posture) 6. As Qing Dynasty Taiji Master. These movements are applied throughout the whole system of Taiji and Tuishou practices. Lü. states: “If a tree has deep and strong roots.陈 氏 太 极 拳 推 手 技 法 4. Kai He Zhuang (Opening and Closing Posture) 4. opening and closing. Ji and An. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. Wu Ji Zhuang (Wu Ji Posture) 2. San Ti Shi (Three Postures) 5. 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. 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). its leaves and branches must flourish. Peng. rising and falling.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.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). each of which can be practiced individually or in sequence: 1. 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. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body.
2 wu ji zhuang (wu ji pOsTure) 4.1 133 .4. breathing gently and slowly. feet parallel and shoulder width apart. Hang both arms at the side of the body and relax.1 Postures a) Posture 1 • • • • Stand upright. 4. eyes closed. Open your eyes gradually. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2. keeping your mind relaxed. Concentrate your intention (Yi) in the Dantian.
4. 4. 王 西 安 Fig. 4. On the other hand.3). the right over the left for male practitioners. do not do it so gently that Qi becomes too soft and weak to reach every part of the body. the reverse for females (Fig. Take care of these points and you will not lose power (Diu Jin) unnecessarily. the right hand rotating in Shun reeling and the left in Ni reeling.2). Lower the hands onto the abdomen. 4. Try to expand your arms moderately. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. when it should actually be solid. Maintain the hands at shoulder height.3 134 .陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. palms facing downward and slanted diagonally (Fig.2 Fig. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet.
Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. Your elbow joints should be lowered. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. until they reach the lower Dantian. 4. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. The neck should be firm and straight. inhale and then swallow saliva down into the stomach. Lift the buttocks and anus up a little.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). The whole body will be steady if you gather the internal organs consistently. so that the waist descends naturally. 3. bend the knees slightly and grasp the ground gently with the toes. Gather the chest and ribs inward. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. 4. 2.2. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation.2 The requirements for every part of the body 1. Pay attention to the following points when practicing the Zhuang posture: 1. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 .4. the mind and facial muscles naturally relaxed.2. guiding the Qi and saliva through to the middle Dantian. Your shoulders should be loose and slightly lowered. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. lower it when exhaling.
While exhaling Lower every part of the body. Raise your Yi (intention) from the Hui Yin point (perineum). Maintain your vertical axis. so that they all have the same rhythm. Practice also enhances your ability to guide Qi with Yi (intention). 3. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. skin and fine hairs opening as the Qi rises. through the Wei Lü Guan point. leading to Qi filling and blocking the chest. you will enlarge your vital capacity and exercise the diaphragm muscles. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. Feel the sensation of all the body joints.陈 氏 太 极 拳 推 手 技 法 2. While lowering the internal Qi. roll the chest slightly inward. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). which will help with the distribution of Qi around the body. 王 西 安 136 . keeping your body upright and lifting your back slightly. By practising the above key points. While inhaling Gather your chest and abdomen inward while breathing in Qi. up along the spine. including the internal organs. across the Yu Zhen point. lower the waist and gather the Qi in the Dantian. until it reaches the Bai Hui point.
patients and the correct mastery of key points. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. Beginners generally find it difficult to remember the postures and key points. just as Xing (posture.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). Qi cannot be separated from Yi (intention). Practitioners should modify the scope of their practice according to their level and progress. external movements) follows Qi. During Wu Ji Zhuang. However. and achieve the smooth Zhoutian circulation and help with body combat. Only these can guarantee normal and healthy internal Qi circulation.4. The key requirements for practice are relaxation.2. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . these can be accomplished only by hard learning. quietude and concentration. Qi follows Yi. and emotions. thinking. consciousness. Only through mastering your mental activities such as intention. so it is recommended that they do not practice Yi and Qi until they become familliar with the form.
3 hunyuan zhuang (circle pOsTure) Zhuang skill. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.陈 氏 太 极 拳 推 手 技 法 4.4 Fig.” Hence. 4. 4. 4. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation. is an important basic skill in Chinese Martial Arts.3.1 Postures 王 西 安 Fig. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill.5 138 .
if closed.4). waist and crotch. 4. a little more than shoulder-width apart. focus on a static object at the same level as your eyes. Bend the knees so that the body is squatting a little. waist and back straight. then lower the waist (Fig. Keep the fingers evenly open and slightly bent as if half grasping a sphere. The upper body should be kept upright. Stand with your feet parallel. 王 西 安 139 . 4. shift your weight to the right and lift the left foot and take half a step to the left. 陈 氏 太 极 拳 推 手 技 法 4. Relax the shoulders. focus your attention on the Dantian (Fig. The palms face each other. mid-level and low. Execute the posture as if embracing a big tree. fingers pointing at their counterparts about 30 cm apart. Lower the elbows and shoulders slightly.3. The old and weak may practice using a high body stance. b) Posture 2 • • • Separate the hands when the left foot reaches ground. Keep the head naturally erect. If your eyes are open. Next.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. Leave your eyes naturally open or close them. with practice duration increasing gradually from short to long.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high.5). then move them back to the middle. the neck.
At this point. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). Now lower the tongue and inhale. you should raise your stance slightly to rest. until it reaches the Baihui point. although this may become more obvious with prolonged practicing at mid or low stances. swallowing your breath with saliva. up the spine. and slight trembling may occur. Que Qiao. then lower your body again. In this case. The trembling may only be detected by touch or by close observation of the leg muscles. increasing to thirty or forty minutes at later stages. then a low stance. becoming gradually longer. 王 西 安 140 . graduating to midlevel. past the Yu Zhen point. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. For example. This relieves or may even stop the trembling for a period. Practice duration can last just a few minutes in the initial stages. At the same time. and guide the saliva down to the middle and lower Dantian. raise Qi from the heels up the legs. touch the palate with the tip of the tongue. Beginners will find that the thighs may ache after two weeks of practice. then bend the knees to lower the body until the buttocks are at the same level as the knees. Should this happen. through the Ren Mai.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. inhale slowly first. the thigh muscles and even the whole body may tremble rhythmically. when doing Standing Zhuang at a high stance. Wei Lü Guan. Du Mai. 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. Inhale again as the body rises.
4. like a wild goose flies off and falls. Practice this process repeatedly. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath.3. but the apparent non-activity is misleading. It rises and falls like a boat in the ocean. as it responds to the circulating blood.As you exhale slowly. Zhuang skill is actually a practice using static strength and tension. the body quivers in a relaxed and peaceful state of mind. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. The body weight is always subtly moving in various directions.3 Breathing Breathing is an important element of Zhuang skill. Standing on the ground steadily like a mountain. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . breathing motions and digesting processes.
At the same time. The navel and Ming Men are in the same rhythm.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. 4. 王 西 安 Fig. as are the requirements and key points for the body parts. the palms face inward and the eyes are slightly closed (see Fig. Gather the chest and abdomen.8). In the initial stages of practice. relax and open the internal organs.6 Fig. the breath is usually short. the middle fingers connect. The distance between both arms starts short then grows longer. 4.7 142 . The only difference is that in this posture.陈 氏 太 极 拳 推 手 技 法 4.4. 4. 4. extend your breath slowly through the practice process. the body rises slightly with the inhalation.
Roll the chest slightly inward. using your intention (Yi). use your intention to guide the current outward. lower the waist and gather the rib muscles. At the same time.Note: when you inhale and open up. crouch down and lower the elbows. Do this practice slowly. Acting slowly.8 143 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. All internal organs are filled with strength. Relax the body. Qi appears between finger tips of both hands like a magnetic force. Drop the wrists and hold the palms facing inwards in a concave shape. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. 4. Focusing on your intention (Yi). b) Posture 2 • • • • • • Exhale and gather the organs. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. the navel and the Ming Men Mai swell out.
gentle and even. .陈 氏 太 极 拳 推 手 技 法 The main aim of practising Kai He Zhuang is to enhance the strength of the lower limbs and to promote the shrinking and expanding abilities of the navel and Ming Men. then your strength must be soft. as well as the internal Qi moving in the body with the guidance of your intention. For example. For example.2 The relationship between Thought. the ebb and flow of Qi and strength (or power) are in synch with each other.4. Qi here refers to the fresh air exchanged between the lungs and the outside. In this way. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. This is called. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. and when Qi rises – the body and internal organs gather slightly. For thought (or attention) to combine with intention. 4. intention and Qi. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. Lastly. and also helps the practitioner build skills in relaxation and quietness. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. This practice also strengthens the practitioner’s ‘root’. if you require the breath to be slow. “the internal Qi moves inside”. as well as breath control. one’s thoughts need to implement intention consistently. when extending the hands. Qi and strength. it also helps increase internal strength and distributes Qi around the whole body.
陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . and are one of the main requirements in Zhuang skill. this movement becomes a conditioned reflex and helps move muscles which are normally static. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. the chest. Its purpose is to stimulate the nerve system by muscle movement. Guided by intention. abdomen and back.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. In particular. With practice. 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 4. then shift your weight forward from the left foot to the right knee. then breathe it out slowly as you move forward (Fig. . the right hand in front of the left. Expand the crotch like a circle. When the weight shifts completely to the left leg. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. focusing your intention in the Dantian. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in.10). At the same time. 4. Swallow the fresh air inhaled.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. Next. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. raise both hands above the right leg. make sure your eyes are drawn inward to looking internally. Start the posture with your eyes closed. When inhaling. Purify this saliva with your intention. This posture could also be called a sideways Bow Step (Fig. inhale and move your weight backward. 4. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. then open your eyes and look into the distance. The fingers are poised as if grasping the air.9). The length of inhalation should match the speed of the weight shift. Gather the Lao Gong points of both hands inward.
close and fold your strength into your chest and waist.11 147 .11).10 Fig. 4. lower the waist. 4. 4. You need to have the feeling of closing before opening. Repeat this process alternating the left and right sides.9 b) Posture 2 • • As Qi is lowered into the Dantian. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig. then push both hands forward slowly (Fig. 4. As you exhale and shift your weight forward.
So where does confidence come from? From practice.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. leading to progress and experience of the benefits. Through serious dedication. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. If. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. confidence is a critical prerequisite. You can persevere only if you firmly believe in the benefits of Zhuang skills. Only after prolonged practice can confidence be nurtured. 王 西 安 148 . your belief is half-hearted. and great determination. practioners will make the expected progress. your practice hesitant and inconsistent. practitioners are required to cultivate their Three Spirits when they begin practice. determination. on the contrary. with confidence and determination. With confidence comes determination. then your progress will be poor. Confidence in Zhuang skills grows with practice as difficulties are overcome. In sum. and persistence. and hold firm to these attributes throughout path of practice and study. Indeed. confident and diligent practice. persistence may be engendered.
4. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. 4. 陈 氏 太 极 拳 推 手 技 法 The difference of this posture from that of San Ti posture is: • Both hands extend outward with Peng energy to prepare for the opponent’s Lü gesture. In this way. • The fingers of the both hands point to each other. extend both hands forward with the right hand before the left. 王 西 安 149 .6.6 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. As you step forward. both palms facing forward.12). 4. Peng force is maintained while the foundation of the body is reinforced as well. • At the same time. inhaling all the while (Fig. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line).
12 王 西 安 150 Fig.14 . 4. 4.13 Fig. 4.陈 氏 太 极 拳 推 手 技 法 Fig.
Inhale and swallow saliva. At the same time. open both fists into palms facing inward. keeping the left hand inside and the right outside (Fig. When this happens.13). As the weight shifts. suffusing it with Qi before lowering it down to the middle and then lower Dantian. Both hands make a half fist when reeling. relax both arms. 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. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. drop the elbows. As you shift your weight. the right hand in front of the left. lower the shoulders. turn the waist and twist the crotch. you start to repeat the sequence. 4. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. When the left hand executes Lü (roll back) to the middle of the body. As this happens. step the right foot on the ground. you will lose your weight and axis). 4. gather and close the whole body so it forms a posture prepared for opening activities. 王 西 安 151 .14). relax the right crotch and shift your weight gradually to the right.b) Posture 2 • • • • • • • Next. otherwize. withdraw the right hand so it intersects the left. rotate the left hand in Shun reeling in front of the lowered abdomen.
veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. Inhalations and exhalations should be of proper length. This is a primary sign of beneficial Zhuang practice. Ren Mai starts 王 西 安 152 .2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. decreasing to seven or ten breaths per minute. you should focus on increasing the duration and depth of your breath. After mastering the key principle of natural breath. you will feel your key joints and your arteries and veins become unblocked and re-connected. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). Dual practice with Yi (intention) and Qi connects the whole body. After practicing Zhuang skills for a period. inhalation/exhalation being one breath. The normal breath frequency of adults is six to twenty times per minute. It is incorrect to exhale with a long breath and inhale with a short breath (known as “too much Yin”) or vice-versa (“too much Yang”). When you practise Zhuang skills to a certain level. 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.陈 氏 太 极 拳 推 手 技 法 4. Only by this can you avoid errors and side effects. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. and comes only after accumulated practice.6. your breath should be natural and of the proper duration so that it enhances body combat and health. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. Therefore. This helps in the exchange of carbon dioxide and promotes metabolism in the body. This phenomena of “connected arteries. the breath can become slower and longer. then to five times per minute.
Jia Gu Guan. all channels extended and unfolded. even and quiet. and Yu Zhen Guan. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. reaches the Bai Hui point through Wei Lü Guan. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . the five sense organs internally gathered. the difference being that Da Zhou Tian extends Qi to the lower limbs. deeper. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue.from the tip of the tongue. The Qi of Da Zhou Tian originates from the Yong Quan point. the body should be relaxed. The whole process of moving Qi through Ren Mai and Du Mai. more gentle. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. For both. Du Mai starts at the perineum. and Yi and Qi should move in the required routes. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. except that the breathing in the former is longer. In Da Zhou Tian. then infusing Qi into the Dantian. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. reaches the perineum through the Dantian and then connects to Du Mai.
16 154 .7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”.15). Swallow Qi down with saliva and guide it down to the middle Dantian. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. close your eyes and inhale. a) Posture 1 • • • Shift your weight gradually to the left leg. 4. 4. 王 西 安 Fig. bring in the arms and place both palms in front of the abdomen (Fig.陈 氏 太 极 拳 推 手 技 法 4. then infuse it into the lower Dantian. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. 4. then bring in the right foot so that both feet are a shoulder-width apart. At the same time.15 Fig.
palms facing each other.17 Fig. Then using the little fingers to guide the energy. pointing the fingertips upward. 4.18 155 .b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. palms facing in (Fig. finally placing them in front of the shoulders. 4. separate the arms to the sides.18). swallow Qi and saliva and infuse them into the lower Dantian (Fig. fingertips pointing obliquely down. 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 王 西 安 Fig. Clench both hands into fists and lower them to ear level as the body lowers.17). 4. As the body lowers. 4. lift both arms upright.16). 4.
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c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
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5.1 pracTice fOr The buTTOcks
The requirements for positioning the buttocks in Taijiquan practice are very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the end of spine) in an upright position when practicing, gathering and raising it naturally so that the buttocks do not protrude nor swing too much, otherwise the buttocks will be unable to rise and lower naturally. Taijiquan novices sometimes err on over-gathering or raising the buttocks, which can result in various negative effects. For example, if the buttocks are gathered too far forward, the posture will become unnaturally stiff and not follow the natural straight alignment of the body; in addition, this posture may also impede natural breathing as it blocks smooth circulation of Qi throughout the body and may even destabilize the firmness of the weight of the lower limbs. Gathering or raising buttocks in routine and Tuishou practice must be applied in accordance with each specific practice and not generalized. For example, while relaxing the the joints and muscles in the Lan Zha Yi posture (Lazily Tying One’s Coat), the buttocks should be raised slightly as the waist is lowered so that Qi can descend smoothly into the Dantian. If the buttocks are pushed too far forward, the lowering of the waist is impeded and consequently, Qi cannot cannot descend through the Dantian and separate into two streams to flow through the Yong Quan point through to the legs.
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5.1.2 Application to Sparring: Bei Kao
An example of applying this principle in Tuishou sparring is as follows: if the opponent executes Lü on you, you need to relax, lower your Qi and gather your buttocks before executing the Bei Kao move (Kao with the back). In this move, gathering the buttocks helps to concentrate power drawn from the heels and transported up the legs before it is unleashed at the target. In contrast, raising rather than gathering buttocks at this point will hinder full release of striking power and thwarts any attempt to transform the opponent’s energy. Bei Kao is an opening-closing move, consisting of lightening-quick power exertion and rebound, during which you need to guide Qi upward to explode energy. To do this, you need to roll the chest slightly inward and bend knees a little, then stamp on the ground to generate rebounding power and ascending Qi. The gathering of buttocks at this point is essential so that Qi can descend instantaneously after energy release. Protruding the buttocks will impede Qi flow downwards, resulting in Qi blockage at the chest which affects the stability of a practitioner’s stance and may even be harmful to health. These key points in the above example need to be practised and applied assiduously during routine and Tuishou practice.
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5.2 pracTices fOr The crOTch (dang)
Dang refers to the crotch area where the legs connect to the body. To open the Dang area, the thighs need to be stretched apart as much as possible so that the waist and crotch can rotate freely. Any obstruction of Dang movement will negatively affect routine and Tuishou practice. The opening-closing of Dang, that is, the transition between emptiness and solidity of the crotch area, has a direct impact on the flexibility of the practitioner’s body and his or her ability to change speed and weight. The shift between emptiness and solidity of the Dang area is used as a measure to monitor and adjust movement and speed of movement, and also serves as the key point to increase the power to be exploded. The firmness of Dang relates to their exertion of power and resistance. Mastery of Dang power and posture in routine and Tuishou practice helps increase flexibility, emptiness and stability of waist and legs, reinforces the foundation and enhances your practice. Adjustments to the waist and Dang are usually the first steps taken when you feel there is something not quite right with your movements routine or Tuishou practice. As Master Chen Xin said, “When you attain realization of Taiji, even a bird cannot fly out from under you during Taiji movement.” In other words, the openingclosing of Dang is key to increasing and exerting power. When Dang is closed, the whole body is directed toward closing (He); when Dang opens, the body opens. Hence, Dang is essential to Xu (gathering), He (closing), Yin (guiding), and Fang (releasing) in routine and Tuishou practice.
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are described below: 陈 氏 太 极 拳 推 手 技 法 5. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. the weight distribution is 3:7. and it became difficult for vena blood to flow to heart. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver.2.The Anus In the same way that the positioning of Dang is very precise. rectocele. Yuan Dang. a short introduction of key Dang movements. womb prolapse and so on. advocating contraction of the anus during physical exercise as a remedy. After humans evolved to the upright posture and started to walk. For example. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. In Taiji practice. the positioning of the anus also needs careful attention. womb and so on. This realization caused the ancients to suggest that “the ground door should be always closed”. A brief introduction is provided below. This requires the left leg to be solid with the lower leg standing upright. 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. In ancient times. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. Ding Dang. Doing so over an extended period can have a positive effect in curing hemorrhoids. anus contraction should only be slight and done in a natural way. 王 西 安 161 . the left knee and ankle vertically aligned to each other and the ground. To help you master correct Dang postures in routine and Tuishou practice. Jian Dang and Tang Dang.
These traditional teaching methods should be changed as implied by the adage. 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. 5. “It is easy to teach but hard to change what is learnt. at the end of the Dan Bian (Single Whip) posture. Hence. 王 西 安 162 . Yuan Dang reinforces the foundation and allows flexible body rotation in any direction.陈 氏 太 极 拳 推 手 技 法 In this way. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. when the right leg moves to the side. As for practitioners.2. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. the root of Dang should be relaxed. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. Some perform better than others due to learning abilities. and at this moment Dang should open in a circle so that both legs can support all parts of the body. This should be corrected at the earliest stages of learning. it is very difficult to correct bad practice habits solidified with prolonged practice. energy in the legs is strengthened and the body is well supported. which means there will not be opening-closing power if he or she crouches in the Horse Stance. the right knee should incline outward. For example.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. That is. If a practitioner is advised to relax. “closing in opening” and that “Dang should open in a full circle”.” Indeed. innate talents. there are many opportunities and responsibilities. In traditional teaching methods. the body crouches as the right knee moves outward. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”.
and quality and length of practice, rather than due to a teacher’s attention. Some practitioners are happy to help the teacher out and teach others, their intention being to allow the teacher more rest. Students are also happy to learn from co-practitioners as this may help to accelerate learning.
5.2.4 Jian Dang … Sharp Crotch
In Jian Dang position, the Dang area is shaped like an inverted “A”, the bottom tip of the Dang area is tight and not relaxed. In this case, Dang cannot be lowered during routine and Tuishou practice, and Yuan Dang cannot be formed at all. Moreover, the Bow Step is hampered, one’s gait becomes unsteady, and the upper body becomes heavy while the lower body is unrooted, swaying to the right or left, while the feet are also unsteady. This mistake may be tolerated by the old and weak if their aim is just to improve health, but cannot be ignored by younger practitioners who want to improve combat skills. Because with Jian Dang, some get easily unrooted, some find they can’t get clear distribution of weight, some find it so hard to shift the weight because they put exceeded weight onto one leg. If the habit of Jian Dang is allowed to form over a period of time, practitioners will become used to it and feel comfortable in this incorrect stance, which should be avoided. On the contrary, one must learn to identify and cultivate the twin qualities of emptiness-solidity in the legs through the practice of Taiji routines. Novices practicing Dang will inevitably develop aching feet. This is no cause for worry, as these are normal physical indications of body development and they will disappear when you reach a certain level. For example, after a bout of Tuishou sparring, novice practitioners may feel a little ache in the arms and legs, and indeed, the whole body may ache after a little rest. This is because you are not used to the intense exercise and some capillary blood vessels may have been strained. This ache will lessen gradually after extended practise, as the body becomes stronger, blood circulation improves and lung capacity is increased. At this stage, any additional
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muscle ache resulting from further increase in practice will ease off more quickly. Hence, do not be deterred by any aches and apply Yuan Dang when practicing Taiji and Tuishou, so that Jian Dang may be prevented from developing. Without patience, Taiji skills cannot be improved.
5.2.5 Tang Dang
Tang Dang happens when the legs are spread too far apart, out of proportion to the weight distribution required on the legs and the lowered Dang. As a result, the movements of the legs are hampered as they are not able to move forward and back or turn to the sides with natural ease. This situation is also called Ta Dang, meaning collapsing Dang. The Taijiquan routine is a whole body practice, suitable for people of all ages, body constitutions and those engaged in mental and physical work. Typically, practice methods for Taijiquan routines start from large circle movements to smaller ones, then from smaller circles to no-circle movements. However, the opposite is true for Dang practice, which starts with smaller scale movements, growing to larger-scaled practice. This requires Dang to be positioned a little higher in the beginning before becoming lower and wider gradually. As with Ding Dang and Jian Dang, be careful not to form the habit of committing to Tuishou movements that bring a lot of pressure to the knee joints, as Tang Dang not only increases pressure, but may also cause harm. This results in chronically tight muscles which will eventually cause bad blood circulation in the legs. The Tang Dang posture has particular impact on the stimulation of the on the nerves in the knee joint, so hindering the supply and renewal of blood in the leg muscles. Prolonged Tang Dang positioning will result in aching knee joints and a very heavy feeling in the legs. In some large-scale movements, Tang Dang
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may actually be intentionally applied, such as in the Seven Cun Kao movement, that is Kao applied in the Xie Xing or oblique walk where the distance between the ground and shoulder is seven cun (about 23 cm). Yet even in this movement, heavy pressure on the legs last only an instant and the legs can recover quickly, so Tang Dang poses no real issues. However, large-scale movements cannot be applied to the whole practice; hence Tang Dang is considered harmful to health and body combat if applied for extended periods in routine and Tuishou practice. Generally speaking, Dang practice should begin modestly with a slight lowering of the body, gradually growing to bigger movements. Most importantly, it should match the physical conditions of the practitioner and the requirements of body combat so that the practitioner does not incur any injury.
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Chen sTyle Taiji Tuishou CaTegoRies
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practitioners may master its secrets and principles with serious study. then strike back with Jian Kao. the attack-defense stances change dynamically. your opponent may respond defensively with Xiong Kao (Kao by chest). you can defend using An (pressing). In this chapter. Indeed. if the opponent attacks using Jian Kao (Kao with shoulder). with attackers changing to defensive roles in an instant and back again without warning. we will describe how to apply these eight Tuishou techniques in sparring practice. 王 西 安 168 . For example. if you advance using Ying Men Kao (Kao diagonally to the front). While the combinations of Tuishou moves are infinite.陈 氏 太 极 拳 推 手 技 法 6. For example. since both the attacking and defensive movements are interrelated and cannot be separated. Tuishou is commonly divided into eight categories.1 Overview Within the Chen style Taiji routine.
6. where the the practitioners are no longer oblidged to the sequences or fixed routines. normally a forward step then a backward step) 6. which is regarded as the highest level of Tuishou.1. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. while Tuishou) 8. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. Da Lü (larger scale movements) 7. Shun Bu Tuishou (Tuishou with movable footwork. i.e. He Bu Tuishou with static footwork. Luan Cai Hua (Picking Flower.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . Dan Wan Hua (Coiling Flower with Single Hand. Jin San Tui San (both parities advance and then retreat for 3 steps. silk reeling in the shape of a flower) 2. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. and any movements can be exerted by intention.
Si Zheng Shou (Peng. Huo Bu (moving footwork) 3. including: 1. Shuang Tuishou (Tuishou with double hands) 3. these consist of the Cai. There are many categories of footwork techniques. Cha Bu (inserting steps) 6. Duli Bu (standing on a single foot) 8. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. Bie. novices should start by learning one set at a time.1. or Kao hand techniques.e. Qie Zhang (palm chop) In static footwork.陈 氏 太 极 拳 推 手 技 法 6. However. Xuan Wan (rotating wrists) 4. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. Ji. Bing Bu (step touch. An) is usually applied. Ding Bu (static footwork) 2. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. Dian Bu (stepping on toe-tips) . Zou. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. Si Yu Shou hand techniques are always used. as follows: 1. During sparring. and not be limited to one or the other.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. feet placed together ) 7. Lü. i. Dan Tuishou (Tuishou with single hand) 2.
2. palm facing in.2 TuishOu handwOrk Techniques 6. it is also applied to Gun (roll). it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. In this posture. 6. 6. In single practice. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig.6. roll the chest slightly inward and lower the waist and shoulders. Shuan (bind).1 Fig. 6.1).2. 6. 6.2). one arm is extended horizontally sideways.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. The elbow must be dropped.2 171 . you need to place the body in a crouching position. When cutting downward. the four fingers extended and joined together to form a slightly concave palm (Fig. Da (meet) and Sao (sweep) movements. with the wrist lowered and fingers relaxed. The roots of the fingers are relaxed.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. when both players retreat after being mutually warded off. with the forearm bent toward the upper arm at an angle of 450.
2. when hands are rotating horizontally in a circle. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. where the raised hand lies above the middle of the upper arm.陈 氏 太 极 拳 推 手 技 法 6. then reverse to the Ni direction when the hands arrive at his or her body. 6. As you rotate the hand downward or outward. For example. the hand is stretched upward to the sides (Fig.3 Wa Long Zhang … Roof Tile Palm The Wa Long Palm is shaped like a Chinese roof tile where the sides curl upward and the middle is low. 王 西 安 Fig. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. the little finger is used to guide energy and draw inward toward the thumb. 6.2.3). 6.4 Xie Tuo Zhan In this technique. if the opponent executes Lü on you.4 172 . Xie Tuo Zhang is also applied in the process of Big Lü.4). 6. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). the power lies in the root of the palm. one player may guide the other to reel first in the Shun direction. In this instance. During sparring. The palm posture during this direction change is called Xie Tuo Zhang.3 Fig. 6.
then lower your shoulders and drop the elbows.6.5 Cha Zhang … Slanting Palm In this technique. insert your hand downward and rotate it in the Shun direction. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). This technique is called Diagonally Upward Cha. as the hands insert downward. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions.2. • In Luan Cai Hua (palms reel in non-predictable angles. see above). • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork.5). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the hand is inserted upward or vertically/diagonally downward.5 173 . separate them and switch to Cha Zhang. for example: • When you rotate both hands in vertical circles. Cha Zhang is widely used in Tuishou. and gradually press your hands toward the opponent. 6. fingers slightly parted (Fig. see above). 6.
you can rotate your arm with the middle finger.2. 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. while the thumb and the index finger form a “ 八” shape. 6. Fig.陈 氏 太 极 拳 推 手 技 法 6. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. the ring finger. 6.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. When you guide your partner via Shun reeling to the front of your chest.6).6 王 西 安 174 . This way. and the little finger bending inward. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle.
陈 氏 太 极 拳 推 手 技 法 Fig.7 王 西 安 175 .1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. This knee is turned slightly outward to provide a frame for all parts of the body.7). toe tips bent slightly inward. the Yong Quan point should be empty while the Dang is open with the intention to close.6. following the principle of ‘straightening in bending’. the thigh nearly parallel to the ground. the knee positioned approximately above the tip of the foot (Fig. The toe tips point slightly inward. 6. following the principle of ‘closing in opening’. 6. In this posture. One knee is bent so that the body is in a half crouch.3.3 TuishOu fOOTwOrk Techniques 6. the sole fully touching the ground. The other leg bends with the intention to straighten.
6. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles). the heel touches the ground with the toes pointing up at about 450 (Fig. 6. knee bent slightly over the toe tips. 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. straighten the front leg so that the back leg becomes the Bow leg. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork.9). if the opponent presses on any part of your body with his or her hands or arms.3 Qian Dian Bu … Forward Tipping Step In this step. big Lü and Luan Cai Hua. • This step is always used in Shun step.3. Position both feet fully on the ground. When the weight is completely transferred.2 Hou Zuo Bu … Back Seat Step In this posture.陈 氏 太 极 拳 推 手 技 法 6. toes grasping the ground. Keep the Yong Quan point empty so the straightened leg can be lifted later if the body weight is kept on the Bow leg (Fig. 王 西 安 176 . 6.8 6.8). It is applied widely in Tuishou.3. Fig.
if an opponent applies Lü on you. 6. 6. and Luan Cai Hua For example.10).10 177 . followed by the sole then heel (Fig.Fig. 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. move your weight back and withdraw the front leg backward by stepping the toe tip back first.9 6.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü.3.
6. 6.12 . For example. 6. 6. Hence the name ‘Falling Step’. 王 西 安 178 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.e. When the opponent applies Big Lü on you. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground.11). 12). in the ‘Dragon sweeps ground’ form. This posture is applied to Shun step.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. Big Lü and Luan Cai Hua. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg. Lü applied through large-scale movements) (Fig. and is widely used in forward or backward movements (Fig. which now lies close to the ground.
power rises from the heels up the legs. with the other fingers slightly turned outward. spirals around the waist and shoulders.13 179 . the shoulders guiding the elbows and the waist guiding the shoulders. you draw the opponent inward into your territory. the term ‘reeling’ means to spiral energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. when the opponent executes Lü on you. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. In Silk Reeling technique. where it returns to its original position of circulation. In addition. exerting Ji and Na in confronting reelings). It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. while simultaneously executing Kao on the opponent. The principle of Shun Chan is that with the elbows guiding the hands. Shun Chan means to spiral energy from the outside to the inside. you can use Shun Chan to gather energy and edge into the opponent’s territory.4. For example.4 hand Techniques in TuishOu reeling 6. 6. with the little finger guiding energy as it points to the thumb when it is drawn inward.e.6. in Bei Zhe Kao (Lean with back). This move is called Shun Ji Shun Fa (i. enters the bone marrow through gaps in the scapula and travels down the arms.1 Shun Chan … Conforming reeling In Taijiquan.
6. Zuo Wan (descending wrist) technique is adopted (Fig. 6. by using the waist to urge the shoulder. 6.3 Shun Ni Zuo Wan Wrist descending in Shun and Ni directions This technique consists of lowering the wrist gradually during the transition from Shun to Ni Chan. In Ni Chan.14). Ni Chan is used to open outward.陈 氏 太 极 拳 推 手 技 法 6. the thumb gathers inward and guides the little finger.14 Fig.15 180 . roll your chest slightly inward and lower your waist.15).2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. 6.4. the shoulders to urge on the elbows and the elbows guiding the hands. Note: to apply this technique precisely. 6. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent. while the other fingers turn out slightly (Fig. Here. In horizontal circle rotations with single hand. concentrate you energy in the wrist. 王 西 安 Fig.4. shoulders and elbows. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside.
6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. Cai. by holding on to the opponent by the hand. Lie. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). the Shun hand changes to Diao Shou (Hooked Hand). which is formed by pointing the little. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. to provide a closing and opposing force with the three fingers (Fig.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. and adhere to him or her.4. your right hand rotates at 90o towards the right side of body in Ni reeling. Lü. in case of single hand rotation in the horizontal circle.6. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. Kao). Ji. The wrist is drawn inward to form a Diao Wan (Hooked Wrist). while trying to ‘listen’. • For example.16 181 . 6.16). Zhou. At this point. Diao Wan is also widely applied in response to a Lü attack.
陈 氏 太 极 拳 推 手 技 法
6.4.5 Shun Chan Yang Zhang Raised palm in conforming reeling
This can be divided into inward Yang (palm rising) and outward Yang (palm rising), which are always used in the four front oriented techniques (called ‘Si Zheng Shou’ in Chinese, i.e. Peng, Lü, Ji, An) and four side oriented techniques (called ‘Si Yu Shou’ in Chinese, i.e. Cai, Lie, Zhou, Kao). First, if the partner executes Lü on your right arm, you insert loosely in Ni reeling, and then advance and press inwards by Shun reeling, raising the hand while advancing. It is called Yi Yang Zhang (palm raised inward), because at this time the palm is facing inward and upward. Second, if you guide the partner and withdraw your step, the partner will likely expose some weak point after you raise your palm in Ni reeling. To lift the partner in this ‘openning’ provides preparation for your ‘closing’, i.e. to capture your partner in Shun reeling quickly. At this time your palm is facing upper outward, so it is called Wai Yang Zhang (palm raised outward) Internally, whether in outward Yang or inward Yang, you should coordinate whole body movements coherently. Yang is a kind of opening, so at this time the body should close, so as to support each other and not be separated. Practitioners must pay attention to these principles in practice.
王 西 安
6.5 TuishOu sTeps 6.5.1 Shang Bu … Forward Step
Shang Bu is a forward step with one foot, and begins with both a step forward and the bending of the knees so that the body is slightly crouched, five toes grasping the ground (Fig. 6.18). This preparatory posture resembles a cat ready to pounce on a rat, and allows you to step forward lightly and flexibly. Like a cat, you should prepare first by gathering energy, then extending the foot while listening and feeling intently. Step first with the heel then uncurling the rest of the foot flat on the ground. This procedure will limit your vulnerability.
6.5.2 Tui Bu … Retreating Step
The Tui step consists of moving one leg backward in an arc, and it can consist of more than one step (Fig. 6.19). Key to the Tui Bu is the bending of the weight-bearing knee. How much this knee bends and hence how much your body squats depends on the size of the Tui step. The bigger your retreating step, the lower you will have to bend your knee. However, it also depends on your body condition. Whatever the case, the Tui step has to be done flexibly and lightly and not with stiffness.
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 6.18 Fig. 6.19
陈 氏 太 极 拳 推 手 技 法
6.5.3 Gen Bu … Following Step
The Gen Bu can also be called the Dian (adding) Step (Fig. 6.20). This step is used in the situation where one normal step is too small to reach the target while two steps too excessive. In this instance, one is said to Gen (follow) or Dian (add) a small step after a normal step to reach the target distance. Gen is applied to the four front orientated techniques, Si Zheng Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua. The main purpose of Gen Bu is to get closer to the opponent to decrease their chances of escape. However, note that the Gen step is completed without the opponent’s awareness, a technique called Die Fa (a general concept of body combat techniques, referring to the comprehensive techniques and strategies to defeat the opponents, on the basis of quality ‘listening’ to their speed, weight and power in Tuishou). The importance the Gen step in Tuishou is reflected in the saying, “You cannot reach the depth and secrets of Tuishou without understanding Die Fa.”
王 西 安
solo pRaCTiCe in Tuishou
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
Solo Tuishou practice consists of individual practices useful for improving flexibility, agility and responsiveness to combat. Typically, body movements are initially executed at a high stance, gradually lowering to mid then lower stances. However, practitioners should practise according to their body condition. Likewise, beginners should start with practicing at slow speed, gradually working up to faster then very swift movements. At each stage, slow movements should not become blocked, fast movements not energy-losing, and very fast movements not chaotic. In other words, you should not lose energy in slow practice, nor be obstructed in fast movements. On the contrary, you should keep the consistency, coherence and Liu He (the Closing and Consistency of six parts of the body), and avoid any disorder and energy loss.When one part of body moves, all other parts follow and coordinate. In solo Tuishou, you should act as though following your partner neatly, and always keep attention concentrated, shoulder blades relaxed, and movements flexible. Execute solo practice as if you were actually fighting with a partner, with the fight so vivid that it brings you more interest in your practice. As a result, after thorough sole practice, the whole body moves flexibly, neatly and smoothly, and you are able to do well in actual paired Tuishou.
王 西 安
2. the left toes grasping the ground. palms lightly touching the sides of the legs. then slowly roll down the rest of the foot to the ground. eyes looking forward (Fig. relax the crotch and lift the right knee. straightening the neck and lifting the top of the head. empty the Yong Quan point.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. Shift your weight slowly to the left leg.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. As your weight shifts. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg.7.2). Relax the arms and hang them at the sides. 7.2. 王 西 安 187 . in preparation for the right leg step forward lightly.1).1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape. precise and full of intention of listening. 7. 陈 氏 太 极 拳 推 手 技 法 7.3). stepping without thought) (Fig. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. Maintain the vertical axis. Your step should be light. 7.e. so as to avoid empty stepping (i.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly.2. heel first with toes pointed up. 7. Continue relaxing the crotch. Step the right foot forward.
Complete the movement by raising the right fingers to form the Li (erect) palm. 7. 7. While the right arm moves.1 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 7. relax the left arm so that the left hand hangs down. 7.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. thumb behind the fingers (Fig. the left elbow and the right hand should move coherently in collaboration with each other.2. As the weight shifts. right elbow and wrist. .2 Fig.4). extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. 王 西 安 188 Note: in later movements.3 7.
王 西 安 189 . 7.5 7. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.2. relax the left side of the crotch and shift your weight slowly to the left so that the inner side of the right foot touches the ground.5). As you reel.4 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. 7.Fig. 7.
right palm facing down and wrist bending 450 inward using the little finger as a guide. The other fingers reel outwards in coordination with the elbow (Fig. When the right arm moves downward. 7. the elbow in a slightly warding off (Peng) position in coordination with the little finger. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps.7). 7. 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. Step the right foot either flatly on the ground or with toe tips pointing up. 7. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. The right forearm now moves transversely in front of the abdomen.6).6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. .2.6 Fig.7 7.陈 氏 太 极 拳 推 手 技 法 Fig. 7. At this point.
At this point. pointing the right knee slightly outward and moving it in a helix.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. followed by the hand. until it reaches the front of the right ribs. Shun. extend the right hand slightly forward. shift your weight to the right. While the right arm reels. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. that is. a 900 arc to the right side of body.2. 7.9). Ni. draw the chest slightly inward and relax the right side of the crotch. 7.7. 王 西 安 191 . Shun.2. using it as a pivot to rotate the right shoulder rightward.9 Part 9 • • Now using Ni reeling. Ni. bend the knees slightly to place the body in a squatting position. changing into Ni reeling.8). The 3600 rotation of the arm follows this sequence of changes: Shun.2. Rotate the waist to the right. 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. Return the bent arm and the bow leg to their original positions (Fig. Then place the palm downward (Fig. 7.7 Part 7 • • • • Using the little finger to guide the energy. As the arm changes to Ni reeling. three Shun reelings and two Ni reelings. 7. 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.
Practice alternating rotations with both arms so that there is a feeling of balance. The middle body moves in coordination with the upper and lower bodies. all parts moving together collectively. Practice until you reach a level where when one body part keeps still then all other body parts keep still. that is.9 • The left arm rotates from the left. the upper body guides the lower body’s movement. Shun. Ni. Notes In these horizontal-circle rotations.陈 氏 太 极 拳 推 手 技 法 Fig. Ni. The movement of every part of the body should be continuous and synchronised – when the upper body moves. Shun.8 Fig. three Ni reelings and two Shun reelings. practice on the left by switching to the left leg and the left hand. 7. 7. that is. when one body part moves then all other body part follow. Relax the waist and shoulders. and ensure your body weight moves back and forth in synch with the body movements. the arms rotate with the waist and the axis while the hand guides the energy. rotate the wrist. the reeling sequence being Ni. When you feel tired practicing on the right. the lower body follows. 王 西 安 192 .
The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. 7. lower your Qi. with eyes looking forward (Fig. then switching to 90o Shun reeling. Finally. 7. drawing an arc of about 180o which goes downward and then up to the right. palm slanting upward with intention to gently guide and draw in. It only requires vertial hand revolution and very small shifts in weight. then turn the body to the left and raise the right hand in Shun reeling. Next. Focus the eyes on the right palm (Fig. Next. • • • • • Keep your body weight on the left leg and step forward. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. Bend the left leg so that you squat slightly. with the rest of the foot gradually fully touching the ground. relax the left side of the crotch.12). The whole movement is mainly guided by the rotating waist and relaxed shoulders.7. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. switch to Ni reeling.10). drawing an arc of about 90o to the left. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . heel first with the right foot. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. 7.11).
11 Fig.10 Fig. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. Practice rotating both arms in turn.陈 氏 太 极 拳 推 手 技 法 Fig. Finally. 王 西 安 194 . 7. Vertical arm rotation is guided by spiraling movements of the waist and back. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward.12 • • When rotating in the opposite direction. Notes The single-hand vertical circle is not completely vertical but slightly slanted at an angle to allow you to guide and draw the opponent in. then reel in Shun. 7. reel in Ni to the right at 90o. 7.
7.16).14 Fig. palms facing to each other. otherwise the shape of the posture will be lost (Fig. 7. 7.7.13 Fig. Relax the left crotch and while focussing on the right crotch. pushing both palms forward (Tui Palm) at the same time.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. toes relaxed and pointing downward (Fig. 7.15).15 195 . then raise the right foot. eyes facing the front (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7. Raise the forearms 90o upward. the forward shift of the body should stop once the palms reach their natural end position. This body posture is now one of holding and collecting. shift your the weight gradually forward. the palms should move forward at an inclined angle (see picture). in preparation for action (Fig. Note: when applying Tui Palm. Bend the left knee to put the body in a crouching stance. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.14). 7. Also. Shift your weight gradually to the left leg. 7.13).
then lowering to the front of the abdomen.15) by drawing a circle by the sides of the body. palms vertical. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. 7.16 Fig. 王 西 安 196 . this time relaxing the right crotch and focussing on the left crotch. Repeat the Tui Palm movement again. 7.陈 氏 太 极 拳 推 手 技 法 Fig. shift your weight backward and separate both hands to the sides of the body. 7. imagining the hands seizing the opponent’s wrists by Diao (Fig. then pushing both hands forward.17). Practice this cycle.17 • • • Next. 7.
18).19 197 . eyes facing the front. lower the waist and shoulders. drop the elbows and sink the Qi downward.18 Fig.19). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7.7. in preparation for action (Fig. Grasp the ground lightly with the toes and face the eyes forward (Fig. 7. 7. draw the chest inward. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. 7. Shift your weight gradually to the left leg. This body posture is now one of holding and collecting. Bend the left knee to put the body in a crouching stance. 7. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. toes relaxed and pointing downward (see Fig. Raise the forearms 90o upward. then raise the right foot. palms facing to each other.14). stated as follows: Stand at attention with the body upright and relaxed. While raising the hands.
open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands.21 • • • • 王 西 安 198 • Next. push the crossed palms over the head in Ni reeling. extending the hands forward so that the left hand crosses over the inner side of the right wrist. both palms facing inward. At the same time. 7. continue to draw your chest inward. As both hands separate upwards. Then.20).21). Next. Extend both hands forward in an ‘offering’ stance. 7. During this process.陈 氏 太 极 拳 推 手 技 法 Fig. . after another small Ni reeling upward. palms facing forward.20 Fig. step the left foot on the ground and shift your weight forward (Fig. cross both hands slowly in Shun reeling. finish the weight shift to your right leg. the palms descend to the sides. stopping at shoulder level (Fig. 7. with the intention of supporting something upward. 7.
陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . With body gathering. palms facing each other. finger-tips pointing down. You will feel the power after long practice. the chest. so as to start a new cycle. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. only that palms in the latter move horizontally. while weight totally switches to the left. upper arm. palms cross together. that is. strike out in succession to the sides so that the arms become a pulled bow. • • Now the left hand reels in Ni while the right hand reels in Shun.Note: as both hands separate outward. Both hands then draw a downward arc to fall to each side of the abdomen. forearm. Closing form: palms continue to Shun reel. then hands. shoulders. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body.
Note that one should practice with intention rather than by force. The key points are the same as those of solo Tuishou. • Stand at attention. eyes. Extend the left hand transversely and place it on the middle of the right upper arm. Open every body part to make your rotations natural and flexible. 7.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. Lü. • As the weight shifts. palm facing forward. When practicing. extend the right hand diagonally forward to the right. • Shift your weight to the left leg and lift the right foot to step forward. body and steps. heel first.22 Fig. and An. act as if sparring with a partner. palm facing in. then bend it inward 45o. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 7. 7.23 200 . Ji. Coordinate the movements of your hands. with the foot gradually stepping fully on the ground. thumb pointing down and the little finger pointing upward.
as the left hand moves inward in Ni reelings. Move the right hand in Shun reeling. the wrist bent slightly inward and palm facing inward. 7.• • • • • The left arm intends to Peng outward. Relax the right crotch and turn the body to the right. At the same time.24).24 Fig. the arm opens like a circle. lower the right shoulder and drop the right elbow. focus your intention on meeting and holding the opponent’s hand.25 201 . During this process. and so continue to Peng upward before executing Lü. and the eyes look forward to the right (Fig. the left hand ahead of the right. Next.22). raise both hands in Ni reeling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Meanwhile. shift your weight left and focus your eyes on the front of the right hand (Fig. 7. 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. Shift your weight to the left slightly then to right. relax the left crotch.23). 7. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. As the left hand rises. 7.
Note: In this movement. 7. pushing it outward. This is the same as the starting posture of Da Shou posture. Peng and An are transitional actions executed in 王 西 安 202 . If the left leg is in the front.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. visualize your left hand pressing down on the hand of the opponent. eyes looking forward. 7. You will also need to use your left shoulder to push and use the right hand to help press forward. the right hand executes Peng. The edges of the hands become power-exerting points. At this point.22). Repeat the process. As this happens. Execute An forward with both hands the palms facing each other about 33 cm apart. alternating left and right sides. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. and the left hand helps the right to execute Lü.25). The right hand reels in Ni direction also with the intention to push outward (Fig. an instant. shift your weight forward to the right leg.
• • • • Step forward with the right foot then shift your weight forward. moving forward is combined with Ji and An hand movements. These actions drive two the hands forward. Keep the eyes looking to the front right (Fig.7. Hand movements consist of four Zheng hands: Peng. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. outward.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. draw the chest inward. moving backward uses Peng and Lü hand movements. Lower the waist. As the weight moves forward. 7. Lü. Ji and An. where the pushing power is exerted.27 203 .26). Face the outer hand edges. 7. sink the shoulder downward and drop the elbows. Step the left foot on the ground with the inner side of the foot touching the ground. 7.26 Fig. In practice. raise both hands to attack by pushing them to the front right of the body.
7. As this happens. Eyes look to the front right (Fig. At the same time. rotate the right hand slightly downward in Ni reeling. . The body moves forward following the shift in weight.28 Fig. with the intention to close before opening. shift your weight to the left and lift the right foot. Raise the right hand in Shun reeling. toes pointing down (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 7. At the same time. thumb pointing down and palm facing down. Bend the left leg to squat further and extend the right foot forward. Relax the left crotch after pushing and shift the weight to the left.27). turning the right elbow out and upward. Push the shoulder forward.29 • • • • • 王 西 安 204 • • • After the pushing attack. tiptoe first.28). 7. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. Note that Qi should not be allowed to float upward. followed by the arm and the hand (Fig.29). 7. withdraw the left hand gradually and place it on the middle of the right upper arm. and in preparation for moving. As the arm moves. 7. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body.
then shift your weight to the right. Eyes look to the front left (Fig. Eyes look to the left (Fig.which takes place in an instant. then draw a circle downward. gradually squat the body. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm.31). The outer edges of the hands are power-exerting points. the upper and lower body form a balanced block of strength with the waist as the boundary. Then the right hand switches to Lü. Next. 7. The front push of the right hand provides an instant defense. Next. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . 7. Raise the right foot and take a step backwards to the right. While the right hand switches to Lü.33).32). Visualize sending the opponent’s right hand out to the left side of your body. Both hands are about 33 cm apart (Fig. raise the right hand quickly to push forward together with the left hand toward the left side of the body. then in Shun direction downward to the left. 7. thumb pointing down and palm facing forward.30 Fig. 7. As the weight shifts. raise the left hand in a spiral to form a Lü movement with the right hand. Eyes look to the front left (Fig.30).Fig. 7.31 • • • • • • Relax the left crotch and shift your weight to the left. Reel the left hand first in Ni direction. 7.
34 Fig.32 Fig. At the same time.34).陈 氏 太 极 拳 推 手 技 法 Fig. take a step forward with the right foot. 7. extend the right hand to the right front of the body following the right foot. Raise the body gradually and slowly shift your weight to the left leg.35 206 . the right arm then bends to 450 inward. 7. 王 西 安 Fig. Eyes look to the front left (Fig. until the left hand reaches the middle line of the body. As the weight shifts.33 • • • Both hands execute Lü from left to right following the body. 7. 7. 7.
7.36).Fig. 7. place the left hand on the right upper arm.37 • • Simultaneously. 7. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. 7.36 Fig. Eyes look to the front right (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Then shift your weight slightly rightward. thumb pointing down.39 207 . Note that the waist power descends to the left first then the right. Eyes look to the front right (Fig.38 Fig. 7.35). 7.
7. Relax the right crotch and shift your weight to the right. 7.37). execute Lü downward with the left hand. 7. As soon as both arms finish pressing forward. Start a new cycle (Fig. raise the right hand quickly and exert An forward with power. 王 西 安 208 .39). move the right hand in front of the left hand quickly. Eyes look to the right (Fig. Next. then execute Lü movement with both hands to the left side of the body until the right hand moves in front of the right breast. At the same time. visualizing that you are pushing the opponent’s hand outward to the right.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left.38). then move it out to the right. Eyes look to the front right (Fig.
Ji and An is the same to those in Shun Step (forward or backwards Step). The other movements are the same as the movements in Shun Step (forward or backward step).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. Bie. 7. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. It is not easy to practice Cai. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. literally meaning “big falling step”. Lü Ji and An. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. the only difference being that the extent of the steps in Da Lü is bigger. the whole body will become stiff when you try to squat down in the big body movements. and Kao. a major weakness with which you cannot even hope to attack the opponent. If not.7. The other picture demonstrates the big Frontward Bow Step. Furthermore. As such. Lie. and Kao. Kao with large-scaled body movements. Zhou. beginners should first practise the routines. One is Da Pu Bu. 7.40 Fig. Bie Zou. In this chapter. Lü. The circulating of steps in Da Lü when practicing Peng. then the fives methods of solo Tuishou practice. we will only refer to two main Da Lü postures as shown in the pictures which follow.41 209 . Zou. It uses the combat techniques of the four hand techniques in corner directions – Cai.
You need to rotate neatly when executing a step forward as the partner changes his or her direction. Luan Cai Hua is also built on the foundation of Peng. 王 西 安 Fig. This way you will not lose energy unnecessarily nor become stiff. Lü.42 210 . See how to execute Dian step in Figure 7.42. Ji. In the Luan Cai Hua Tuishou practice. precise rotation. and An. You should adjust your direction and position by applying small Gen steps so that you can stick to the partner tightly and prevent their escape. The body movement and gait should be neat and swift. It’s features include free movement with no fixed direction.9 sOlO luan cai hua TuishOu The gait in Luan Cai Hu is called San Bu (scattered steps) or Hua Jiao Bu (steps in flower tracks). and also uses the Si Zheng Shou. you should pay attention to the following points. and flexible. 7.陈 氏 太 极 拳 推 手 技 法 7.
the steps are small but the speed is fast. You should practice listening repeatedly. the only difference being in the stances of the body. When you apply Luan Cai Hua in Tuishou sparring. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. Your movements should be quick but not chaotic. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. 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.In this technique. and thus impede any progress in Tuishou. light but not empty and floating. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . you feel the partner’s energy as you rotate. looking for the attacking opportunity. An). Ji. Lü. When circulating the four Zheng hand techniques (Peng. 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. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. getting close to their upper body while causing them to raise their lower body or slant it.
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 .
flexible and without weaknesses. pair practice should start slowly. Lastly.陈 氏 太 极 拳 推 手 技 法 8. lowering to mid-height then low stance. movements in pair practice should start simply before gaining in complexity. so you must strive to concentrate. If possible. development should follow the stages of San Shou to Zhan (coherence). Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. moving as the partner moves. like a flowing river: smooth. try to choose a partner of similar level for pair practice. Nian (sticking). whereby your actions should be precise. 王 西 安 214 . Pair Tuishou embodies the essence of Taiji Tuishou. Like solo practice. In addition. then pair Tuishou may be described as “acting as if there is no partner although you have one”. 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. pair practice becomes beautiful to watch. the practice stance should start high. Lian (connecting) and finally Sui (following). flexible and rapid. gathering speed in the later stages. If both partners have Taiji proficiency. agile. similarly.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. Pair practice Tuishou improves combat skills. An introduction to Tuishou pair practices has been provided in the following pages.
Player B refers to the female practitioner dressed in red. 8. arms hanging relaxed by the sides. These may be shortened to ‘A’ and ‘B’.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. The distance between both right feet should be about 10 cm.1 Posture 1 Both players stand at attention facing each other. gradually forming a front Bow Step.1 Both players take a step forward with their right feet. Their bodies are upright. an arms length from each other so that their fists touch when arms are outstretched.8.2. 8. 王 西 安 215 . 陈 氏 太 极 拳 推 手 技 法 Fig. toes pointing slightly outward to form a 八 shape.
the left hand can also be placed naturally along side the body. The right hand extends forward with the left hand akimbo. Alternatively.2. with the middle fingers at nose level. Both players watch their hands throughout this step.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. As both players draw this arc. 8. and his body crouches slightly to form a closing power. . Fig. eyes focussed on the right hands. B’s weight continues to move forward to form a single-hand An (pushing) power.2 8. using the middle line of the nose as the boundary. both players raise their right palm and extend it forward. The back of the palms touch each other. corresponding with the rotation of the waist. A’s weight shifts backward. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. B shifts her weight gradually backward while her hand draws an arc following Player A. Repeat this cycle. 8. At the same time. then she guides A’s hand to the front of his abdomen.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. then Ni reels 90o to the front of Player B’s abdomen. 8.3 8.Fig.4 217 .2.
the only difference being that here the Da Shou (meet partner with hand) position is higher.陈 氏 太 极 拳 推 手 技 法 8. 8. then then draws a 90o arc to the left.3 single-hand verTical circle wan hua in pair pracTice 8. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. both hands perpendicular to each other and eyes looking forward. Both players then rise.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 8.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).3. Fig.3.
Partner B relaxes the left crotch.6 8.7 219 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. B always adheres to A.Fig.3 Posture 3 Player A relaxes his right crotch and turns his body to the right. with eyes looking at the same direction. 8. 8. guiding Player B to Ni reel 900 to his right side. when A draws an arc to the right side.3. turning to the right (B’s left side). During the above process. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. For example.
Now both players wait in a defensive mode. While waiting. Both right feet start to uncurl to the ground.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. having first shifted their weight onto the left leg. ready to move and attack if hands touch.8 220 . heel first. eyes looking forward. Both players step forward simultaneously with their right foot. Then Player B extends her hands forward.1 Posture 1 Both players stand at attention facing each other. with aim to form a front Bow Step. they lower their waists. draw their chests inward and gather their ribs. Player A raises two hands in front of his chest. 王 西 安 Fig. lower the shoulders and drop the elbows. placing them outside A’s hands. toes turned up (optional).陈 氏 太 极 拳 推 手 技 法 8.4. 8.
As Player A pushes his hands forward. 8.9 王 西 安 221 .2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. In other words. As B’s weight moves backward. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks.8. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. Here.4. He stops pushing when his hands are 20 cm away from Player B’s chest. B’s little fingers “stick” to A throughout the process. her hands reel in Shun. A’s weight shift to the right foot has been fully completed. 陈 氏 太 极 拳 推 手 技 法 Fig.
王 西 安 222 . 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. Fig.陈 氏 太 极 拳 推 手 技 法 8. Then both players return to the original position.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. B moves her weight forward to form a Bow Step. While Player A separates. While A draws arcs. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. She relaxes her chest as her hands separate. 8.10 8. using the outer edges of his palms. He shifts his weight backward.4. then separates Player B’s hands to the sides of her body at shoulderlevel.
11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .Fig. 8.
Fig. with the inner sides of both feet facing each other and 10 cm apart. all eyes look forward.5. The two parties’ eyes always follow their movements. then step their right feet forward simultaneously. A’s weight is all at the right foot.5. Both players extend and raise their hands in front of their bodies with Player B’s hands placed on the outer edges of Partner A’s hands. Now. the weight for both parties starts to shift to the right.1 Posture 1 Player A and B stand facing each other.12 王 西 安 224 8. The positions of all hands are higher than the eyes. Now. 8. guiding Partner B to raise her hands. draw a vertical circle outward. and separate hands to the sides of the body at shoulder level. . B has been shifting her weight to the left.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward.陈 氏 太 极 拳 推 手 技 法 8.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8.
while he shifts his weight backward. she shifts her weight forward to form a front Bow Step.3 Posture 3 Player A switches to Shun reeling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8.Fig. Both players’ eyes face forward. While Player B rotates her arms downward following Player A. his little fingers slightly catching Player B’s wrists.14 225 . Player A draws outwards while Partner B draws inwards. and draw arcs to the lower abdomen.5. 8.13 8.
王 西 安 226 . whether Player A separates B or vice versa. his hands crossing before the chest with both palms facing in. Both players can practice this in turn. Then Player A returns to the original position by Ni reeling and separating his arms outward.陈 氏 太 极 拳 推 手 技 法 8.5. Both players face forward. and continues to move her weight forward. Repeat this cycle. the body squats to prepare for openning. Note: The steps are the same. Player B follows Player A closely and feels his change.4 Posture 4 Player A continues Shun reeling.
6. Now.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. yet start to shift to the right. Both players then shift a little more weight to the right. then step their right feet forward simultaneously. eyes looking forward. 陈 氏 太 极 拳 推 手 技 法 Fig. 8.15 王 西 安 227 . the weight for both parties are both in the left. with the inner sides of both feet facing each other and 10 cm apart. backs of the hands touching. and then extend their right hands forward so they cross each other. Player A and B stand facing each other.8.
During this process.陈 氏 太 极 拳 推 手 技 法 8.6. both of B’s arms form an An (Pushing) power. he places his right hand on the middle of B’s left upper arm. Her right hand presses Player A’s right hand slightly downward. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. Player A relaxes his left crotch and moves his weight slightly leftward. then extends forward to press against A’s left forearm.16 8. . While the right arm turns.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. Fig. 8. Player B places her left hand on the right upper arm of Player A as he moves. At the same time.2 Posture 2 Player A shifts his weight forward.6. gradually switching from Peng (ward off ) to Lü leftward. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. he places his left hand on the middle of the right upper arm. then turns his right hand left in Shun reeling following the turn of his body. In this way.
18 229 .4 Posture 4 Player B executes Ji (press) on Player A. Player A executes Lü on B’s hand and presses it downward. and executes Lü (roll back) again.Fig.6. Repeat this cycle.17 8. In response. 8. Partner A withdraws his pressing hand and places it on his own right upper arm. 8. thus returning to the original position. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Then Player B wards off Player A’s left hand upward. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. Player B switches from An (push) to Peng (ward off ). shifting his weight forward to add more pressure. In response.
1 Posture 1 Both players stand at attention.7. placing it on the outside of A’s right leg. bending it 450 inward. 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.19 230 . Player A steps his right foot forward to form a front Bow Step. Both players look at each other from the side. Player B steps her right foot forward at the same time. A’s left hand then crosses with B’s left hand. 8. palm facing outward.陈 氏 太 极 拳 推 手 技 法 8. so that both knees touch (A’s inner knee and B’s outer knee). 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.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8.
and switches both hands to double-hand Shun reeling to ward off outward gradually. turns his body to the right. Both players look to the front.7. he lowers his left shoulder and left elbow. shifts his weight slightly to the right.8. and then wards off Player B’s left hand upwards. This switch from Peng to Lü happens in an instant.2 Posture 2 Player A then relaxes his right crotch. At the same time. 陈 氏 太 极 拳 推 手 技 法 Fig. Player B shifts her weight forward to double her pressing power. 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. Simultaneously. As Player A’s body turns right. Both players look to the front and gather themselves to prepare for futher movements. 王 西 安 231 . raises his left hand. and moves his weight leftward. Player B continues to move her weight forward when Player A applies Lü. executing Lü (roll back) with his right hand. 8.20 8.3 Posture 3 Player A relaxes his left crotch first.
A then extends his left hand up and forward and presses the middle of Partner B’s right hand. then pushes her left hand rightward. 王 西 安 Fig.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. with the aim of getting her to fall to his right side. When Player A presses downward. 8. he presses Player B’s left hand downward to the front of her lower abdomen. At the same time. forming an An force. 8. with the coordination of his right hand. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand.21 8.7.22 232 .陈 氏 太 极 拳 推 手 技 法 Fig.
6 Posture 6 Player A shifts his weight back to the left leg after pushing. tiptoe first. then her foot gradually steps on the ground fully. A’s upper and lower body move as one. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages.5 Posture 5 Player B’s left foot steps on the ground. In this move.8.7. 陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 233 . At the same time.7. her right crotch relaxes and she shifts her weight to the right. As Player B executes Lü. At the same time.23 8. 8. Player A moves his weight first to the left and lifts his right foot quickly to step forward. 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. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. 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.
.24 8.陈 氏 太 极 拳 推 手 技 法 At the same time. then pushes Player B’s right hand first down then left using the pressing power of his left hand. so as to form Peng and Lü with both of his hands. then takes a step forward with her right foot. B steps forward in synch with A’s guiding hand. Player B relaxes her left crotch. palm out.7. and steps within A’s left leg so that their two knees connect. shifts her weight leftward. 8. Both players look diagonally to the front. Fig. B also places her left hand on the middle of her right upper arm.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. While this happens. Player B wards off slowly outwards with both hands in Shun reeling. Both players look to the side at each other. shifting her weight gradually rightward. Player A places his left hand on B’s right upper arm. turns his body slightly left and shifts his weight slightly leftward. In response. Simultaneously. to form Ji (press) power with her right arm.
At the same time. Player B lowers her left shoulder and left elbow. then switches her left hand instantly from Peng to Lü. B also places her right hand on the middle of A’s right upper arm.7. then raises her left hand in an upward Peng on A’s left hand.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left.26 235 . Simultaneously.Fig. 8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 8.25 8.
then raising his left hand upward onto B’s right upper arm to warding off (Peng). Then with her left hand. then to her left. 8. she presses Player A’s left hand first down to the front of his lower abdomen. she presses forward on the middle of A’s right lower arm.陈 氏 太 极 拳 推 手 技 法 As this happens. 8. His right hand then comes into contact with B’s right hand. At the same time.27 236 . both A’s arms form an outward Peng power. 王 西 安 Fig. As Player B pushes A’s left hand downward. Both players look to the sides. In this instance.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. Both B’s hands work together to form an upward pressure pose. then withdraws his right hand to place it on the middle of his left upper arm. Both players look diagonally to the front. then quickly forms a pushing power towards B. A responds first by flowing downward. Player A continues to shift his weight forward.7.
relaxes his left crotch. 王 西 安 237 . He moves in Lü until his left hand reaches the mid-line of his body. 陈 氏 太 极 拳 推 手 技 法 Fig.7. following A’s Lü power. Player A steps his left foot on the ground. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü.8. 8. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. 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.10 Posture 10 Both players keep moving and rotating.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. Both players should defend and stick to defend their own territory. Player B shifts her weight first to the left. leading to increased exposure to attacks. In response to A’s Lü. shifts his weight to the right and rotates both hands to the right following the body to execute Lü on the right side of Player B’s right arm.
palm out. 王 西 安 238 . B places her left hand on the middle of A’s right upper arm. The rotating methods are the same as those on Figures 8.26. Lü. Simultaneously. Ji and An. Both their knees connect. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg.7. and 8. to form a Ji power with his right arm. 8. foot gradually steps fully on the ground.陈 氏 太 极 拳 推 手 技 法 8. At the same time. Player A places his left hand on the middle of his right upper arm.27.11 Posture 11 After pushing forward. both players return to their original positions. Both playesr look diagonally to the front. At the same time. Player B shifts her weight backward to her left leg. tiptoe first. her right hand changes to Ni reeling to force Player A to step back. one full cycle consists of one step forward and one step backward. and are ready to start a new cycle. for both of the two players. Finally. shifts his weight leftward.25. as well as an accomplishment of one cycle of Peng. You may have found that. her two hands forming a Lü posture. As B shifts her weight backward. A relaxes his left crotch. 8.28. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou.
陈 氏 太 极 拳 推 手 技 法 Fig.8. you should combine Si Zheng Shou practice with Si Yu Shou.29 王 西 安 239 .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. This technique consists of larger scale body movement. and is based on Shun Bu Tuishou. Bie. which is aimed at reinforcing your lower body stance and leg power in this technique. Zhou and Kao. In this low body movement. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. 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. 8. which is Cai.
push and press against the opponent to force them into a defensive mode. With this method.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. or power direction. In Da Sao. use your elbow or Kao (shoulder strike) to attack when you find a weak point. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). Only this way. If you choose not to attack under some circumstances. During combat. can you win consistently. Gun Shuan (roll and seize). Shuan means to put an arm across the chest like a locked door bolt to protect against attack. left and right. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. Sao means to sweep or clear away. nor the location of your body weight. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand).陈 氏 太 极 拳 推 手 技 法 8. try to feel the Gongfu level gap between you and your opponent by listening. the opponent cannot discern your target. 王 西 安 240 . The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. Bi Ya (push and press) and so on. depending on the circumstances. From this position. reel them in Shun and Ni directions. Gun Shuan is an extension of Da Sao. so as to transform the opponent’s power. up and down. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). Instead of sweeping the arms horizontally.
agile and swift. Combine the power of both your hands so that they become one indivisible power. This is an example of the Die Fa. which you think harmful to your opponent. coordinated with Shang Long Xia Ti. For example. These are the main methods and purpose of Luan Cai Hua pair practice. Fig. 8.30 陈 氏 太 极 拳 推 手 技 法 Fig. Apply Ti (lift) and Long (holding close) unpredictably and precisely. 8. Your Dian Bu should be light. you can advance two or three steps to gain a territorial advantage.Your footwork should be coordinated with your handwork. there are no restrictions in the application during practical body combat. Your footwork should be based on the speed. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). Actually.31 王 西 安 241 . if the opponent retreats one step. 8. flexible. direction and angle of changes. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares.32 Fig.
our world and the human body through the interactions. Yang.Other books by INBI World: OLEG TCHERNE philosophy of Taiji The philosophy of Taiji was developed in China at the height of the Daoist era between 700 bc to 200 ad. one of the pre-eminent representatives of Yang Taiji family. For this reason. . Sun and Wu Styles. According to this philosophy. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. opposing and complementary. much of the theory in this book is based on the guidelines written by Yang Chengfu. While the Taiji form has undergone many changes through the ages. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. culminating in the modern-day Chen. Taiji Philosophy is most easily expressed and understood through the use of body language. At its foundation. Earth or Human realms. that is. through Taiji forms and postures. we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. the philosophy of Taiji attempts to explain the workings of the universe. of two fundamental forces: Yin and Yang.
this tome was intended by its author to be both the first ever written repository of Taiji lore. and a referential resource for Taiji instructors and practitioners for generations to follow. including his meticulous inscriptions for over 400 illustrations. A work of intense scholarship which took over fourteen years to complete.inbiworld.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. www. The English translation of this canon marks the first ever attempt to translate into English Chen Xin’s highly esoteric and detailed technical explanations of Chen-style Taijiquan techniques.com .
founder of the Yang style. How do I purchase calligraphy or make a contribution A.chenxiaowang. Wenxian.com .Chen Village Restoration Project • Q. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. Q. 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. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. Henan Province. Who was Chen Changxing? A. China. www. Q. Q. What is the Chen Changxing - Chen Village Restoration Project? A. How is the project being funded? A.