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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. is to be published. 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. Atsuko Noguchi January 1998. ‘to exist everywhere. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. we believe that Taiji. Indeed. as an expression of the profound spirit inherent in all human beings. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. newly written by Master Wang Xian. indubitably a result of the efforts of Taiji followers in both countries. Tokyo. More than ever. In the spirit of Taiji’s original meaning. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. belongs not only to China but to the rest of the world. One of the finished manuscripts resulted in this book. to consist of everything’. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . an impressive feat of concentration and energy considering Master Wang’s teaching workload. I look forward to Master Wang’s future works with great enthusiasm.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
Na (Seizing) Practices ............................................................ Tuishou: the Only Criterion to Judge the Gongfu of Taiji......................................Table of Contents Chapter One: Introduction 1...........................16 2.......................................................................29 8...35 Chapter Three: Single Form Practice 1...............3 Tuishou Practice – Going Inward.... 3........................................................ 4......34 10....................................................72 6.........40 3.....................................21 4.............. Misleading and Transforming Techniques ............................................ Ti (Raising) Energy .63 5............................................... Jietuo (Escape) Practices.............................................................4 The Core of Tuishou ................................97 8....................... Leg Practice ................................................................ Fist Practice ...................31 9..... Palm Practice ........ Listening to Energy .................. Opening and Closing ........................................................................................................................................55 4............. Introduction .............................. The Relationship Between Three Stages of Taijiquan Practice and Tuishou ........................................... Step by Step ..........................................................................38 2.......... Lian Sui Energies .......117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix ............................... Reeling Silk .................................................................................13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1..................10 5............ Zhan Nian Techniques............................................................ Dongjin – Realization of Energy .......................... Elbow Practice ...........................................................23 5.............................................................18 3................ Kao (Push) Practices................................... 2....................................................................................................................................... Na (Seizing) Techniques .....105 9.................................................................84 7........................................................................................ Feet Practice .......25 6.............................................................................................. The Origin of Taijiquan Tuishou ................................................................................................... Energy Explosion ..................26 7.
...187 3.......................... 215 3................220 5................................................................................................. Shuang Shou Ping Yuanwan Hua .......227 7.............................................................. 157 Chapter Six: Chen Style Taiji Tuishou Categories 1...........197 6....................................... Solo Double-hand Wan Hua in a Vertical Circle .. Single-hand Horizontal Wan Hua in Pair Practice ... Tuishou Steps ....... Pair Practice in Shun Bu Tuishou.................. Single-hand Vertical Circle Wan Hua in Pair Practice .. Shun Bu Tuishou ... Hand Techniques in Tuishou Reeling..... Introduction .....................230 8... Introduction .....................................................................................................................................142 5.........................................................239 9.. 138 4.......................... Solo Wan Hua ....................................................................................................... 183 Chapter Seven: Solo Practice in Tuishou 1........209 9............................ Tuishou Handwork Techniques .............. Chan Si Zhuang (Reeling Silk Posture) . Solo Danren Da Lü Tuishou .........................................175 4......................................... Hunyuan Zhuang (Circle Posture) ........................................... Wu Ji Zhuang (Wu Ji Posture)............................214 2.................................168 2................. Tuishou Footwork Techniques............................146 6.. Kai He Zhuang (Opening and Closing Zhuang) .........................................................................179 5.....................186 2.........................................240 王 西 安 x .............. Introduction ..... Solo Double-hand Flat Circle Wan Hua ............ Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) .................................................218 4...............................203 8.................................... Shuang Shou Li Yuan Wan Hua................ Classifications of Tuishou .........................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1........200 7.......................................171 3......................................................................................................... Pair Practice in Da Lü Tuishou ............................. He Bu-Tuishou ................ San Ti Shi (Three Postures)..... Solo Tuishou With Static Footwork .............. Pair Practice in Luan Cai Hua Tuishou....................................................................... Solo Ping Yuanwan Hua .............................................................195 5.132 2.........................................................149 7.......................................193 4...............224 6.......................154 Chapter Five: Practice for the Buttocks and Crotch ...... 133 3....................210 Chapter Eight: Pair Practice in Tuisho 1.................................................................. Solo Luan Cai Hua Tuishou ..................................................................................................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
Chen Wangting. As a combat techniqiue. originally known as Jieshou or Dashou. Chen Wangting. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. and will continue to do so in years to come. is a practical combat technique based on grabbing. location or access to equipment. China. gender. and he was recognized as the creator of Chen Family boxing. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. he drew on the theories of the Yijing (I Ching. in the period between the Ming and Qing Dynasty. was the creator of Taijiquan and 9th generation head of the Chen Family. transforming.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. the ‘Book of Changes’). Tuishou. ‘The Family Tree of Chen’. sword and stick routines. it helps build health and defence as well as to develop a sensitivity to movement. According to the book. With the accelerated pace of modern life. Its creator. Taiji Tuishou practice is not restricted by a practitioner’s age. Wenxian County. throwing and striking. Henan Province. catching. As it is not stressful to the body. as well as the principles of Yin and Yang. In doing so. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. it helps maintain fitness. reducing illness and prolonging a healthy life. (also known as Zouting) was a famous martial arts master.1. agility and flexibility.
followed by the double hand horizontal and vertical practice. Initially. Tuishou translates as ‘push hands’. Less well known is Tuishou’s other application as a technique for internal transformation. Follow the circling movements with the whole body. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. so much that you will be able to apply combat techniques. be relaxed. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. nor will you be able to intuit your opponent’s energetic intention. sTep-by-sTep To practice Tuishou. catching. Relaxation is fundamental. As you reach the level of adept. enabling you to throw opponents meters away without hurting them. listen to each other’s energy flow. you must know its significance. ‘From the familiarity of forms. intuitive and subconscious. to the Deity’. 王 西 安 4 . you will be able to release explosive energy to both small and large targets. Tuishou practice should be soft and modest. with greater efficacy and subtlety. A Taijiquan proverb pertains also to Tuishou. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. or appreciate the interplay of the slow/quick. and what it consists of. You will not realize inner transformation. principles. to the realization of Jin.陈 氏 太 极 拳 推 手 技 法 1.2 TuishOu pracTice – gOing inward. such as grasping. and striking. from the realization of Jin. hard/ soft. that is. an athletic activity based on mutual pushing. pacing your learning step-bystep. Literally. throwing. With sustained practice over a period of time. Become familiar with the single hand horizontal and vertical practice. and do not disconnect or oppose your partner’s energy. transformation is the basis.
mind and spirit with determination. As long as you practice persistently and make progress. force and speed in your actions. To cultivate ‘inner listening’. but never practice just in order to practice. Skill arises from consistent and accumulated practice. you will ultimately enhance your health and combat techniques.Remember that ‘inner listening’ is the one essential skill required to improve your technique. imagine a partner practicing or competing with you. Practice makes perfect. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . combining your heart. In solo practice. be calm and concentrated in your demeanour. your intention and commitment must be deeply held.
your partner’s weight. Qing (light) and Zhong (heavy).3 The cOre Of TuishOu The core of Tuishou consists of Zhan. When you can control these energies within yourself. which are also the essential elements of Taiji. Nian. while its theoretical basis builds on the philosophies of Yin and Yang. actions to the left or right. You will learn to follow your partner’s intention and forget your own. . Sui (stick. Movements alternate freely between Gang (hard) and Rou (soft). continue. follow) and Chansi Jin (Reeling Silk). you will develop the capacity to subconsciously anticipate quick or slow changes. with the lightest of touches. Kuai (quick) and Man (slow). Lian. attacks or retreats. and so on.陈 氏 太 极 拳 推 手 技 法 1. gathering or exploding. upward or downward movements. it will enable you to feel. 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. opening or closing. speed. distance and direction of energy. Tuishou practice is based on thirteen ‘forms’ or energies. adhere. At a more advanced stage.
‘if the opponent does not move. be calm and relaxed To release bursts of energy effectively. expansion. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. When releasing explosive energy. move before they do’ etc. it is the force of friction that enables you to hold and seize their arms etc. concentrate on one direction at a time. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. 王 西 安 7 . ‘if the opponent moves slightly. 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’. this energy refills automatically to its original ‘full’ state. don’t move’. 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’. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). Like a balloon whose air has been exhausted. stretching. or other deformation. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’.
” Chen Changxing. none of your opponents can defeat you. I perform strictly to the principles so as to make me unassailable. push or strike. utilizing the techniques of Kao. I follow my partner. also states: “No one knows when I gather or stretch. push or strike your opponent you do so without alerting them in order to capture their energy. and is worth remembering. Similarly. results in the shaking off of the opponent’s upper body and lifting of their lower body. whether ascending or descending. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages.陈 氏 太 极 拳 推 手 技 法 As stated in the General Song of Taijiquan by Chen Wangting (also known as the ‘Song of Taiji Practitioners’): “…remembering the principle of following. I always follow their intention. when you move forward in your turn to press. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. the 14th generation master. I can conquer a force of a thousand jin with a tiny force of four Liang. Using this. whether they strike or twist. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. The canon of Taiji teachings is rich with such sayings. 王 西 安 8 .” This technique. Even if attacked by a monster. 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). no matter how hard they press.
the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. One with four Yin and six Yang is among the group of the adepts. requiring us to further our exploration and improve our practice of it. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. I sincerely hope Taijiquan followers will embark on a serious study of this art and strive toward the as yet unbounded acme of this science. Only one with five Yin and five Yang is called adept. Here. As a science. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . In order to inherit and develop this Chinese cultural heritage.
‘three-yin seven-yang.陈 氏 太 极 拳 推 手 技 法 1. 2. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. Dong Jin (realizing the inner energy) Qi drives outer form. Zhong Quan (medium circle) At this stage. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. ‘Chen Style Taiji Laojia’ (Old Routine). is San Shou’. one comes into the group of the adepts’.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. as stiff as a stick’ evolves to ‘two-yin eight-yang. 2. The three stages of Taijiquan are: 1. still regarded hard’ turns into ‘fouryin six-yang. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. 3. . with fuller details available in Chapter Two of my book. Correspondingly. Zhao Shu (familiarity with the forms) Outer form drives Qi.
along with the Tuishou practice of Da Quan (big circle). Note that ‘no circle’ denotes a state of subtlety and skilfulness. possess abundant internal energy. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. that is. At the second stage of Dong Jin (realization of energy). We must pay attention to different methods during different stages of practice.3. Following a correct program of practice as outlined above. enjoy a feeling of lightness. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). in addition to a diligent assimilation of knowledge. medium and small circles. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). at the first stage. all parts of the body become as highly sensitized as finger tips so that when competing. and be able to achieve constant internal changes between Xu and Shi (void and solid). along with the Tuishou practice of Zhong Quan (medium circle). as well as the combination of the respective techniques applied in the big. That is to say. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . that is. one is regarded as a Deity’. By this stage. the complete fusion of external form and internal spirit. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. random alternations between states of energy gathering and releasing within a relaxed and elastic body. and does not mean total stillness. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. At the third stage of Shenming (deity). an adept may say. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle).
陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void). “Taiji practice is like rowing in the river. This is not unattainable. if you don’t make efforts to go forward.” 王 西 安 12 . as our ancestors tell us. you surely go backwards. Also known as ‘Five-Yin Five-Yang’. even though I don’t know how I do it’.
Nevertheless. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. Without the latter. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. However. the stronger force) also can defeat the weaker force. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. Tuishou develops one’s sensitivity to others. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. In other words. Ding meaning ‘stiff resistance’). it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. no techniques can be executed. hence it is essentially a competitive activity. 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. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. tough energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . softness can break through hard. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. It is this dynamic that we need to explore during practice. This is called. Skilled practitioners rely on a highly developed sense of touch. It simply requires practitioners to have sufficient physical force for competition. While appearing deceptively easy.1. When forces are equally matched during competition. Remember too where your weight is placed to maintain control of your centre of gravity. nor is it just a matter of pitting one’s physical force against others. ‘Weak side strikes strong side. four Liang defeats thousands of Jin’.5 TuishOu. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. ‘thousands of Jin’ (i.e. 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. These reflexes are faster than thought and only come with constant practice. meaning ‘loss of energy’. 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. Hence.
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 .
‘Without being known. What is listening with the skin? It means following the command of the heart and mind. no matter if the changes are in the opponent’s rotation. a rise or fall in height or changes in weight. a practioner’s body can react instantly with great accuracy and flexibility. alluding not only to listening with the ears. position and magnitude. her body light and flexible.1 lisTening TO energy In the context of Taiji and Tuishou. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. her changes in rotation. I know others and sweep all enemies aside. Similarly. the act of ‘listening’ has profound resonances. continue. with the skin and with the fine hairs on the body surface. Hence the saying. when an opponent touches one’s fine body hairs. The entire body surface of a high level practioner is highly sensitive. squeeze and press. and taking Zhan Nian Lian Sui (stick. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. On receiving these signals. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. feel your partner’s movements. filled with abundant internal Qi. one’s force is injected into the marrow. At this stage. Listening can be divided into three areas: listening with the bones. During Tuishou sparring. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). With your skin. the skin. but also with the eyes. 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.’ 王 西 安 16 . sensing through the skin enables reaction in any manner within the rules. allowing both body and mind to enter into the level of deity and transformation. and a highly-tuned awareness of sensations in the heart and nerves as well. One’s skin is the key weapon. adhere.陈 氏 太 极 拳 推 手 技 法 2. follow) as fundamentals.
Only through accumulated practice can one’s sensations detect the smallest changes. defending and attacking blindly. How good it would be to attain this level. opening and closing (快、慢、沉、稳、虚、实、 开、合). Failure to do so will cause one’s energy to remain stuck in the chest. listen without hearing. Without this preparation. descending. “The most super-human strategy is formless and soundless. While the majority of practitioners are able to listen with the bones. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. leading only to failure. calm. which is essential for constant adjustments to frequently changing circumstances. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . special attention should be paid to ‘the intervals of fastness and slowness’. You will look without seeing. Listening is essential to Tuishou. your listening untrue. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. where every knot of one’s body opens and stretches without crude force. ‘clear manifestation of emptiness and solidness’. your judgement confused. blood and breath. until it is too late to repel danger. you fight back. so a practioner cannot generate energy for sparring if he or she is unable to listen. very few achieve the ability to listen with the skin. As Sunzi Bingfa says. let alone the attainment of energy for combat. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. Nervously. slow. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. emptiness. that is why it destroys the strongest of enemies”. making all one’s muscles stiff. Your reactions will become slow. In all this. listening would be impossible. solidity. rising to the upper body.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. Just as a deaf person is unable to comprehend a conversation as he cannot hear. ‘descending Qi and steady steps’.
Gua (hang on). Meng (sudden). “faulty palms” or “faulty body”. Duo (escape). You may find yourself being too stiff (Jiang). Ling (pressing). Zhi (straight). new challenges such as ‘being too fond of competing’. Ba (pull out). vertical axis and flexibility. straightness and curvature. Zhe (hide). Gou (hook). Ke (knock). Be warned that mistakes will occur on this learning path. transform. Teng (jump). Zhan (chop). It is the ability to note present or potential changes in emptiness and solidity. Na. await them. your posture too straight (Zhi).2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Zhuan (cheat). Lou (hold). Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. the ability to circle and the principles of Zhan Nian Lian Sui. you cannot note any of the above changes in the oponent. Cuo (rub). Tui (push). Ji (hit). Realizing energy is based on listening. you cannot realize it. Ying (stiff ). Ya (push down). 王 西 安 18 . Bo (move with hand). Even for those who achieve this skill. Failure to overcome these shortcomings would be to fail to realize energy. 发fa – explode) at the appropriate opportunity. 化hua – change. Di (resist) and Gun (roll). Qi (insult).陈 氏 太 极 拳 推 手 技 法 2. Dang (block off ). Shan (dodge or flash). direction. speed. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. this skill may eventually be attained with diligent practice and a good teacher. Li (leave). Fa (引yin – lead. Jia (stiff ). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Ba (seize by force). Without ‘hearing’ the energy of one’s partner. 拿na – capture. Ting (stick out). Hua. Pai (squeeze out). that is. Hun (mix up). We call such shortcomings. While beginners may find this difficult to achieve. Shi (tight). An (press). Peng. Qin (intrude). magnitude and hitting point. length. your energy too resistant (Ding) or being lost unnecessarily (Diu). hardness and softness.
Hence. 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. transforming. Lü. and shares many common principles with Sanda (free sparring). ‘The Taijiquan Formula’: No one knows when I gather or stretch. Tuishou is the combat application of Zhan Nian Lian Sui. form and quality of Tuishou. angle. ultimately. Ultimately. twisting. Concordant with the adage that ‘external forms are the method and the pathway’. with Taijiquan. Cai. says in a verse from his book. Lie. In effect. look around and maintain an upright axis during Tuishou practice. utilizing the techniques of Kao in spiralling. When attacking. Whilst acknowledged as a combat technique in its own right. hence its continuing ties with Tuishou and. In fact. Ji.The practice for ‘realizing energy’ also tests one’s position. and also in one’s facilitiy with the eight energies or techniques (Peng. Sanda complies with basic Tuishou principles. these eight techniques form the method for Tuishou. grasping. rather than use them as disparate forces to enhance one’s attacking prowess. Zhou and Kao). An. but also in the combat arts and and Sanda (free sparring). no matter if they use the technique of Kao or twist. I follow my partner. is misleading and does not take into account its fundamental role across the Chinese martial arts. striking. jumping. which is used not only in Tuishou. I always keep remembering to follow their intention. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . falling. 14th generation Taiji master from the Chen family. Sanda can simply be taken as a higher evolution of Tuishou. the Tuishou practitioner must aim to apply these techniques (seizing. As Chen Changxing. relaxation and health practice for the old and infirm. the poplular stereotype of Taijiquan as a non-combat. dodging. they share the common practice of ‘realizing energy’. Whilst all Chinese martial arts possess unique characteristics. changing one’s centre of gravity and flexibility) in synchronous movements.
The author stressed the importance of ‘follow’. the Chinese martial arts have evolved into health and fitness promoting practices. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. The third. this verse confirms Taijiquan as a profoundly practical Martial Art. strike. fourth and fifth sentences refer to the application of Taiji Sanshou. In addition to applying Master Chen Changxing’s advice. Li. Everyone knows how to hook.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. As mentioned. that is. ‘listening and realizing energy’. that is. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. to the realization of energy. to act naturally and follow one’s intention. push or press. to forget about one’s own intentions and follow the opponent’s. leading to a wider understanding of the profound benefits and applications of Taijiquan. “From the familiarity of forms. The second sentence of the verse means to follow the other partner’s intention while circling them. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . we can clearly see that in all movements. Indeed. Again. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. Chen Xin once said. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. and horizontal Cai are also irresistible. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. ward off. Hence. step by step. With the development of modern weapons. adaptable to both Tuishou and Sanshou. press and hold back. until I come to the level of Deity”. The attacks from me by twisting.
the first being ‘familiarity with form’ and the last being ‘realizing deity’. magnitude. It is commonly used in attacking strategies. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. “Form practice is the essence of Zhan Nian training. This is why it is said. At this point. that is. in this way maintaining the upper hand at all times. This ability comes through great patients and a life-long perseverance of effort through the three stages.effectively. and its natural and intuitive use.3 zhan nian Techniques Zhan & Nian are forces directed forward. and come to realize the laws of movement and force. like glue. so that he finds it hard to escape. extent. Conversely. the adhesive force that allows a practitioner to become strongly attached. Nian means to chase and follow one’s opponent. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. while Tuishou exposes the quality of Zhan Nian techniques. Zhan Nian techniques develop one’s capacity for high precision. Through reeling-silk practice. Only with the awareness of both oneself and others can others be conquered. Tuishou practice cultivates the capacity to know others.” Zhan literally means ‘stickiness’. on reaching the final stage of ‘deity’. Ultimately. Whilst it is said that form practice cultivates a capacity to know oneself. Zhan Nian energies work as a pair. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . direction and the position of a partner’s energy flow. to one’s opponent. this results in a deeper and more precise understanding of energy. will be able to instantly sense the delicate changes in the movement. A practitioner. 2. with which one’s opponent will find difficult to escape. capturing and transforming his energy and using it to attack at the first opportunity. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice.
Zhan Nian energies can only be realized through thorough theoretical understanding and careful. ‘I win by striking after the enemy has struck (My fist starts late.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). Not an easy task for ordinary practitioners. During Tuishou. especially those who. Once the whole body is enveloped. Zhan Nian energies can be detected by sensations that start at the palms. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. beginners find Zhan Nian energy difficult to comprehend let alone detect. This is why it is said that at this relatively high level. flow up the arms to the shoulders and back. yet arrives at the hitting point earlier than the opponent)’. despite prolonged practice. and forget my own’. Understandably. inflexible muscles and joints. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. slow reactions to slow attacks’. but certainly achievable for diligent practitioners with good teachers. one can never accomplish quality ‘chasing’ (Nian). as indicated by these teachings: ‘Follow my partner’s intention. It is Zhan energy that envelops the body. the practitioner can exert Zhan Nian forces towards the opponent. an internal energy manifesting externally. ‘Fast reactions to fast attacks. 王 西 安 22 . ‘I move before them on feeling their slightest motion’. When Zhan Nian techniques are applied. Simultaneously. but even many long-term practitioners find total understanding or realization elusive. as reflected in their stiff bodies and tense. Ultimately. victory or defeat is decided in an instant. and so on. and then through the entire body. have failed to attain high proficiency in the art. ‘I don’t move if they don’t move’. 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. continuous and diligent practice. these techniques will lead the opponent into faulty moves.
Lian has a rich amalgam of meanings. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. emerges from the application of Lian. It can be summarized as ‘co-relating to the opponent’. slow reactions to slow attacks. continuity. that is. Unless one follow’s the opponent with Lian (co-relation). 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. ‘Bu Diu Bu Ding’ (no loss of energy. Without Zhan’s adhesive force over the partner preventing escape. can we execute Yin Jin Luo Kong efficiently. the opponent cannot escape because if one follows closely using Zhan Nian.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. fast reactions to fast attacks. non-pressing. In so doing. how can Sui be achieved? Sui technique means to react. no resistance). follow and move in the same direction as one’s opponent. Lian is dependent on one’s use of Zhan. there can be no Lian. non-forcing. Used in concert with Zhan Nian energies. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. and no chance to escape. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. moving effortlessly between quick/slow and forward/ backward movements. Sui. so that ‘as one falls. another rises’. taking any opportunity to attack. and can only exist in the presence of the latter.2. adhesiveness. ‘to react while following’. the act of connecting and maintaining the continuity of one’s movements with those of the opponent. Once palms come in contact. including consistency. one observes and reacts to the opponent’s Zhan Nian techniques.
陈 氏 太 极 拳 推 手 技 法 As a teaching goes. on the other hand. Adepts. successfully use Lian and Sui to attack and prevent escape. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. the basic ability to follow the opponent’s movements. As the teaching says. It is vital that beginners are able to feel the movement of internal energy inside their bodies. whether through form practice or Tuishou”. so that they can ascertain if their energy levels match the purpose and intention of their actions. following their energy flow without interruption. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. Lian and Sui can never function without the other. 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. upper and lower coordinate any motion in the middle. 王 西 安 24 .” Here we refer to the ability to keep every part of the body functioning as an integrated whole. “The lower body automatically follows any motions of the upper body. Beginners may attain the preliminary stage of Lian Sui. without any break in flexibility or continuity. therefore it is advisable to practice the combined application of both.
and cannot exist without Yin first being applied. A particularly effective combination is Luo Kong. I use Yin Jin Luo Kong to constrain my partner’s energy while simultaneously gathering energy carefully to prepare for an explosive release of energy at any angle or position. When we feel the changes in our opponent’s energy flow. going up or down. using our arms. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). As Chen Xin explains. Once neutralized. hips. and in this way mislead and neutralize your opponent’s energy. When applying Yin. I lower my body then stretch my right foot toward his or her crotch. using Lian Sui to follow their energy flow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . neutralizing any opportunity for attack. Yin is the ability to draw the opponent’s energy into one’s control. knees. one should avoid Diu and Ding (losing energy and resistance). I apply Shun reeling downwards. For instance. reeling my back inward before suddenly striking outward. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). palms. if my partner presses my right arm with their palms. While moving. turning left or right.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. we then use our shoulders. or feet to upset their centre of gravity. we should apply She Ji Cong Ren without being detected. hence ‘misleading’ and transforming the opponent’s energy. Use these principles whether you are going backward or forward.2. elbows. legs and so on”. hands. Using these complementary techniques. Literally meaning ‘to draw’ or ‘to lead’. Hua is the transformative force. so as to mislead my partner’s energy and upset their centre of gravity. then gradually upwards. the adept draws the opponent into his or her domain. Note that while applying Yin and Hua forces.
Instead.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. rotate an opponent’s joint towards its unnatural direction. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. he or she can easily capture his opponent through the combined use of all . that of Taijiquan is accepted as the most refined. sweep. destabilizing their centre of gravity and transforming their energy in order to conquer them. 2. Any hard fan guanjie (joint twisting. tie up. the more one stretches the bow. meaning the direction which hurts the natural structure of joint. using all these techniques to mislead my opponent. one must cultivate the forces of Yin. they are conquered. i. elbows.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. look one way and go another”. When I attack. and their pain penetrates right to the marrow. touch. and hence the harder the opponent falls. hence rendering them helpless. “gather energy as if pulling on the bow. However. just as one should attack forcefully without hesitation. wrists or hands to inhibit their rotation or movement. so as to accumulate and release energy effectively. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. my Taiji harmony within emerges so that even ghosts fail to predict my next move. shock. In this way. As Chen Xin suggests. Opponents will feel as if their tendons and bones are about to break. the further one’s arrow flies. I know my partner without being known. As Chen Changxing advises. dodge.e. depending on circumstances. I “roll over. It is important to remember that one must gather energy well before misleading one’s opponent. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. explode energy as if releasing the arrow”. Hua and Xu (gathering). In Tuishou and San Shou. That is to say.
agile. When utilizing Na. If he or she succeeds in escaping. you still have the opportunity to move in quickly and seize them by their palms before they move away. ‘is called the “best of the best”’. thus reaching their goal. techniques such as Zhan Nian Lian Sui. 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. throwing. This is why it is said that Na is the pre-condition of Da. applying the energy smoothly and judiciously without over-exertion. Hua (transforming) are all preconditions for striking (Da). Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. agility. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . transforming and striking. I move using the principles of Qing Ling Huo Qiao (lightness. There is a saying. so that I may capture my opponent without hesitation or detection. so that I can strike them cleanly and successfully.’ as Sun Zi Bing Fa says. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. I utilize Na to prevent my partner from escaping or from transforming their energy. To apply Na effectively. This is called ‘dual-utilization of seizing and gathering’. Tuishou accentuates Taijiquan’s martial power.their gathered forces. Shuai (throw). Na (seizing). If you fail to attack lightly and skilfully and your intentions are detected. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. Indeed. a Tuishou practitioner can exert the invincible might of Taiji. With the combined application of seizing. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. In Tuishou. These recovery measures also depend on a light. ‘Na (seize) always goes with Da (strike). you must react quickly and flexibly to any changes in your opponent. The seizing technique in Tuishou is very important. in order to strike well. ‘Only this. Zhua (grabbing). you need to seize first’.
Never let Qi float upward and never let your feet lose their roots. During practice. Using this will overcome the opponent without fail. making sure your hitting points are clearly defined. When relaxed. use the Na technique carefully to avoid hurting your sparring partner. your root will become unsteady. your centre of gravity destabilized and you will find it difficult to protect yourself. the targets for both being the arms. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. seize him then guide his pressing force into your territory using Lü energy. you have no option but to relax your joints. How then can you hope to seize another? Indeed. stomach and the protruding and concaved parts of the shoulders. releasing your force like bullets rushing out of a gun. Exert your energy first lightly then with force. If Qi ascends. Na technique works together with Cai technique. stomach and legs. In peace every part of my body moves at the time of movement’. every part of your body works in harmonious cooperation. if you want to seize your opponent. and your ribs. just as it is stated.’ 王 西 安 28 . hence it is advisable to heed the teaching. include controlling one’s speed and magnitude of attack. If you fail to Peng (ward off ) your opponent adequately. with no part tense. Miscalculations often result in injuries. especially amongst beginners. Next. By relaxing. your chest rolls inward naturally. Common problems.陈 氏 太 极 拳 推 手 技 法 When applying Na. Then strike directly forward in a spiral and hit your target accurately. application of appropriate angles and techniques. chest. whether you exert Na by the co-ordination of your hand and chest or with your ribs. and sensing the amount of force the partner’s joints can withstand. in which case. both palms covering his right wrist. Na is the synchronous manifestation of the internal and external. shoulders and crotch all gather downward in concert. ‘No part of my body is not peaceful. he will be able to press forward. ‘Never be rude and rash when you begin to practice Na. twist his right arm inward with your left hand. remember to maintain a relaxed state by lowering your whole body. and all parts in a gathering motion.
Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . making sure all movements are steered by the waist. Mengzi.7 Opening and clOsing In the martial arts. gathering versus exploding. This is an important concept which bears deeper contemplation. Closing (He) means to draw in. Indeed. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. Inhale from the stomach so that it remains solid. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. are widely used in Tuishou. relax the shoulders. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). opening and closing illustrate the subtlety of Taijiquan. one cannot ‘open’ without first being ‘closed’ and vice-versa. Gather the ribs. In all Tuishou and Taiji movements. Even masters of Chinese philosophy – Kungfuzi. Opening (Kai) means to stretch and reach. Sanda and form practice.Work on your technique step-by-step: develop a closed crotch. As complementary opposites. solid stomach and slightly concave chest. Keep every joint relaxed before you exert Na. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. transform. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. As Chen Xin says. bend and gather. every part of the body is engaged in the action of opening and closing. often meaning to ‘guide and attack’ in the martial arts. 2. 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. just as Chen Xin mentioned in his works. OpeningClosing techniques. preserve.
pressing the ground with your heels to empty the Yong Quan points. that is. Your heart acts as the guide and leader during energy explosion – when your heart opens. Without closing well. with the qualities of both solidity and emptiness. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. Kai (opening) energy originates in the root of your body. swift and powerful.’ Only diligent practitioners have the opportunity to experience this phenomenon. the louder the explosion. As the saying attests. grasp the floor with the toes and soles. Closing not only means to bend and withdraw your upper body. you will find that Qi penetrates your whole body more smoothly and powerfully.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. 王 西 安 30 . The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. from the soles of the feet. so that all parts of the body work together. Likewise. this means that one needs to be closed first before one can open. Thus positioned. muscle energy (Qi). In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. your ‘opening’ explosion will be natural. The quality of the effort you put in to closing determines your ability to open with power and effect. these changing motions. crude and slow. since Yi (intention) follows wherever Xin (heart) goes. every part of your body follows suit. Yi moulds changes in external shape while Jin (force) rises with Qi. but also to coordinate the heart (Xin). While standing. you will find your opening powerless. if your energy is gathered and conserved well. external shape (Xing) and spirit (Shen). so that your targets become accurately defined and attacks successful. your intention (Yi). ‘Opening-Closing. the rebounding force exerted by the ground can be used to energise any upward movement. The Opening-Closing technique starts from the closed state. sometimes appear before our eyes. In practice. forceful. filling you with great vigor. and sometimes they disappear.
while being mindful of the adage. After exploding energy. strikes may not find their mark.As you explode energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 .8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. presenting your partner with opportunities to attack. your centre of gravity may be lost. The explosion should be short. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. The solution is to make your energy round. spirals up the legs to the waist control-center. which then distributes it to the other extremities. lower your waist and let Qi flow along the spine. then spiral your internal energy up the legs to the waist. 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. you will need to drop and relax the shoulders. albeit swift and powerful. is limited by its short duration and small coverage which extends only as far as your body. land on the ground on your in-steps. or worse still. keep your elbows down. Beyond this range. roll your chest slightly inward. Exploding energy at close-range is best as Kai energy. then to every corner of the body. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice. This energy originates from the soles of the feet. Practitioners also need to build-up a reasonable level of muscular strength. To gather energy of this quality. or you may find your Kai technique lacking in power and precision. the energy released unhindered.33 cm. 2. To master this elastic force. you need to train your muscles in relaxation and gathering. the whole body returns to a state of softness and relaxation.
which manifests as our weight. The main external force that we humans experience is gravitational force from the earth. one must explode energy smoothly. frictional forces. that you are unable to neutralize. To combine the power of the three. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. you must practice Changjin 王 西 安 32 . To do this. Gathering. skilfully. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. transforming and attacking are closely related. it is necessary to distinguish clearly the respective functions of internal force and external force. your opponent is vanquished. Without these. Transforming and gathering are complementary and cannot function without each other. horizontal forces and so on. and with that outburst. utilize. not relying on rigid or crude force. flexibly and harmoniously. 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. in effect. there are also a myriad of other forces which influence our bodies – supporting forces. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. spiral forces. but also that of your internal energy and combat strategy. all these are prerequisites to “destroy something already in a state of ruin”.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. counter forces. internal forces. The external force of both parties affects each’s internal energy flow. Constant diligence. consistent good performances will not be achievable. and to explore the interactive relationship between them. abundant internal energy and intense physical and energetic concentration. However. not strength”. straight forces. dissipate or absorb her external force. Failure to counter your partner’s force means. The force that you and your partner exert on each other in Tuishou is external force. Your performance in competition depends not only on the quality of your sensitivity. When doing Tuishou exercises. though random wins may happen. and exploding energy with elastic vibrations.
陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . To reach this level. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. This means that if one finds it difficult to attack from a distance. easy conquest of the opponent does not necessarily follow. and the small or no circle practice. Upward energy and downward energy exist in opposition to each other. Alternate between these three with slow. Only very high-level practitioners may achieve this. quick. during Tiaozhou practice (upward strike with elbow). instantaneous. while downward flowing energy helps maintain a firm and stable root. At this level of Gongfu. below which energy flows downward and above which energy flows upward. At the transitional stage between ‘Three-Yin Seven-Yang. An attack. beginners need to do the following: do the big circle practice.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. there would be no striking the partner from one inch”. Close-range attacks require a high-level of competence. one should not attack at close target. despite its ferocity. Still Tough’ and ‘Four-Yin Six-Yang. especially exhaling-inhaling and opening-closing motions. elastic or vibrating variations. Continue developing these techniques step-by-step until the level of deity is reached. you will find it easier to hit targets more accurately and swiftly. as their attacks flow naturally from their heart and intention. imagine a line between the navel and Mingmen. For example. the whole body moves as a synchronized force to follow the slightest movement of intention. and even when elastic cunjin (hitting a target at very close range) is executed. leading to very smooth and swift responses. the medium circle practice. “Without striking the partner from a distance of three metres. will find the opponent flung far and wide. By mastering the key points of energy explosion. it is not advisable to exert Changjin (long energy). Good Hands’. As it is said. even with the slightest touch.
The arms and legs work together. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. Using Zhan Nian Lian Sui. Remember to maintain full concentration. and may lead to loss of control. your opponent’s upper body will shift out of their control.陈 氏 太 极 拳 推 手 技 法 2. while you keep your intentions and energy flow undetected. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. powered by upward spiralling energy. keeping your axis upright and combine your eyes. Even if not thrown completely off balance. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. When applying Ti. To apply Ti successfully requires the whole body to work in coordination. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. shadow your opponent with agile steps. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. As Qi flows up the spine. This means that no matter what Tuishou techniques you use. while you maintain a state of relaxation. combine your rising force with your elastic force. At the same time. To conquer your opponent. 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. Remember to maintain your centre of gravity with the coordination of the other leg. waist and arms. To lift your opponent up with Ti requires the combined effort of legs. The rising force is difficult to use if forced. First. and intention into one entity. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . 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. heart. rotate your Dantian so that your body lifts with greater speed and accuracy. Instead. then your instant and precise attack can never fail”. never let your partner know your intention before you act.9 Ti (raising) fOrce Ti means to ‘rise spirally’.
You will attack like a flying dragon. Adequate practice will naturally lead to success. reeling outward. their root and they will certainly fall. touch or sweep in response to the circumstances and you remain always observant and alert. 2. and manifests externally as it permeates through to the fine hairs on the skin. Attaining high-level skills will make you braver. but once attained. your force will reach its target just with intention. so you feel able to “protect your descendents and kill the rebels”. The Reeling Silk consists of great varieties: reeling inward. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . reeling upward. revolving energy which originates internally in the body. passes through the legs up the spine and arms. you will come to sense it with practice. as it emerges from the feet. mislead. go forward or backward. on the verge of losing their centre of gravity. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. Though undiscernible initially. you will be able to transform energy while striking. your attacks will never fail. tie. until it reaches the fine hairs of the skin. whether you rise or descend. follow the primary principles and develop your skills stepby-step.and power. walk with such assurance as to shock evil spirits. reeling to the left or reeling to the right. When this happens. you will find it easier to follow. For beginners.10 reeling silk Reeling Silk is a spiralling. Do not try to strike others before you have attained a reasonable level of competence. you will lose awareness of your physical body and location. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. and not even know from whence your power emanates. Mastering this energy requires much effort and practice. transform and defeat your opponent’s attacking energy. You roll.
focusing your energy internally and guiding the flow of your responses from Yin to Yang. one must avoid being too soft or too tough. remember to keep your Zhongqi (energy to keep your axis upright). misleading) always comes with Jin (approaching forward or attacking) and vice versa. When using Reeling Silk energy. remain balanced. quiet and calm. Keep a firm root. As for posture. reeling to the front or reeling aside. and thus renders you unable to react properly and to be easily manipulated by the opponent. excessive toughness makes you get too rigid. When being utlilized. and so on.陈 氏 太 极 拳 推 手 技 法 small circles. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. Shun reeling (conforming) and Ni reeling (contrary). Yin (guiding. While reeling. and apply opening and closing techniques. Be humble and respectful during form practice. collapse the waist and establish a stable centre of gravity in the legs. 王 西 安 36 . reeling forward and backward. The solution lies in the middle path: keep a balance between softness and toughness. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. maintain the interplay between solidness and emptiness. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. reeling horizontally or reeling vertically. all these reeling movements are always comprehensively combined together and closely connected.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
This practice requires a solid foundation in preparatory exercises. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. Erlu explodes In this technique. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. Cai. Zhou. Because Yilu lacks speed and Gang (tough) energy. Ti. 王 西 安 38 . Lie. A wide variety of single movements must be practiced repeatedly. Zhan (battle). goes through the Sanguan (Three Gates). Shuai (fall). To win. Hua (transform) and Na. Kao. Qi will flow around the body to the extremities and skin.陈 氏 太 极 拳 推 手 技 法 3. if practice is diligent. It also demands a period of diligent practice to ascend gradually through the primary.1 inTrOducTiOn This is a practical lesson in combat practice. As we know. you need to execute Jin (go forward). and exerting energy too forcefully (Ding) while exploding energy. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). relaxed and soft. Erlu and Single Form practice help to accumulate and strengthen Gang. An. so the Single Form Practice and Erlu help to compensate for this disadvantage. Single Form practice is vital for hand-to-hand Gongfu combat. where ‘Qi spreads to the whole body. Shan (dodge).1.’ In this way.1 Yilu cultivates Qi. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. who is then inevitably conquered. for example. as well as techniques focussing on various target areas of the body. Da. keeping your energy tracks undetected by the opponent. 3. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. Tui (go backward). This means that Yilu fosters Zhongqi so that. Lü. full relaxation of the joints. Faji (attack) effectively under any conditions. Ji. movements gradually become agile and flexible. medium and high-level stages.
so that the path to deeper understanding and realization may be paved. 拴Shuan (tie). such as: ‘Profound principles emerge by themselves. they always got hit and thrown to the ground. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . He was known to say that he found throwing partners too easy. No matter how steady his partners stood in the beginning of a fight. resulting in loss of vigor and effectiveness. If prolonged. To do otherwise would be to ‘attend to trifles and neglect the essentials’. each have their own unique combat style drawn from continuous tempering in their practice. you fail’ and so on. you don’t. we have Master Feng Zhiqiang who is venerated for his steady. more like a relaxing stretch to enjoy the subtle. Though widely differing in style. ‘You practice. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. Lastly. 搭Da (touch) and 扫Sao (sweep). after you practice the form ten thousand times’. Well known examples include the foot techniques of Li Bantian. Significant gains may be attained by practicing the single forms step-by-step. sober movements and his relaxed yet vigorous energy explosions. inner meanings of the mysterious art rather than a competition. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). ‘Skills come naturally when you are familiar with forms’. Single Form practice is of vital importance. you harvest. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. Hence. hands. These clearly advise diligent practice of the shoulders. Chen Zhaopi was the undisputed master of 滚Gun (rolling). legs and hips using relevant principles. back.Gongfu masters. the seizing techniques of Eagle Claw King. be they exponents in internal Gongfu or external Gongfu. elbows. neglectful practice becomes increasingly difficult to rectify.
3. pedalling forward. upwards and sideways. bend and raise your knee slightly. horizontally.1 .陈 氏 太 极 拳 推 手 技 法 3. face to the front.2 feeT pracTice Feet practice includes the following movements. stomach gathered and head suspended from above. With one hip relaxed and the opposite foot slightly touching the ground. trampling. chest rolled slightly inward.2.1 Exercise One • • Squat slightly. 3. swinging up and down and so on. 王 西 安 40 Fig. alternating between both legs: kicking forward.
2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. horizontal. make sure your in-step is stretched moderately tightly. Descriptions of some of these exercises are provided below.2. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right.2 41 . up and down. • Roll the chest inward and aggregate energy with the whole body. feet hanging backward and so on. upward and downward swing. • Kicking smoothly. sideways. pedaling. stepping. • Relax the feet so energy can reach the toes where it is required. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. bend the other leg with toes grasping the ground to maintain a firm centre of gravity.3. collecting the energy at the abdomen. 3.
except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. On landing with either foot. 3. Beginners should practice slowly. if you kick with the right leg. 3. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). they will be able to direct energy explosions to targets with precision and ferocity.陈 氏 太 极 拳 推 手 技 法 Fig. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. It should be practiced with both feet so that. 3.5). 3.3 • This technique is applicable to the toes. edges of the foot plate and the sole (Fig. use the rebounding force of the earth to bounce up and propel your kick (Fig. At this point.3).4. your left foot prepares to kick with the toes or instep as the right foot lands. for example. .
3.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig. 3.4 Fig.6 43 . 3.
flexible and quick. instead. 3. The whole body must be kept balanced and straight when kicking upwards.陈 氏 太 极 拳 推 手 技 法 Fig. a principle also applicable to the Double Kick (Er Qi Jiao). . • Switch your centre of gravity to the left foot. There is no jumping in the Upward Kick. practice kicking with each foot sequentially. The Upward Kick should match the rhythm of the hands’ movements. The kick should be light. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. usually the opponent’s chin.7 The Upward Kick is used for high targets.
8 • • • Then stamp your right foot on the ground. Then empty the Yong Quan point. feet firmly grasping the ground. As your right foot explodes energy stamping downward. 王 西 安 45 .8). gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted. 陈 氏 太 极 拳 推 手 技 法 Fig. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. exploding energy as quickly and fiercely as you can. standing with left leg. grasp the ground with the left toes and. raise the right knee gradually (Fig. keeping the right foot at the same distance from the left foot as before.• Bend the left knee. but try to keep some weight in the un-weighted side as well. all the while rolling the chest slightly inward. 3. 3. cup your right fist and left wrist together in front of the chest.
3. practice with the left leg) (Fig. The key points here are the same as those for the previous segments. remember to follow instantly and quickly with the other leg.陈 氏 太 极 拳 推 手 技 法 Fig. including the alternating use of the legs (Fig. 王 西 安 46 .9). and then withdraws elastically like a rubber band springing back into shape. you can practice with the alternation of legs (after praciticing with the right leg for a while.10). The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. 3. 3.9 Regardless of which leg steps forward first. Kick as high as your opponent’s stomach and chest. In Single Form exercise. e) Forward Kick This consists of a straight kick forward with the sole of the foot.
3. Before kicking. 3. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig. • 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front. 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). 3.10 Fig.13). prepare well by relaxing the chest and stomach to ensure your kick is fast. 3. 3.Fig.11).12) and the Outward Kick (Fig. 王 西 安 47 . f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity.11 Kick mainly with the heels. fierce and perfectly targeted. sometimes with the soles.
with the hitting points mainly on the outside of the foot (occasionally inside). 王 西 安 48 • . explode energy like releasing the arrow”. the whole body gathers together then opens up with an explosion of energy.陈 氏 太 极 拳 推 手 技 法 Fig.13 • The Outward Kick is executed outward and upwardly. 3. this reflects the relationship between Yin and Yang’. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. In the Sideways Kick. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking).12 Fig. while the body becomes straightened when kick is streched). 3.
while your hands are targeted at the face. Before kicking. 3. Your swinging foot is targeted at the back of the opponent’s head.14 49 .15). 3. then bring it backward (Fig. Always coordinate the kick with your hands. If kicking with the right foot. then swing it outward in a natural arc. 3. use the Gen Bu (follow-on Steps). which allows you to use quick and continous forward steps. be it with the right or left foot. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. toes grasping the ground and all muscles of the body relaxed. Eye your target and prepare for the kick by gathering your internal energy and lowering it. Kick upward with the back foot. Squat slightly. While swinging outward to the level of the shoulder.14). smack the foot with your hand to ensure the integrity of the energy.
陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. 3. And smash enemies to pieces. And kick upward along with palms coordinated with Lü. I smack in the air by switching into the track of a swing arc.15 With openings and closings. I take the back of the opponent’s head as target. . 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility.
keep your footwork flexible and neat. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. • The action must be quick and powerful. • The foot hangs to the calf suddenly to make the opponent lose his balance. During solo practice. rotating it slightly so that it slants to one side. • Pay attention to that you finish this action with the guiding of the waist and back. coordinating both with Tou Bu (sneaking steps). depending on the distance between you. You should finish Lü. • Hold the body in a squatting position for the next few movements. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. remember to balance upward Long (close) movements with downward Ti (raise). 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . The powers of hand and foot combine together. palms facing outward. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. • Hang one foot backward.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). • Swing both hands backward to the side of the back hanging Foot. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. No matter which you use. • Use both hands to execute Lü on one arm of opponent behind the body. Gua (hanging) and Gai (covering) in a second.
your face looking upward. I take the opponent’s upper body and chest as target. Then lower your foot to the ground. And kick upward along with palms smashing downward. 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.16). Move forward with Tou Bu (Sneaking Steps). twisting the waist and rotating the back to exert more power (Fig. And enemies fall to the ground with face to the air. 3. Hold your position and collect yourself enough to kick upward then swing downward.16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. . I explode my energy with the rotation of my waist.陈 氏 太 极 拳 推 手 技 法 Fig. 3. As a Tuishou poem states: With Yin and then Jin techniques.
Use Front Bow Steps to practice this movement (Fig.Fig.. since these are in a constant state of flux depending on the circumstances. 3.18. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 . the other should not leave the ground until the centre of gravity is transferred to the heel of the front foot to lighten its weight.17). 3.17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. 3. Note that while weight distribution ratios may be used as a guide (e. mindful that while one is in the air. The attacking leg must be flexible enough to swing to the left or right.19).g. 30:70. these may not provide an accurate picture of weight changes required in practice or combat. 40:60. Practice this transfer of weight by alternating the legs. 20:80).
3. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. shock their lower limbs and unbalance their upper body with my feet. I explode and shock the ghosts. making your intention easily anticipated. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. As one master said: 王 西 安 54 I move my centre of gravity.19 Using Short Energy: Short energy should be used in both inward and outward kicks. 3.18 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. . waist and hands. Short energy attacks are often used to ‘give a shock to the lower limbs’. so that the strikes are as rapid and powerful as possible.
3. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). a shoulder width apart from the left foot. 3. As the toes touch the ground. just as in form practice. toward the target. Waibai Tui (Legs Swinging Outward). • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. that is. Change your weight to the left. When the right foot lands fully on the ground. change the weight to the right and step out with the left foot. Practice continuously alternating both legs. Keep your legs reeling from left to right. Use intention (Yi) rather than physical force (Li).3. Begin with slow practice. repeating the movements while keeping reeling from the left to right. look in the direction of the moving leg. making sure your leg is no higher than 15 cm above the ground. Xiacai Tui (Downward Cai energy). Lower the tip of the toes of your unweighted right foot to the ground.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). Nichan Tui (Legs Reeling in Ni Circles). working up your speed in gradual stages. ‘Yong Yi Bu Yong Li’. 王 西 安 55 .1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. then squat and step out with your right foot. step your right foot 40 cm forward to the right. Lihe Tui (Inward Knee Strike). Move the left foot half a step to the left.
transferring all your weight to the right. Inner knowledge can only develop with concerted. Practice these steps in continuous alternating cycles.3. striking to both sides with each leg. Raise the left foot. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. Next. transferring all your weight to the left. rotate to the left forward at an angle of 360o. then step forward 40 cm to the left. 3.陈 氏 太 极 拳 推 手 技 法 3. step forward 40 cm with the right foot. You also need to practice Nichan and Shunchan with both legs. remembering that the inner side of the heel is the striking point. Step the right foot forward. and then rotate 360o left stepping on the toes (Fig. 王 西 安 Fig.2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart.20 56 . 3.20). continuous practice.
3. • While practicing. In Huobu Tuishou (Tuishou while walking). 3. we usually attack with Lihe Tui using the right leg. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg.21). • Stand at attention.22). 3. As such. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.22 57 . 3. • Combine Lihe Tui with the rotation of the waist and spine.3.21 Fig. attack with Lihe and then move 90% of your weight to the back leg (Fig. practice with both legs and with change of directions. change your weight to the front foot. then transfer your weight to the left before moving the right foot forward (Fig. 3.3 Lihe Tui … Inward Knee Strike Lihe Tui is an inward strike using the inner side of the knee and is widely used in Qian Gong Bu (Front Bow Steps) and Ban Gong Bu (Half Bow Steps).
Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig.24).24 58 . regardless of whether you practice day and night (Fig. Waibai Tui is usually applied during Da Lü (Lü in large scale movement) and the best way is to seek out opportunities for attack is while moving. 3.23 Fig. During practicing Waibai Tui. 3. step forward with one leg and swing the other outward and then closing inward. Through diligent solo Tuishou practice.3. 3.23). practitioners will come to realize the deep significance of their efforts. 3.陈 氏 太 极 拳 推 手 技 法 3.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). Being content with a superficial understanding is fruitless. 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. and requires a sudden outward swing of the leg as weight is transferred. 王 西 安 Fig.
placing your toes slightly outward. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. 3.25 Fig.5 Xiacai Tui … Downward Cai Energy Cai means to pull down.3.3. 3. placing your toes slightly inward. The outer side can also be targeted once your ability improves. Xiacai Tui consists of Cai to the left. Cai to the right. • To do Ni Cai: move the back leg forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Start with your centre of gravity at the back leg.26 59 . • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles). Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). Shun Cai and Ni Cai are based on Front Bow Steps.
28 60 . 3. striking to the front. 3.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. 3. 3.3. you can enter the opponent’s territory (Fig. Bend your knees about 40o – more than this and you will lose your centre of gravity. 王 西 安 Fig. Practice with alternating legs during Single Form practice. Train your body to understand the meaning of ‘stretching consists in bending. keep ankles relaxed and Qi descending (Fig.27 Fig. 3.26).25). With a spiralling move forward. Deepen your understanding of Jin Li (energy and force distribution). striking inward and striking outward.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). bending consists of stretching’.
• • •
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
王 西 安 66 Fig. Rotate the right toes slightly outward as the foot lands. fist centre facing inward. Hold the right fist close to the left side of the chest.37 . However.37).陈 氏 太 极 拳 推 手 技 法 3. • • • • • • Take a half step to the right with the right foot. Rotate the body to the right then strike downward with the back of the right fist. Next.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. Rest the left fist beside the left leg (Fig. there are three main distinctions: the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used. change your weight to the right leg and step your left foot forward. 3. at the same time hooking the left fist upward.4. 3.
when the right foot steps forward (weight on the left).39 • • • • • Again. Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest. stepping the right foot forward and exploding the fists before landing.Fig.38). step the left foot horizontally over the right one. 3. the left fist rises above the right side of the chest and smashes down to the left. alternating both sides continuously (Fig. involve your whole body in the attack. After striking.39) 王 西 安 67 . the right fist is raised above the left side of the chest for more power and then smashes down to the right. (Fig. 3. Practice these steps. 3. and lower the left fist from its upward strike position back to the left side of the body). Likewise. downwards on the right and upward on the left. For each step. For example.38 Fig. both left and right fists rise and descend at the same time. as the left foot steps forward (weight on the right). the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. Then repeat with the other foot. 陈 氏 太 极 拳 推 手 技 法 In summary. 3.
41). 3. • Step the left foot forward. 3. 3. • Sychronise both arms so that while the right fist flings forward.4.陈 氏 太 极 拳 推 手 技 法 3.40 Fig. 3. • Gather the right fist under the right rib (Fig. fingers vertical. avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig. stretching the left hand upward. This counter-balancing movement helps to accelerate the punch of the right fist.40). Practice this technique on both sides. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. • Sink your weight into the right foot and rotate the waist to the right to gather energy. 王 西 安 Fig. concentrating your power in the Quanding (the front of the fist). Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power.41 68 . the left arm gathers inward and strikes backward to the left with the elbow. • Then fling the right fist forward in Ni reeling.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.
Repeat with the other side. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. only about 40% of the jin force generated is exerted as short rather than long energy.43 69 . bringing the left palm to the front of the body (Fig. 3.42). 3.6 Baokong Quan … Half-Moon Fist Baokong refers to the half-moon shape that is formed by the arms as you strike the centre of one palm with the other fist.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and practice alternating both sides. simultaneously gathering the right fist beside the right ribs.4. Instead. The power of this technique depends very much on the practitioner’s physical condition. 3. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist).43). Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. Then step the left foot forward. 3. • • • • Step the right foot forward. the main difference being that in the former. energy does not manifest externally.42 Fig.
• Strike with force and ferocity with this fist using short energy. up or down. 王 西 安 70 Fig. This forms the ‘peak’ of the fist.4. 3. • Clench your fist so the middle joint of the middle finger protrudes. like hammering a nail. This makes the fist ‘peak’ stable and solid. • Brace the middle finger with the index and ring fingers.44).7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. and press the tip of the thumb against the middle fingernail.陈 氏 太 极 拳 推 手 技 法 3. using small agile steps (Fig. • Attack to the left or right. 3.44 .
46). Form two nail-shaped fists and strike from both sides using short energy. 3. gather the ribs and lower your energy to the Dantian (Fig. Practice both methods using both legs.4.46 71 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Guanyang means to hit the temples with two nails. Bend the other leg then strike both fists upward together. Roll the chest and shoulders slightly inward. hence creating a dual attack with both fists and knee (Fig. 3. 3. Place your weight on one leg.3.45). 3. Bring the fists together in the middle about 25 cm apart.45 Fig.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. Method 1 • • Method 2 • • • Step forward with either leg.
practice using long energy first. the chest rolled slightly inward and the spine slightly lifted. • Prepare for the strike by ensuring your axis is upright. 3. the ribs gathered. while making sure the chest is relaxed.48 72 . transferring your weight to the front. • Step forward with either leg.5. • Step forward with the other leg.47). and lower the energy to the abdomen (Fig.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. 3.47 Fig. palms facing forward.5 palM pracTice 3. fingers pointing up (Fig. • Place your hands in front of the chest. thrusting them forward with explosive force.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. • Strike forward with both palms. 3.48). though in the initial stages. 3.
a Double Palm Push needs to be sudden and exerted directly forward. 3. 王 西 安 73 .2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). Just before the explosive strike. thrust your arms out about 50% (Fig.50. The power.49). • Thrust the right palm forward or diagonally to the side. To be effective. 3. lower your energy abruptly and push forward with short energy using small steps. • At the same time step forward with the left leg.Fig. gather the chest and stomach like a cat stalking a rat.49 When practicing with short energy. 陈 氏 太 极 拳 推 手 技 法 3. 3.51. speed. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. 3. As the energy reaches the wrists.52). 3. • Repeat using the left palm. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. elbows and wrists are lowered. Make sure your shoulder. using long or short energy (Fig.5.
52 . 3.50 王 西 安 74 Fig. gradually increasing the speed.51 Fig. With continuous practice. 3. and hence conquer your opponents without effort. you will be able to explode energy with natural ease by combining both external form and internal spirit. abruptness and power of the push. 3.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. Fig.
3. Direct energy above the waist upward and energy below the waist downward. 3. whilst using the other palm to push at the opponent’s chest or strike at their stomach.54 王 西 安 75 . 陈 氏 太 极 拳 推 手 技 法 Fig. 3.3 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.54). enabling you to hit your target with more precision and power (Fig. • • Step one foot forward and ward off an arm attack with one hand.53 Fig.3.5.53). 3. while gathering the other hand beside the ribs (Fig. This creates an energy balance that stabilizes your centre of gravity.
陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig.55). while gathering energy on the left side. • To push with the right palm: bend the right knee.5. the stomach gathered and the chest rolled inward (Fig. Explode this energy through the right side of body out through the right palm. open the right side of the chest and stomach. • At the same time. first at an angle then vertically upward. 3. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). • Keep the hips relaxed.55 76 . and then straighten it while pushing the right palm upward.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. 3. • As you push upward.
’ Apply this technique during Single Palm practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. Shun means ‘sequence’) (Fig.56 Fig.56).57).3. 3. rotate your body to the right. Keep your body and energy lowered while doing this.5. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3. then quickly striking their chest with your right palm (Fig. 3.57 77 . • At the same time. • Then swiftly draw the opponent into your domain by touching their back with your left hand.58). 3. 3. stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’.
lower the shoulders.5. 王 西 安 78 . This helps to concentrate energy in the palms.陈 氏 太 极 拳 推 手 技 法 Fig. 3. if the opponent seizes your right hand and twists it outwards with Shun reeling. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. and gather the ribs and dantian. For example.58 • • Also apply the usual principles: roll the chest inward. Coordinate the movements of your body with those of the palms. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. • As you lower the body. left and right.6 Shunni Tuo Yao Zhang Push Partner’s Waist with Shun or Ni Reeling This technique enables you to push the opponent to either side using both Shun and Ni reeling. moving the body quickly forward. 3.
3. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand.60 • • • As you do this. this time at the left side with your right hand. 3. inclining outward and exploding with the left palm (Fig. Unify the three actions of stepping forward. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling.60). 王 西 安 79 . lower your body then extend it forward with Shun reeling. thrust forcefully at the opponent’s ribs. 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. • Again.Fig.59).59 Fig. 3. extending the thumb and fingers (Fig. Next. respond in this way: • Step forward with the left foot. • Key points are the same as with the left hand push above. 3.
7 Danzhang Shunni Chan Fa Shun or Ni Reeling with Single Palm 王 西 安 80 This technique consists of using either hand to seize the opponent using Shun or Ni short spiralling energy. especially when stepping forward and exploding energy (Fig. roll your chest slightly inward and bend your right arm inward.61). • As you seize. goes through legs. 3. as advised in an essay. so that energy flows to the very tips of the body. dominates the waist and penetrates to every part of body. Also.陈 氏 太 极 拳 推 手 技 法 Fig. 3. Relax your joints to enhance energy application.” 3. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles. regardless of the technique or force used. . coordinate the waist and legs when exploding energy.5. change your centre of gravity from the left to the right.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. “Energy comes from heels.
practice alternating the seizing between right and left hands. 3. listening closely to your partner as you do so. you are able to use both palms to seize the opponent (Fig.62). change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig. Change your right hand to Shun reeling and your left to Ni reeling. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended.5. 王 西 安 81  ‘Dai’ means to lead.63 • • • With your right arm. To speed up your response. palm open. Thus.63).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. • At the same time. reach under your opponent’s front arm.62 Fig. guide or bring along .Fig. If the opponent escapes. 3. 3. 陈 氏 太 极 拳 推 手 技 法 3. 3.
3.65 • • • • • Extend your right arm forward. fingers up.65). . Bend your right arm 90o inward and form a fist with your right hand.64 Fig. gather the right hand beside the ribs. Clench the left hand into a loose fist and push it forward. Transfer your centre of gravity to the front. 3.5. 王 西 安 82 3. 3. palm up. Change your weight to the back and turn to the right. fingers to the front (Fig. Then hit the opponent with the right arm (Fig. As your step forward. moving your arms to stabilize this rotation.陈 氏 太 极 拳 推 手 技 法 Fig. 3. face the left palm outward.64). Practice on both sides. fingers pointing to the front (Fig.66).9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. 3.
66 Fig.67 • • • • • • Lift the left palm over the right. 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. Next. place the left thumb and little finger in opposition while the remaining fingers face forward. coordinate the waist and spine when shaking the right palm forward in Shun reeling. reel the right hand in Shun reeling to the right and step the right foot forward. 3.67). As the right foot lands on the ground.Fig. and then explode both palms forward with a piercing thrust. move the left hand and foot quickly forward together. to increase the speed and power of the explosion. Also. 3. 王 西 安 83 . Return the hands to their original positions before the next energy explosion. 3. left under right and right under left (Fig.
6.68 Fig. 3.69). In this case. Practice striking with both elbows with corresponding weight changes to either side. As you change your weight to the front. the left arm counter-balances the movement of the right. At the same time. 3. Remember to apply long energy before you apply short energy (Fig. 3.陈 氏 太 极 拳 推 手 技 法 3. 3.69).69 84 . strike forward with the right elbow while hitting backward with the left elbow.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot.6 elbOw pracTice 3. palms facing in (Fig. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. 王 西 安 Fig.
After the strike. take a small step forward with the left foot. 3.3. Step the right foot forward and strike the right elbow down forcefully as the foot lands.70 Fig. Then strike the right elbow down for the second time (Fig. At the same. Lift the left hand when the right elbow completes 90o of its descent. Alternatively. return the elbow to the right side. wrist turned inward and the palm facing backward.70).2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. As the right elbow descends. 3. and clench the right hand into a fist.71 85 . step the right foot forward again and extend the left arm forward. bend the right elbow inward. gather it close to the right ribs. 3. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig.71). palm up. At the same time.6. slap the right shoulder with the left palm.
3.陈 氏 太 极 拳 推 手 技 法 3.72 王 西 安 Fig. Rotate slightly to the left.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. 3.73 Fig.6.74 86 . 3. Fig. then turn right with the right toes facing slightly out.
74). clasping the right forearm with the left palm. 3. Focus on ‘hitting upward’ with your right elbow so as to destabilize the opponent’s centre of gravity and lift them off from the ground (Fig.• At the same time. gather the ribs and lower your Qi. Step the left foot forward. Remember that the right leg moves forward with the right arm and vice-versa.75).72). 3. raise the right hand across the front of the chest to the left in an upward arc. • • • Practice with the other arm. clench the right hand into a fist. so that both feet are approximately 50 cm apart. Turn to the left and strike out explosively with the right elbow. Step the right foot to the left and bend the right arm. As you do this. clasping the right forearm with the left palm. transferring your centre of gravity to the left.6. Gather the body to prepare for attack by lowering the body slightly (Fig. palm facing in. Move the body to the left and transfer your centre of gravity to the right and back. 王 西 安 87 . then step forward with the right foot. Lower right fist to the left side of the body so that the right arm is held at 900 while stepping the left foot forward (Fig. 3. toe tips slightly touching the ground. 3.73).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. Gather the body by bending it slightly. 3. as if warding off (Fig.
6. Simultaneously. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). Once familiar with the practice. turning the body to the right. use short and fast energy. strike the right elbow to the right.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. Practice with both sides (Fig. gathering it horizontally in front of the chest. 3. 3. practice with long and slow energy. palm down. the right fist lowered to front of the left armpit. • In the initial stages. 3.陈 氏 太 极 拳 推 手 技 法 Fig.76 • Spiral the right arm forward with Ni reeling. with the following differences: .75 Fig. Next. balancing this movement with the left hand. step right with the right foot. 王 西 安 88 3.76).
Before the foot lands. • Simultaneously. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig.78). toe tips on the ground. • Stand at attention with the arms relaxed at the sides. 3. fingers pointing up.• • Shun Lan Zhou is aimed slightly to the back. while Xin Zhou is targeted to the front (Fig.6. 3.77 Fig. • Turn the body to the right and reel the right palm across the chest to the right. palm facing right.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. Touch the right knee with the right palm. • Jump the left foot half a step to the left. 3. palm down.78 3. jump slightly with the right foot.77). extend your left palm forward. landing approximately 50 cm apart from the left foot. 3. 陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 89 .
While striking on the right.80).80 Fig. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). placing the left fist below the right.陈 氏 太 极 拳 推 手 技 法 Fig. . After the strike. step the left foot to the left. 3. toe-tips on the ground. 3. taking the waist as the dividing line. balance the energy between the upper and lower body. clench both palms into fists. bending the wrist before striking upward quickly with the back of the right fist.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. 3. then gradually using short and fast energy. then transfer your centre of gravity to the right. As you change weight. avoid letting all your energy flow upward as this will destabilize your root. 3.79 Fig. starting with slow movements initially until the steps become familiar.81). Return the left fist beside the right ribs (Fig.79). 3. Practice on both sides. 3. toe tips touching the ground (Fig. Move the right fist toward the right shoulder using Shun reeling. Also. step the right foot forward. Instead. Next. Look to the right side of body while striking upward. followed by the right foot.
Practice alternating both sides. If you stepped to the left. 3. looking to the left and concentrating energy in the elbow tips (Fig. 3.83). the right elbow executes the dominant attack.6. Gather the fists close to the chest (Fig. • • • • Step to one side with either leg. 3.82). then exploding both elbows horizontally.83 王 西 安 91 . 3. place the left arm inside the right. Change your weight to the left. while the left the supplementary strike. In this position.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 Fig.3. then strike with the right elbow. 陈 氏 太 极 拳 推 手 技 法 Fig.
As your weight transfers to the front.85).84).85 .6. looking to the front and rolling the chest and shoulders inward.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows. 3. 王 西 安 92 Fig.84 Fig. 3. • • Step one foot forward.陈 氏 太 极 拳 推 手 技 法 3. This increases the force of your attack. 3. holding fists on either side of the ribs (Fig. 3. Try to feel the effect of this preparation during practice (Fig. prepare for the stike by gathering the wrists inward.
palm to the front. clench the right hand into a fist. At the same time.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig.86 Fig. palm facing inward and inclining backward. As the weight shifts to the left. As your centre of gravity shifts to the left. 3. rotate the body to the right. take a big step forward with the right foot in front of the left. 3.6.3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Simultaneously. 3.87 93 . clench the left palm into a half fist and place it beside the left leg.86). 3.87). You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. Practice alternating both sides. then lift it so that the right elbow is positioned over the right knee (Fig.
王 西 安 Fig. As one of the Eight Forces. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). strike forward explosively with the right forearm using a short-energy (Fig.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). • All movements are guided by the rotation of the waist and spine. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. moving it beside the left ribs. In this way. • Change your weight to the left. Make sure both hands move and arrive at their destinations simultaneously. • After exerting Pie force.88). Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. shifting your centre of gravity to the front. • At the same time. palm up. • Extend the right hand outward. the legs should be parallel to each other. • Shift your weight abruptly to the right and form a half fist with the left palm. • Step the right foot forward. 3.陈 氏 太 极 拳 推 手 技 法 3. 3.88 94 .6. then lower it over the right knee.
both internal and external movements are integrated with the movements of the body and limbs.3. 3. Form a hook (Diao Shou) with the right hand with the little. using downward Ni reeling. using guiding energy from the little finger. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Keep the left hand open so the thumb is separated from the fingers. Shift your weight more to the left as you do this (Fig. closing it slightly.6. palm up. and extend the left hand forward to the right. use Cai technique to strike out explosively with the outside of the right forearm and elbow.89). • Step backward with the left foot shifting your weight to the left. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine.89 95 . • While lowering the left hand. • Then. lower the left hand from the front of the chest to the left ribs.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. In this way. ring and middle fingers. 3. The thumb and index finger form the character Ba ‘八’. • Raise the right hand from the right side. bending the elbow.
3. 3. the right thumb guides energy flow. and then. 3. toes grasping the ground. especially useful as a defensive move when being attacked while in a passive situation. strike the right elbow backward at an upward angle (Shang Chuan Zhou). 王 西 安 96 Fig. moving your weight to the right (Fig.90 Fig. you raise the right hand in Ni reeling to descend the elbow (Fig.陈 氏 太 极 拳 推 手 技 法 3. • • • • Bend the left knee.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. and extend the right leg backward. Note: For maximum effectiveness. At the same time.90). While transferring weight. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. make sure power is gathered properly through the whole body and that your timing is correct before you strike. 3.91 .91).6.
Shuang Bei Kao and Qi Cun Kao. 3.7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. 3. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm. As you shift your weight to the right.92 Fig.92). 3.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. The right foot and right arm should reach their positions at the same time (Fig.3. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao.7. Ce Jian Kao. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.93 97 . Ying Men Kao. Xiong Kao.
pushing it forward and down. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. Repeat these steps for both sides.93). As the heel touches the ground. Note: Only push when you are in the correct position. use the outside of the right shoulder to execute Qian Zai Kao. step forward with the left foot and place it next to the right foot. Then step the right foot forward again to execute Zai Kao for a second time. take care to maintain your centre of gravity by not stretching too far forward (Fig. Then take another big step forward with the right foot. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. raise the right hand from the inside to fend off and steer the opponent’s hand to the right.陈 氏 太 极 拳 推 手 技 法 • • • Then. 3.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs.7. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). On completion of the shoulder push. . 3. if you find you get into an appropriate space for attacking.94). After executing the above. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. As the body inclines forward significantly during this move. 3. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig.
7. 3. This only comes with closely combining the Yin (guide).3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors. arms are a defense against attacks. 3. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. When firmly closed. 王 西 安 99 . then techniques such as Ying Men Kao can be used to penetrate defences and attack. lowering down but not stiff. light but not floating” .Fig. Dai (lead and pull) and Ji (attack) energies together. conversely if one is able to ‘open’ the doors of the opponent.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks.
Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. 3. 3. Note: There are two ways your can attack with Ying Men Kao: • You can lower your power slightly so that the tip of the shoulder protrudes more.95 Fig. . It is easier to hurt the partner using a narrower attacking surface. At the same time.陈 氏 太 极 拳 推 手 技 法 Fig. move the left foot forward parallel to the right foot and repeat the sequence for another attack. • You can use more of the shoulder surface in the attack. Once the attack is completed. Separate the hands of the opponent to expose his chest (Fig. fingers pointing up and palms facing the sides of the body. move both arms to each side of the body and push the right shoulder forward in attack (Fig. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot.95). 3. Next. 3. the right hand above the left. cross the hands in front of the chest.96).
3. • After this move is completed. 3.97). • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. using this shift to deliver a sudden push with the chest (Fig. • To begin. the chest and waist are in a collapsed position.7. • Then roll the chest inward and shift your weight quickly from left to right. move the left foot parallel to the right.3. 3. Only with a thorough mastery of this technique. A good sense of timing is essential for defeating the opponent. can you execute it in actual combat (because you may easily hurt yourself ).98). 3. • Step the right foot forward.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent.97 Fig. • Extend both arms from the sides to the front in an embracing gesture. Note: Focus on sharpening your sense of timing during practice.98 101 . shifting your weight to the front. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig.
99). a capability that comes only with extended Quan practice.99 Fig. 3. 3. as the shoulders deliver Bei Kao backwards (Fig. • When the weight moves forward the chest rolls inwards.7. 3. • Stand with feet parallel. • When the whole body holds and collects to a moderate extent.陈 氏 太 极 拳 推 手 技 法 3. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. You may lead with either leg. take a sudden breath in and push the chest forward quickly.100). 3. This technique also uses Duan Jing (short power).100 102 . rebounding and shaking power). remember to gather and withhold energy before delivering the strike. Note: As mentioned in previous techniques. 王 西 安 Fig. shoulders slightly concave and with power guided by the thumbs (Fig. • Gently rotate backwards with both palms facing backwards. and the shoulders execute Bei Kao to the right .
This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. 3. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. • Gradually move the right arm downward toward to the inside of the right leg.101 103 .6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. Note: If the opponent is at close-range. • Extend the right foot and arm forward. use short power in your push. Find a stable centre of gravity with the body and gather your body in this position. continue to transfer your weight to the right. 3. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. fingers pointing down.3. • Practice pushing from both the right and left sides. if further away. extend the distance of your Kao slightly. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Turn the body slightly to the left as the right hand rises.7.101). • Once your root is stabilized.
陈 氏 太 极 拳 推 手 技 法 3.102).7. 3. Place the elbow below the knee (Fig.102 104 . • • • • Take a large step diagonally forward with the left or right leg. 3. Practice this sequence in rounds from left to right. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice.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. Note: Power applied in the initial stages should be slow rather than quick. Incline the body forward in the same direction. 王 西 安 Fig.
Chan Rao Na.104).3.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig.103). Shuang He Fu Cai Na. Fu Na. 3. 3.8.104 105 . 3. and Shuang He Na. Tui Na.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. Diao gai Na. • Rest the right hand near the right ribs. • At same time. • Relax the left side of the crotch and shift your weight forward to the left. palm up (Fig. • Extend the left foot and left hand forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. palm facing in. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. 3.103 Fig. Xiong Na. 3.
Shun reel with the right hand and Ni reel with the left. drop the elbow. tighten the ribs. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. roll the chest in. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. . in order to block the opponent’s energy path. After seizing. Try to relax at every step while applying the seizing action firmly. if you practice each side diligently. With practice. 王 西 安 106 Closing with the left while seizing with the right and vice versa. but she evades your attack by ducking down. Your moves will become more effective as your internal Qi integrates more closely with the external movements. this time reeling in Shun direction with the left hand and Ni direction with the right. lower the shoulders. When seizing.e. even though you deliver the power later than the partner. and lower your waist and Qi. Seizing techniques are quite difficult to practice. then you must respond promptly by swapping the reelings to the opposite hands. you will be able to execute these changes quickly and smoothly. i. changing the weight from left to right. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. move the weight slightly backward then move forward again. Repeat the above sequence. Note: Shun and Ni reeling are interdependent and cannot be separated. you should use short power so that with one closing and one opening you can quickly reach the right position before 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.
Then lower the right hand to the right ribs.8.105). At the same time. 3.105 Fig. Again.3. extend the left hand forward to rest in front of the body (Fig. • • • • • Step forward with the left foot and move the right hand in front of chest to fend the opponent off upwards to the right at head level (Fig. roll the chest in. palm out.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands.107 王 西 安 107 . lower the Qi.106 Fig. The shift to the left enables you to hit the target clearly (Fig. and clench the right hand into a fist. and shift your weight to the right side. As you do this. Relax the left side of the crotch. 陈 氏 太 极 拳 推 手 技 法 Fig. 3. 3. 3. tighten the ribs.107). Then rotate the right hand and body to the right.106). 3. 3. relax the left side of the crotch and shift your weight to the left. placing it in front of the chest.
Make sure to keep your own axis when seizing the opponent. Move quickly and follow your partner but do not lose power. roll the chest slightly inward and gather the ribs.108). lower Qi to the abdomen in preparation for the inward roll and seizing.陈 氏 太 极 拳 推 手 技 法 Remember that Qi gathers in the Dantian and the Three Powers (Jing Qi Shen) unify to become one power. palm facing right (Fig. The strike is actually applied by the left side of the chest. 王 西 安 108 . the palm forming a “八” (Ba) shape. Match the speed of your movements to that of your partner. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen.109).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. • Close the crotch. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. Move the whole body in a natural and relaxed state. The left hand leads by closing the power causing the right hand to follow. the force of upward suspension maintains the axis. while the two hands serve as supports. rotate the body. reel with both hands in a Shun direction. • Step the right foot forward and pass the right hand across the left side of the body. 3. and gather energy in the ribs. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle.” 3. palm facing left (Fig. • At the same time.8. Draw the arc with the intention of meeting the opponent’s hand. 3. Relax the crotch. • Step the left foot forward and extend the left hand to the front. Shift your weight forward and accumulate power well. • As the weight shifts to the left.
110). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig. 3. whose movement is heavier (Fig. seize with the right and roll the abdomen – these three actions combine to become one power.110 109 . The eyes look forward and to the left. 3. 3.108 • • As the Qi descends. The abdomen provides the main supporting element. clench the left hand. the left hand moves lightly and assists the right. 3.109 Fig.
and both feet standing steadily as the hands move. • • • • 王 西 安 110 • • Take a half step forward with the right foot. As your weight shifts. . Direct the eyes to the front. palms about 10 cm from the lower abdomen. keep your intention firm for victory or failure will be decided in a second. 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. As you seize. the right hand moving down while the left moves up. whereby the abdomen gathers power to support the hands. Both hands extend forward in sequence.陈 氏 太 极 拳 推 手 技 法 In summary. capture and immobilize the opponent.112). Move swiftly without hesitation. immobilizes their wrists by bending them outwards. facing in so that the fingers are directed towards each other. roll the chest slightly inward.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. move the palms up to chest level and seize the opponent’s elbows using Na power. extend both arms to the front.8. while the hands use Na (seizing) power to collect inward. 3. and commence shifting your weight forward. 3. 3.111). At the same time. Continue to shift your weight forward. followed by the left. do not be kind to the foe for the opportunity to attack comes just once. push the abdomen out suddenly (Fig. Concentrate your energies then pounce on your opponent like an agile cat. and gather them towards you (Fig. the right foot steps forward. bending them at the elbows.
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. 陈 氏 太 极 拳 推 手 技 法 3. 3.8.113). 3. supported by the warding right hand. so that you respond by moving your weight forward. Reel the left hand forward. fending the opponent off upward to the right (Fig.Fig. 3. and lower Qi in your abdomen before protruding it forward. Step the left foot forward and shift your weight to the left. Lower the right hand then cover it with the left. 王 西 安 111 .112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. • • • • Step the right foot forward and pass the right hand across the chest.111 Fig.
not like a thug.114). by taking a step forward (Shang Bu) each time. gathering the ribs and lowering the waist and Qi. Combine them with the power of chest to become one power (Fig.113 Fig. Alternate practice on both right and left sides. Collect the hands inward to about 15 cm in front of the chest. 3.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 112 Note: If Qi descends smoothly. 3. Step the right foot forward again and repeat the above steps. 3.114 • • • • Put your body in a squatting position by bending the knees slightly. bones. Collect the body by rolling the chest slightly inward. tendons and veins. this technique can be used effectively to break wrists. . But remember: practice like an adept.
fingers pointing forward. • As you step. 3. • Bend the left arm inward to gather both palms.115). 3.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. and move both hands to assist the left leg. relax the crotch. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.8. the Three Powers (Jing Qi Shen) combine to seize the opponent. The powers of the left arm and right hand unify as one. • As the weight moves forward. 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. • Step forward with the left foot and extend the left arm to the front. Lower your Qi. In this way. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing.116 113 . • As soon as the right hand reaches the level of the left leg. • As the knee swings inward. shift your weight forward and bend the knees slightly so that the body squats like a bent bow.3. roll the chest in and gather the ribs (Fig.115 Fig. 3.
118 114 . • Then lower the right arm by executing Lü downward in Ni reeling.117 Fig. The changing of the legs happens quickly. 3. • Step forward with the right foot. As you step forward.陈 氏 太 极 拳 推 手 技 法 • • • After seizing. Then step forward with the left foot. shift your weight quickly to the left and step forward with the right foot. shift your weight to the front and extend the left arm again to repeat the steps and seize once more.116). gradually guiding it inward to rest in front of the right ribs. 3. 3.8. 3.7 Diao Gai Na … Seizing with Both Hands This technique uses both hands to seize: the right hand moves up from the right to grasp the opponent’s arm from the bottom while the left presses down from the top. spiral the right hand up from the right side into an arc.117). 王 西 安 Fig. • At the same time. 3. guiding it to the right ribs for support (Fig. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig.
119).118). shift your weight to the right and step forward with the left foot. the left palm moves down in Shun reeling to cover the the arm of the opponent so that the forces of both arms work as one. roll the chest slightly inward and bend the knees slightly into a squatting position. As the hands move. Continue to move the right hand and foot forward. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. 3. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. 3.Fig. shift your weight to the right and move the left foot and hand forward (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 . As the right foot touches the ground. lower the shoulders.119 • • • • • • As soon as the right foot touches on the ground. The intention is to have the whole body collecting and seizing together with the hands. When the right hand moves up. 3.
王 西 安 Fig. 3.120 Fig.121 116 .8. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig. Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig.120). strengthed by whole body coordination. step forward with the left foot and shift your weight to the front. 3.121). Combine this with the power gathered in both hands and seize with one force. 3. This step marks the transformation of Peng (ward off ) to Na (seizing). 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. Bend your knees so your body squats like a bending bow. then gather both hands and grasp the opponent’s wrist firmly downwards. At the same time.陈 氏 太 极 拳 推 手 技 法 3. Prepare for the seizing by lowering Qi to the Dantian. 3.
3. then the ring finger.122). • Inhale. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. eyes looking forward. Guan Gong. the Guan Gong Jie Dai technique is said to be named after its creator.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. • Stand with both feet in parallel. Guan Gong Jie Dai 2. • Next. Qu Wan Fan Na Jie 6. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. shoulder-width apart.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. Shuang Wan Zhi Jie 4. Fan Na Cu Bu Jie 9. • Hang the hands naturally at the sides.9. ‘Wars Among Three Countries’ by Guan Yu. 3. 王 西 安 117 . • Move Qi in from the outside and lower it to the Dantian. Chuan Zhang Jie 5. and finally the index finger. This technique enables a practitioner to avoid capture or break a hold. middle finger. Shan Jing Zhen Zhang Jie 8. Shan Jing Ce Jian Jie 7. such as a waist grasp from the rear to throw you down. Diao Wan Qu Zhi Jie Tuo 3. curve the fingers into hooks and raise them in front of the ribs with the little finger leading.
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. otherwise it is not easy to unfold (Fig. In this way. the squatting of the body. 3. hook the wrist and bend the fingers to escape. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip). 王 西 安 118 3.123). 3. .9.122 Fig.123 • Synchronise the speed of this movement with that of the body. This technique becomes effective only after extended practice. 3.陈 氏 太 极 拳 推 手 技 法 Fig. If the fingers are being held. and also with the speed of Qi descending. the gathering of the ribs and the hooking of fingers should combine to become one unit.
124).Fig. and lowering your Qi as you do so.124 Fig. lowering the elbows. 3. 3. 3. unblocking the arm area being attacked.125). By the end of your movement. so that Tuo (escaping) power can reach the fingers effectively. 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. rolling the chest inward.125 • • • • • If the fingers of one hand are seized by the opponent. As you move. relaxing the shoulders. join the fingers of your hand together and point them diagonally upward to the right (Fig. slowly bend the wrist and fingers. By doing this. Practice these steps with both hands in turn. 王 西 安 119 . you relax and elongate your encaptured arm. Move your body to transform the attacking power. 3. your conjoined fingertips and knuckles should be able to escape with ease (Fig.
9. roll the chest inward. While doing this. Just focus on relaxing and lower the Qi. It is not necessary to use large movements in this technique. clench both hands into fists.126 Fig.127 120 .126). At the same time. 3. bend the arms.127). 3. closing your hands while opening the opponent’s. then move your arms forward and upward as your weight shifts forward (Fig. and lower the Qi so that power can flow smoothly to the inner side of the wrists. • • • Step one foot forward and shift your weight to the other leg (Fig. tighten the ribs. 3. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. 3. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. lower the shoulders and elbows.
• Bend the knees slightly to place the body in a squatting position. It is most often used in the transition between the Jin Gang Dao Zhui posture (Buddha’s Warrior Attendant Pounds Mortar) and the Lan Zha Yi posture (Lazily Tying Coat). and Qi. • Bend both arms 90o inward and cross them in front of the chest. 3. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and roll the chest inward.129 121 .3.128). and lower the shoulders.9.128 Fig. 3. elbows. two eyes look forward horizontally. • Two feet stand flatly and the body stands straight.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. placing the right hand on the left (Fig.
5 Qu Wan Fan Na Jie Escape by Bending the Wrist and Seize the Opponent This technique is used to counter-attack a hold on the right fingers.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.129). 王 西 安 Fig. Do not rush forward but defend you territory in straight postures (Fig. Then ward off (Peng) by pushing both palms outward.131 122 . swapping the Shun and Ni reeling to the opposite hands.9. 3. 3. 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. then rotate forward again. 3.130 Fig. and move the right hand in Shun reeling while the left does Ni reeling. 3. If you choose to turn to the right: rotate the body to the right then left. It requires you to twist the captured fingers outward in Shun reeling. and lock the palms of the opponent.
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. As you do this. raise the elbows. Rotate the arm about 1800 outward in Ni reeling. extend the left hand forward to support the right hand as it seizes downward (Fig. palm facing left (Fig.133 • • • • • Extend your right arm forward.131). If you practice diligently. wrist bent inward in readiness to seize and fend off danger (Fig. Apply the principle of constant change and flexibility in Taiji circles. step the right foot forward (Fig. 王 西 安 123 . it will be difficult for opponents to overcome your attacks.130).132). 3.132 Fig. While rotating the arm. 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. As the right toes touch the ground. 3. Your movements should be relaxed and executed with power at all times. 3. 3.Fig.133). then bend it about 450. relax the shoulders. 3. 3.
王 西 安 Fig.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. Next.9.陈 氏 太 极 拳 推 手 技 法 3. coordinating it with the lifting of the back and the descending Qi. so that the power of the left hand combines with the right to become one. you should rotate externally and upward in Ni reeling. the palm gradually guided by Ni reeling to slant externally to the right.135 124 . move the left hand rightward to the front of the chest. roll the chest inward. • Extend the right arm horizontally and bend it 900 inward. • The right wrist bends inward with the arm to rotate the hand in Ni reeling. 3.134 Fig. In response. palm facing right. • As the right palm reels outward. then move swiftly to the right to destabilize the opponent. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). 3. • Simultaneously. this sequence of movements make up the Shan Jing Ce Shen Jie technique. right fingertips initially pointing downward. Together.
9. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. All the above movements of the hands. 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. then quickly step the right foot forward (Shang Bu). Almost at the same time. because with these. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. 王 西 安 125 .• • • As your left hand moves.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. giving him a sense of losing of Qi. and thus enabling one to evade capture. So Shan and Jing serve as the pre-condition of escaping. 陈 氏 太 极 拳 推 手 技 法 3. Note: Move in Ni reeling while the opponent moves in Shun reeling. 3. The above movements of both arms and the right foot should occur in one very smooth and swift motion. touching the ground with the toe tips (Fig. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy.134). make a big step forward with the right foot. shift your weight to the left .135). 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). The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp.
3. 王 西 安 Fig. slowly raise both hands and bend them inward about 1800.138 126 .136).136 Fig. 3. then Shang Bu (take a step forward). 3. and the extending palm reaches the right position at the same time. palms facing up and eyes looking forward. As soon as you surprise and destabilize them with your moves. Simultaneously. the body squats.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time.138). 3. When the body and two hands send the Dou power. palms facing up and the two little fingers placed on the middle of each arm. open both fists and shift them away from the sides of the body. 3. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. clench the hands into fists and place them at the sides of the body (Fig.137 Fig. then the whole body sends a Dou in a circle in Shun reeling (short power). and both palms draw inward. step forward quickly and attack with the palm (Fig. Next. 3. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. At the same time.137). This power should be quick and strong.
As the right foot steps on the ground.It is just like the poem reads: ‘It is not a failure if you retreat your pace. thumb separated from the fingers (Fig. because sometimes appropriate retreating gives one a closing power. then shift your weight to the left and inclining the body to the right to hold and collect. It is not wise to grasp the opponent’s elbow with your fingers. extend the left hand from left to right. At the same time. 3.139). 王 西 安 127 . 3. fingertips slanting up (Fig. Then push the left palm to the right. holding and collecting a quicker speed. you find escaping easy. since he or she can easily twist your fingers and get you caught’.8 Fan Na Cu Bu Jie … Escape by Stomping This is a composite technique consisting of seizing and twisting the opponent’s joints (Fan Na) using the Fan Guanjie (Reverse Joints) technique. and attacking by the Cu Bu or Dun Bu technique (stomping). With Shan and Jing. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. Step diagonally right with the right foot. palm facing out. 3. Bend the knees slightly to place the body in a squatting position. Two elbows draw inward and hands move outwards. extend the right hand diagonally forward to the side. the partner cannot reach you though his attacking power is strong.9. first bending it inward then moving it outward to the right.140). which is against principle.
paying attention to the upper and lower body and your surroundings. 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. the body should move from high to low.139 Fig. 3. side pushing with the left palm and exhaling at one time. This power can only be gathered with greatly unified power. Be patient and diligent with practice. from slow to quick. Then you will free yourself from capture. 3.陈 氏 太 极 拳 推 手 技 法 Fig. Even if you sense the opponent’s intention to move. from long power to short power. Stand rooted like a big tree. only by this will you increase in strength. During the practice. 王 西 安 128 .140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power.
3.142 129 . roll the chest in. tighten the ribs and lower Qi to the Dantian. • In this way. 3. As you do this. the left hand in Ni reeling and the right in Shun reeling.9.141). 3.141 Fig. palms facing in (Fig.142). palms facing each other. • Then bend both wrists inward. separate the hands to the sides of the body. 3. bending inward about 90o. breathing in as you do this. exhale. • Next. the hands wrest free of the opponent’s wrist grip.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. • Extend both arms forward. eyes looking forward (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. lower the shoulders and elbows. • Step the right foot forward.3.
144 Notes The extent to which you separate your hands depends on the opponent’s grip.143 Fig. insert both palms downward (Xia Cha Zhang. Palm Inserting Down) (Fig. 3. 3.陈 氏 太 极 拳 推 手 技 法 Fig. keeping both arms tightly together like pincers. If you still can’t free your wrists with this technique.143). finally returning them to the front of the chest to repeat the cycle (Fig. You can escape from seizing by one closing and one opening. 王 西 安 130 . During practice. then separate them to each side.144). then you transform and eliminate the seizing on your wrists. then raise your hands. 3. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. If you cannot push the opponent’s hands away. 3.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. These movements are applied throughout the whole system of Taiji and Tuishou practices. Kai He Zhuang (Opening and Closing Posture) 4. Wu Ji Zhuang (Wu Ji Posture) 2. rising and falling. San Ti Shi (Three Postures) 5. unblocking the whole vessel system by enhancing Qi and blood flow through the body and helping the accumulation of Qi in the Yong Quan point (known as the ‘Bubbling Spring’ located on the sole of the foot). Ji and An. 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.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. its leaves and branches must flourish. Taiji Yangsheng Zengqi Gong can be divided into six postures. Lü. states: “If a tree has deep and strong roots. opening and closing. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. Chan Si Zhuang (Reeling Silk Posture) 6. Chen Xin. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. As Qing Dynasty Taiji Master. each of which can be practiced individually or in sequence: 1. . Peng. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong).陈 氏 太 极 拳 推 手 技 法 4.
4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.1 133 . Open your eyes gradually. eyes closed. breathing gently and slowly. Concentrate your intention (Yi) in the Dantian.2. keeping your mind relaxed. Hang both arms at the side of the body and relax. feet parallel and shoulder width apart.2 wu ji zhuang (wu ji pOsTure) 4.1 Postures a) Posture 1 • • • • Stand upright.4.
Maintain the hands at shoulder height. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. 4. 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. Lower the hands onto the abdomen.3). 王 西 安 Fig. the right hand rotating in Shun reeling and the left in Ni reeling. 4. do not do it so gently that Qi becomes too soft and weak to reach every part of the body.2 Fig. palms facing downward and slanted diagonally (Fig. Take care of these points and you will not lose power (Diu Jin) unnecessarily. the right over the left for male practitioners. Try to expand your arms moderately.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides.3 134 . 4. On the other hand.2). 4. the reverse for females (Fig.
inhale and then swallow saliva down into the stomach. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai.4. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). Lift the buttocks and anus up a little. 3. Gather the chest and ribs inward. bend the knees slightly and grasp the ground gently with the toes. until they reach the lower Dantian. 2. 4. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. 4. the mind and facial muscles naturally relaxed. guiding the Qi and saliva through to the middle Dantian.2. Your shoulders should be loose and slightly lowered.2 The requirements for every part of the body 1. lower it when exhaling. Your elbow joints should be lowered. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue.2. 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 . It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. so that the waist descends naturally. The neck should be firm and straight. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed. The whole body will be steady if you gather the internal organs consistently.
you will enlarge your vital capacity and exercise the diaphragm muscles. up along the spine. 3. so that they all have the same rhythm. While inhaling Gather your chest and abdomen inward while breathing in Qi. Feel the sensation of all the body joints. By practising the above key points. across the Yu Zhen point. Practice also enhances your ability to guide Qi with Yi (intention). lower the waist and gather the Qi in the Dantian. until it reaches the Bai Hui point. Maintain your vertical axis. 王 西 安 136 . leading to Qi filling and blocking the chest. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. through the Wei Lü Guan point. Note: Do not press the abdomen down too much as it will swell naturally as it lowers.陈 氏 太 极 拳 推 手 技 法 2. Raise your Yi (intention) from the Hui Yin point (perineum). which will help with the distribution of Qi around the body. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). While lowering the internal Qi. keeping your body upright and lifting your back slightly. skin and fine hairs opening as the Qi rises. While exhaling Lower every part of the body. roll the chest slightly inward. including the internal organs.
patients and the correct mastery of key points. and achieve the smooth Zhoutian circulation and help with body combat. thinking. and emotions. just as Xing (posture.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. these can be accomplished only by hard learning. During Wu Ji Zhuang.4. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. Practitioners should modify the scope of their practice according to their level and progress. The key requirements for practice are relaxation. external movements) follows Qi. Beginners generally find it difficult to remember the postures and key points. Qi cannot be separated from Yi (intention). Qi follows Yi.2. Only through mastering your mental activities such as intention. quietude and concentration. consciousness. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. Only these can guarantee normal and healthy internal Qi circulation. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . However.
as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills. 4.3. is an important basic skill in Chinese Martial Arts.1 Postures 王 西 安 Fig.4 Fig.” Hence. 4.5 138 .3 hunyuan zhuang (circle pOsTure) Zhuang skill. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation.陈 氏 太 极 拳 推 手 技 法 4.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars. 4.
3.4). waist and crotch. with practice duration increasing gradually from short to long. shift your weight to the right and lift the left foot and take half a step to the left. Execute the posture as if embracing a big tree. a little more than shoulder-width apart. mid-level and low.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high.5). The upper body should be kept upright.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. 陈 氏 太 极 拳 推 手 技 法 4. b) Posture 2 • • • Separate the hands when the left foot reaches ground. focus on a static object at the same level as your eyes. 4. Lower the elbows and shoulders slightly. Keep the head naturally erect. The old and weak may practice using a high body stance. Stand with your feet parallel. if closed. waist and back straight. 4. then move them back to the middle. then lower the waist (Fig. Bend the knees so that the body is squatting a little. Keep the fingers evenly open and slightly bent as if half grasping a sphere. focus your attention on the Dantian (Fig. Leave your eyes naturally open or close them. If your eyes are open. The palms face each other. the neck. fingers pointing at their counterparts about 30 cm apart. 王 西 安 139 . Relax the shoulders. Next.
up the spine. Inhale again as the body rises. then lower your body again. The trembling may only be detected by touch or by close observation of the leg muscles. At this point. and guide the saliva down to the middle and lower Dantian. Beginners will find that the thighs may ache after two weeks of practice. Que Qiao. In this case. past the Yu Zhen point. although this may become more obvious with prolonged practicing at mid or low stances. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. For example. graduating to midlevel. then a low stance. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). you should raise your stance slightly to rest. At the same time. when doing Standing Zhuang at a high stance. inhale slowly first. until it reaches the Baihui point. Practice duration can last just a few minutes in the initial stages. touch the palate with the tip of the tongue. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. This relieves or may even stop the trembling for a period. 王 西 安 140 . Now lower the tongue and inhale. then bend the knees to lower the body until the buttocks are at the same level as the knees. the thigh muscles and even the whole body may tremble rhythmically. and slight trembling may occur. Wei Lü Guan. 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. raise Qi from the heels up the legs. through the Ren Mai. increasing to thirty or forty minutes at later stages. Should this happen. Du Mai. swallowing your breath with saliva. becoming gradually longer.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance.
breathing motions and digesting processes. Practice this process repeatedly. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. as it responds to the circulating blood. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. It rises and falls like a boat in the ocean. The body weight is always subtly moving in various directions. 4. but the apparent non-activity is misleading. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground.As you exhale slowly. the body quivers in a relaxed and peaceful state of mind. Standing on the ground steadily like a mountain. like a wild goose flies off and falls.3 Breathing Breathing is an important element of Zhuang skill. Zhuang skill is actually a practice using static strength and tension.3.
extend your breath slowly through the practice process.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side. Gather the chest and abdomen. 4. At the same time. 4. 4. relax and open the internal organs. as are the requirements and key points for the body parts.4. 4. In the initial stages of practice.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. the palms face inward and the eyes are slightly closed (see Fig. The distance between both arms starts short then grows longer.7 142 .陈 氏 太 极 拳 推 手 技 法 4. the body rises slightly with the inhalation. The only difference is that in this posture.8). The navel and Ming Men are in the same rhythm. the breath is usually short. the middle fingers connect. 王 西 安 Fig.6 Fig.
Focusing on your intention (Yi). use your intention to guide the current outward. Relax the body. crouch down and lower the elbows. All internal organs are filled with strength. b) Posture 2 • • • • • • Exhale and gather the organs. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. Do this practice slowly. At the same time. 4.Note: when you inhale and open up. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. Acting slowly. Drop the wrists and hold the palms facing inwards in a concave shape.8 143 . Qi appears between finger tips of both hands like a magnetic force. using your intention (Yi). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Roll the chest slightly inward. the navel and the Ming Men Mai swell out. lower the waist and gather the rib muscles.
and when Qi rises – the body and internal organs gather slightly. For thought (or attention) to combine with intention. it also helps increase internal strength and distributes Qi around the whole body. This practice also strengthens the practitioner’s ‘root’. For example. . Qi here refers to the fresh air exchanged between the lungs and the outside. In this way. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. For example. the ebb and flow of Qi and strength (or power) are in synch with each other. as well as breath control. one’s thoughts need to implement intention consistently. intention and Qi. Qi and strength. if you require the breath to be slow.4. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. then your strength must be soft. This is called. when extending the hands. 4. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath.2 The relationship between Thought. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. as well as the internal Qi moving in the body with the guidance of your intention. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. Lastly. “the internal Qi moves inside”. gentle and even. and also helps the practitioner build skills in relaxation and quietness.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.
In particular. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. Its purpose is to stimulate the nerve system by muscle movement.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. Guided by intention. abdomen and back. and are one of the main requirements in Zhuang skill. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 . With practice. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. the chest. this movement becomes a conditioned reflex and helps move muscles which are normally static.
When the weight shifts completely to the left leg. make sure your eyes are drawn inward to looking internally. then breathe it out slowly as you move forward (Fig. 4. inhale and move your weight backward. At the same time. the right hand in front of the left. Next. then shift your weight forward from the left foot to the right knee.9). The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. When inhaling. then open your eyes and look into the distance. Start the posture with your eyes closed. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. Gather the Lao Gong points of both hands inward.5 san Ti shi (Three pOsTures) The core content of San Ti posture is the method of drawing in and pushing forward. focusing your intention in the Dantian. raise both hands above the right leg. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. The fingers are poised as if grasping the air. 4.10).陈 氏 太 极 拳 推 手 技 法 4. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. This posture could also be called a sideways Bow Step (Fig. Expand the crotch like a circle. Swallow the fresh air inhaled. Purify this saliva with your intention. The length of inhalation should match the speed of the weight shift. .
Fig.10 Fig. 4. 4. 4.11). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. You need to have the feeling of closing before opening. Repeat this process alternating the left and right sides. 4. then push both hands forward slowly (Fig.9 b) Posture 2 • • As Qi is lowered into the Dantian.11 147 . As you exhale and shift your weight forward. lower the waist. close and fold your strength into your chest and waist.
with confidence and determination. persistence may be engendered. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. confident and diligent practice. 王 西 安 148 . and persistence. Only after prolonged practice can confidence be nurtured. Confidence in Zhuang skills grows with practice as difficulties are overcome. determination. on the contrary. In sum. If. You can persevere only if you firmly believe in the benefits of Zhuang skills. Indeed. your belief is half-hearted. and great determination. With confidence comes determination.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. and hold firm to these attributes throughout path of practice and study. confidence is a critical prerequisite. practitioners are required to cultivate their Three Spirits when they begin practice. your practice hesitant and inconsistent. then your progress will be poor. Through serious dedication. So where does confidence come from? From practice. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. practioners will make the expected progress.
4.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. inhaling all the while (Fig. Peng force is maintained while the foundation of the body is reinforced as well. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. 4. As you step forward. 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. • At the same time. 王 西 安 149 .6. • The fingers of the both hands point to each other. both palms facing forward.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan.4. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). extend both hands forward with the right hand before the left.12).
4.13 Fig.14 .陈 氏 太 极 拳 推 手 技 法 Fig. 4.12 王 西 安 150 Fig. 4.
relax both arms. Both hands make a half fist when reeling. When the left hand executes Lü (roll back) to the middle of the body. rotate the left hand in Shun reeling in front of the lowered abdomen. otherwize. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. At the same time. When this happens. 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.b) Posture 2 • • • • • • • Next. suffusing it with Qi before lowering it down to the middle and then lower Dantian. the right hand in front of the left. lower the shoulders. open both fists into palms facing inward. 4.14). Inhale and swallow saliva.13). gather and close the whole body so it forms a posture prepared for opening activities. inhale and crouch the body slightly. drop the elbows. keeping the left hand inside and the right outside (Fig. relax the right crotch and shift your weight gradually to the right. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. you start to repeat the sequence. As you shift your weight. As the weight shifts. withdraw the right hand so it intersects the left. 4. you will lose your weight and axis). step the right foot on the ground. turn the waist and twist the crotch. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. As this happens. 王 西 安 151 .
The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. This phenomena of “connected arteries. When you practise Zhuang skills to a certain level. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology.6. then to five times per minute. your breath should be natural and of the proper duration so that it enhances body combat and health. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. Therefore. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). Only by this can you avoid errors and side effects. The normal breath frequency of adults is six to twenty times per minute. After practicing Zhuang skills for a period. you will feel your key joints and your arteries and veins become unblocked and re-connected. and comes only after accumulated practice. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased.陈 氏 太 极 拳 推 手 技 法 4. decreasing to seven or ten breaths per minute. inhalation/exhalation being one breath. Dual practice with Yi (intention) and Qi connects the whole body. Inhalations and exhalations should be of proper length. This is a primary sign of beneficial Zhuang practice. you should focus on increasing the duration and depth of your breath. the breath can become slower and longer. and even to one or two times per minute. This helps in the exchange of carbon dioxide and promotes metabolism in the body. It is incorrect to exhale with a long breath and inhale with a short breath (known as “too much Yin”) or vice-versa (“too much Yang”). After mastering the key principle of natural breath.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. Ren Mai starts 王 西 安 152 .
then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. the five sense organs internally gathered. more gentle. even and quiet. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. and Yu Zhen Guan. In Da Zhou Tian. For both.from the tip of the tongue. The Qi of Da Zhou Tian originates from the Yong Quan point. deeper. the difference being that Da Zhou Tian extends Qi to the lower limbs. the body should be relaxed. Jia Gu Guan. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. reaches the perineum through the Dantian and then connects to Du Mai. reaches the Bai Hui point through Wei Lü Guan. except that the breathing in the former is longer. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. Du Mai starts at the perineum. all channels extended and unfolded. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. and Yi and Qi should move in the required routes. The whole process of moving Qi through Ren Mai and Du Mai. then infusing Qi into the Dantian. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue.
bring in the arms and place both palms in front of the abdomen (Fig. a) Posture 1 • • • Shift your weight gradually to the left leg. 4. 王 西 安 Fig. then infuse it into the lower Dantian. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. At the same time.15 Fig. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang.16 154 . then bring in the right foot so that both feet are a shoulder-width apart.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. 4. Swallow Qi down with saliva and guide it down to the middle Dantian.陈 氏 太 极 拳 推 手 技 法 4.15). close your eyes and inhale. 4.
4. pointing the fingertips upward. palms facing in (Fig. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig.18 155 . Then using the little fingers to guide the energy. 4. fingertips pointing obliquely down.16).18). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. swallow Qi and saliva and infuse them into the lower Dantian (Fig.17). lift both arms upright.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. finally placing them in front of the shoulders.17 Fig. palms facing each other. 4. As the body lowers. separate the arms to the sides. 4. Clench both hands into fists and lower them to ear level as the body lowers. 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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2.The Anus In the same way that the positioning of Dang is very precise. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. In ancient times. In Taiji practice. To help you master correct Dang postures in routine and Tuishou practice. and it became difficult for vena blood to flow to heart. the left knee and ankle vertically aligned to each other and the ground. This requires the left leg to be solid with the lower leg standing upright. anus contraction should only be slight and done in a natural way. advocating contraction of the anus during physical exercise as a remedy. Doing so over an extended period can have a positive effect in curing hemorrhoids. rectocele. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. the weight distribution is 3:7. womb prolapse and so on. womb and so on. are described below: 陈 氏 太 极 拳 推 手 技 法 5.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. Yuan Dang. Jian Dang and Tang Dang. the positioning of the anus also needs careful attention. 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. 王 西 安 161 . For example. After humans evolved to the upright posture and started to walk. Ding Dang. a short introduction of key Dang movements. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. A brief introduction is provided below. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. This realization caused the ancients to suggest that “the ground door should be always closed”.
“It is easy to teach but hard to change what is learnt. innate talents. These traditional teaching methods should be changed as implied by the adage. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. As for practitioners. the right knee should incline outward. and at this moment Dang should open in a circle so that both legs can support all parts of the body. there are many opportunities and responsibilities.陈 氏 太 极 拳 推 手 技 法 In this way. Some perform better than others due to learning abilities. 王 西 安 162 . For example. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. the root of Dang should be relaxed. That is. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. when the right leg moves to the side.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. at the end of the Dan Bian (Single Whip) posture. 5.” Indeed. 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. 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. Hence. which means there will not be opening-closing power if he or she crouches in the Horse Stance.2. “closing in opening” and that “Dang should open in a full circle”. This should be corrected at the earliest stages of learning. the body crouches as the right knee moves outward. If a practitioner is advised to relax. In traditional teaching methods.
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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if the opponent attacks using Jian Kao (Kao with shoulder). Tuishou is commonly divided into eight categories. 王 西 安 168 . For example.陈 氏 太 极 拳 推 手 技 法 6. you can defend using An (pressing). While the combinations of Tuishou moves are infinite. practitioners may master its secrets and principles with serious study. we will describe how to apply these eight Tuishou techniques in sparring practice. In this chapter. then strike back with Jian Kao. your opponent may respond defensively with Xiong Kao (Kao by chest). For example. if you advance using Ying Men Kao (Kao diagonally to the front). with attackers changing to defensive roles in an instant and back again without warning. the attack-defense stances change dynamically.1 Overview Within the Chen style Taiji routine. since both the attacking and defensive movements are interrelated and cannot be separated. Indeed.
He Bu Tuishou with static footwork. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. while Tuishou) 8. normally a forward step then a backward step) 6.6.e.1. Dan Wan Hua (Coiling Flower with Single Hand. where the the practitioners are no longer oblidged to the sequences or fixed routines. Shun Bu Tuishou (Tuishou with movable footwork. and any movements can be exerted by intention. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. Da Lü (larger scale movements) 7. Jin San Tui San (both parities advance and then retreat for 3 steps.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. Luan Cai Hua (Picking Flower. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . silk reeling in the shape of a flower) 2. i. which is regarded as the highest level of Tuishou.
Bie. as follows: 1. Si Yu Shou hand techniques are always used. i. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. Ding Bu (static footwork) 2. Ji.e. Xuan Wan (rotating wrists) 4. including: 1. Si Zheng Shou (Peng. or Kao hand techniques. and not be limited to one or the other. Cha Bu (inserting steps) 6.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. these consist of the Cai. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. Dan Tuishou (Tuishou with single hand) 2. During sparring. Shuang Tuishou (Tuishou with double hands) 3. feet placed together ) 7. Bing Bu (step touch. Lü. Zou. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. novices should start by learning one set at a time. Qie Zhang (palm chop) In static footwork.1. An) is usually applied. Duli Bu (standing on a single foot) 8. However.陈 氏 太 极 拳 推 手 技 法 6. Dian Bu (stepping on toe-tips) . Huo Bu (moving footwork) 3. There are many categories of footwork techniques. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü.
6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction.1).2). when both players retreat after being mutually warded off. 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. with the forearm bent toward the upper arm at an angle of 450. the four fingers extended and joined together to form a slightly concave palm (Fig. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. 6. with the wrist lowered and fingers relaxed. 6. In single practice. 6.1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. The elbow must be dropped. palm facing in.2 TuishOu handwOrk Techniques 6. Da (meet) and Sao (sweep) movements. In this posture. one arm is extended horizontally sideways. When cutting downward. Shuan (bind).2. 6. you need to place the body in a crouching position. roll the chest slightly inward and lower the waist and shoulders. The roots of the fingers are relaxed.1 Fig.2.2 171 .
As you rotate the hand downward or outward.2. In this instance. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. 6.2. when hands are rotating horizontally in a circle. Xie Tuo Zhang is also applied in the process of Big Lü. the little finger is used to guide energy and draw inward toward the thumb. 6.4 Xie Tuo Zhan In this technique. During sparring. then reverse to the Ni direction when the hands arrive at his or her body. 王 西 安 Fig. 6. 6. 6. if the opponent executes Lü on you.4 172 .4). the power lies in the root of the palm. where the raised hand lies above the middle of the upper arm. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory).3). one player may guide the other to reel first in the Shun direction.3 Wa Long Zhang … Roof Tile Palm The Wa Long Palm is shaped like a Chinese roof tile where the sides curl upward and the middle is low. For example. The palm posture during this direction change is called Xie Tuo Zhang.陈 氏 太 极 拳 推 手 技 法 6.3 Fig. the hand is stretched upward to the sides (Fig.
This technique is called Diagonally Upward Cha. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). • In Luan Cai Hua (palms reel in non-predictable angles. as the hands insert downward. 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and gradually press your hands toward the opponent. for example: • When you rotate both hands in vertical circles. see above).2. insert your hand downward and rotate it in the Shun direction. the hand is inserted upward or vertically/diagonally downward. see above). separate them and switch to Cha Zhang. then lower your shoulders and drop the elbows. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions.5). • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. fingers slightly parted (Fig. Cha Zhang is widely used in Tuishou. 6.6.5 173 .5 Cha Zhang … Slanting Palm In this technique.
it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig. This way. the ring finger. and your partner exerts An to your hand. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation. This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. Fig. When you guide your partner via Shun reeling to the front of your chest. and the little finger bending inward. 6.陈 氏 太 极 拳 推 手 技 法 6.6).6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. while the thumb and the index finger form a “ 八” shape. you can rotate your arm with the middle finger. 6.6 王 西 安 174 .2.
The toe tips point slightly inward.3. the thigh nearly parallel to the ground.6. 6. 6. following the principle of ‘closing in opening’. This knee is turned slightly outward to provide a frame for all parts of the body. In this posture. the knee positioned approximately above the tip of the foot (Fig.7 王 西 安 175 . toe tips bent slightly inward.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground.3 TuishOu fOOTwOrk Techniques 6. following the principle of ‘straightening in bending’. The other leg bends with the intention to straighten. 陈 氏 太 极 拳 推 手 技 法 Fig.7). the Yong Quan point should be empty while the Dang is open with the intention to close. the sole fully touching the ground. One knee is bent so that the body is in a half crouch.
When the weight is completely transferred. 6. 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. the heel touches the ground with the toes pointing up at about 450 (Fig. knee bent slightly over the toe tips.9). 6. • This step is always used in Shun step.8 6.3. 王 西 安 176 . Fig. 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.3. if the opponent presses on any part of your body with his or her hands or arms.陈 氏 太 极 拳 推 手 技 法 6.2 Hou Zuo Bu … Back Seat Step In this posture. 6. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. big Lü and Luan Cai Hua. for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles).3 Qian Dian Bu … Forward Tipping Step In this step. straighten the front leg so that the back leg becomes the Bow leg. Position both feet fully on the ground.8). It is applied widely in Tuishou. toes grasping the ground.
9 6.10 177 .10).3. 6. 6. move your weight back and withdraw the front leg backward by stepping the toe tip back first. followed by the sole then heel (Fig. 6.Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. if an opponent applies Lü on you.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü. and Luan Cai Hua For example.
and is widely used in forward or backward movements (Fig. which now lies close to the ground. Lü applied through large-scale movements) (Fig. 王 西 安 178 Fig. in the ‘Dragon sweeps ground’ form.陈 氏 太 极 拳 推 手 技 法 Fig.12 . For example. 12). This posture is applied to Shun step. 6. When the opponent applies Big Lü on you. 6. 6. Hence the name ‘Falling Step’.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i.11). 6.e. Big Lü and Luan Cai Hua. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg.
This move is called Shun Ji Shun Fa (i. Shun Chan means to spiral energy from the outside to the inside. The principle of Shun Chan is that with the elbows guiding the hands. where it returns to its original position of circulation. spirals around the waist and shoulders.6. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. the term ‘reeling’ means to spiral energy. In Silk Reeling technique. In addition. the shoulders guiding the elbows and the waist guiding the shoulders. while simultaneously executing Kao on the opponent. you can use Shun Chan to gather energy and edge into the opponent’s territory.4. in Bei Zhe Kao (Lean with back). exerting Ji and Na in confronting reelings).1 Shun Chan … Conforming reeling In Taijiquan.13 179 . you draw the opponent inward into your territory. For example. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. enters the bone marrow through gaps in the scapula and travels down the arms. power rises from the heels up the legs. with the little finger guiding energy as it points to the thumb when it is drawn inward. 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.e. when the opponent executes Lü on you.4 hand Techniques in TuishOu reeling 6. with the other fingers slightly turned outward.
2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. shoulders and elbows. 6.4.3 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. the thumb gathers inward and guides the little finger.陈 氏 太 极 拳 推 手 技 法 6. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. In Ni Chan. In horizontal circle rotations with single hand.15). concentrate you energy in the wrist. Zuo Wan (descending wrist) technique is adopted (Fig. 6. while the other fingers turn out slightly (Fig.15 180 . 6. Note: to apply this technique precisely. by using the waist to urge the shoulder.14). 王 西 安 Fig. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent.14 Fig.4. the shoulders to urge on the elbows and the elbows guiding the hands. Here. Ni Chan is used to open outward. 6. 6. roll your chest slightly inward and lower your waist.
6. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Ji. At this point. by holding on to the opponent by the hand. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand.16). Diao Wan is also widely applied in response to a Lü attack. 6. your right hand rotates at 90o towards the right side of body in Ni reeling. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. in case of single hand rotation in the horizontal circle.6.16 181 .4. while trying to ‘listen’. to provide a closing and opposing force with the three fingers (Fig. which is formed by pointing the little. and adhere to him or her. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent).4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. The wrist is drawn inward to form a Diao Wan (Hooked Wrist). • For example. Lü. Lie. Zhou. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. the Shun hand changes to Diao Shou (Hooked Hand). Cai. Kao).
陈 氏 太 极 拳 推 手 技 法
6.4.5 Shun Chan Yang Zhang Raised palm in conforming reeling
This can be divided into inward Yang (palm rising) and outward Yang (palm rising), which are always used in the four front oriented techniques (called ‘Si Zheng Shou’ in Chinese, i.e. Peng, Lü, Ji, An) and four side oriented techniques (called ‘Si Yu Shou’ in Chinese, i.e. Cai, Lie, Zhou, Kao). First, if the partner executes Lü on your right arm, you insert loosely in Ni reeling, and then advance and press inwards by Shun reeling, raising the hand while advancing. It is called Yi Yang Zhang (palm raised inward), because at this time the palm is facing inward and upward. Second, if you guide the partner and withdraw your step, the partner will likely expose some weak point after you raise your palm in Ni reeling. To lift the partner in this ‘openning’ provides preparation for your ‘closing’, i.e. to capture your partner in Shun reeling quickly. At this time your palm is facing upper outward, so it is called Wai Yang Zhang (palm raised outward) Internally, whether in outward Yang or inward Yang, you should coordinate whole body movements coherently. Yang is a kind of opening, so at this time the body should close, so as to support each other and not be separated. Practitioners must pay attention to these principles in practice.
王 西 安
6.5 TuishOu sTeps 6.5.1 Shang Bu … Forward Step
Shang Bu is a forward step with one foot, and begins with both a step forward and the bending of the knees so that the body is slightly crouched, five toes grasping the ground (Fig. 6.18). This preparatory posture resembles a cat ready to pounce on a rat, and allows you to step forward lightly and flexibly. Like a cat, you should prepare first by gathering energy, then extending the foot while listening and feeling intently. Step first with the heel then uncurling the rest of the foot flat on the ground. This procedure will limit your vulnerability.
6.5.2 Tui Bu … Retreating Step
The Tui step consists of moving one leg backward in an arc, and it can consist of more than one step (Fig. 6.19). Key to the Tui Bu is the bending of the weight-bearing knee. How much this knee bends and hence how much your body squats depends on the size of the Tui step. The bigger your retreating step, the lower you will have to bend your knee. However, it also depends on your body condition. Whatever the case, the Tui step has to be done flexibly and lightly and not with stiffness.
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 6.18 Fig. 6.19
陈 氏 太 极 拳 推 手 技 法
6.5.3 Gen Bu … Following Step
The Gen Bu can also be called the Dian (adding) Step (Fig. 6.20). This step is used in the situation where one normal step is too small to reach the target while two steps too excessive. In this instance, one is said to Gen (follow) or Dian (add) a small step after a normal step to reach the target distance. Gen is applied to the four front orientated techniques, Si Zheng Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua. The main purpose of Gen Bu is to get closer to the opponent to decrease their chances of escape. However, note that the Gen step is completed without the opponent’s awareness, a technique called Die Fa (a general concept of body combat techniques, referring to the comprehensive techniques and strategies to defeat the opponents, on the basis of quality ‘listening’ to their speed, weight and power in Tuishou). The importance the Gen step in Tuishou is reflected in the saying, “You cannot reach the depth and secrets of Tuishou without understanding Die Fa.”
王 西 安
solo pRaCTiCe in Tuishou
陈 氏 太 极 拳 推 手 技 法
王 西 安
陈 氏 太 极 拳 推 手 技 法
Solo Tuishou practice consists of individual practices useful for improving flexibility, agility and responsiveness to combat. Typically, body movements are initially executed at a high stance, gradually lowering to mid then lower stances. However, practitioners should practise according to their body condition. Likewise, beginners should start with practicing at slow speed, gradually working up to faster then very swift movements. At each stage, slow movements should not become blocked, fast movements not energy-losing, and very fast movements not chaotic. In other words, you should not lose energy in slow practice, nor be obstructed in fast movements. On the contrary, you should keep the consistency, coherence and Liu He (the Closing and Consistency of six parts of the body), and avoid any disorder and energy loss.When one part of body moves, all other parts follow and coordinate. In solo Tuishou, you should act as though following your partner neatly, and always keep attention concentrated, shoulder blades relaxed, and movements flexible. Execute solo practice as if you were actually fighting with a partner, with the fight so vivid that it brings you more interest in your practice. As a result, after thorough sole practice, the whole body moves flexibly, neatly and smoothly, and you are able to do well in actual paired Tuishou.
王 西 安
heel first with toes pointed up. As your weight shifts. relax the crotch and lift the right knee.2. 陈 氏 太 极 拳 推 手 技 法 7.3). Maintain the vertical axis. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig.7. straightening the neck and lifting the top of the head. stepping without thought) (Fig. Relax the arms and hang them at the sides.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. in preparation for the right leg step forward lightly. eyes looking forward (Fig. palms lightly touching the sides of the legs. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg.e. so as to avoid empty stepping (i. Continue relaxing the crotch.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. 7.2). the left toes grasping the ground. 王 西 安 187 . empty the Yong Quan point. Step the right foot forward. Your step should be light. Shift your weight slowly to the left leg. 7.2. then slowly roll down the rest of the foot to the ground.2. 7. 7.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position.
7. right elbow and wrist. 7. 7.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step. Complete the movement by raising the right fingers to form the Li (erect) palm.1 Fig.2 Fig. 王 西 安 188 Note: in later movements.2. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. .3 7.陈 氏 太 极 拳 推 手 技 法 Fig. thumb behind the fingers (Fig. 7. While the right arm moves.4). As the weight shifts. the left elbow and the right hand should move coherently in collaboration with each other. relax the left arm so that the left hand hangs down.
4 Fig. 7. 王 西 安 189 . 7. relax the left side of the crotch and shift your weight slowly to the left so that the inner side of the right foot touches the ground. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig. As you reel.5 Part 5 • • 陈 氏 太 极 拳 推 手 技 法 • Focusing your right hand on the imaginary partner move it about 900 in Shun reeling to the left of the body.2.5).5 7.Fig. 7.
the elbow in a slightly warding off (Peng) position in coordination with the little finger. When the right arm moves downward. The right forearm now moves transversely in front of the abdomen.6 Fig. .7).7 7.6).陈 氏 太 极 拳 推 手 技 法 Fig. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. 7. The other fingers reel outwards in coordination with the elbow (Fig. At this point. the weight shifts completely to the left. 7. 7.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. right palm facing down and wrist bending 450 inward using the little finger as a guide. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs.2. Step the right foot either flatly on the ground or with toe tips pointing up. 7. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps.
Shun. 7. Return the bent arm and the bow leg to their original positions (Fig. Then place the palm downward (Fig. 王 西 安 191 . until it reaches the front of the right ribs. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms.7 Part 7 • • • • Using the little finger to guide the energy. that is.2. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. shift your weight to the right. Ni. Use the rightward rotation of the waist and torso to steer and guide the partner’s power into your territory towards your right side so you can eliminate it. a 900 arc to the right side of body.9).2.9 Part 9 • • Now using Ni reeling. Ni. extend the right hand slightly forward.7. power is most concentrated and exerted on the external side of the thumb and index finger.2. followed by the hand. 7. changing into Ni reeling. bend the knees slightly to place the body in a squatting position. While the right arm reels. The 3600 rotation of the arm follows this sequence of changes: Shun. As the arm changes to Ni reeling. using it as a pivot to rotate the right shoulder rightward. three Shun reelings and two Ni reelings.8).8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. At this point. pointing the right knee slightly outward and moving it in a helix. draw the chest slightly inward and relax the right side of the crotch. 7. 7. Rotate the waist to the right. Shun.
7. Notes In these horizontal-circle rotations.陈 氏 太 极 拳 推 手 技 法 Fig. Shun. the arms rotate with the waist and the axis while the hand guides the energy. the reeling sequence being Ni. 7. that is. 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. rotate the wrist. Ni. Ni. The movement of every part of the body should be continuous and synchronised – when the upper body moves. Practice alternating rotations with both arms so that there is a feeling of balance. the lower body follows.8 Fig. 王 西 安 192 .9 • The left arm rotates from the left. Relax the waist and shoulders. The middle body moves in coordination with the upper and lower bodies. when one body part moves then all other body part follow. the upper body guides the lower body’s movement. three Ni reelings and two Shun reelings. that is. practice on the left by switching to the left leg and the left hand. When you feel tired practicing on the right. Shun. and ensure your body weight moves back and forth in synch with the body movements.
Next. heel first with the right foot. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. then turn the body to the left and raise the right hand in Shun reeling. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig.7. drawing an arc of about 90o to the left. • • • • • Keep your body weight on the left leg and step forward.11). 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . switch to Ni reeling. 7. Bend the left leg so that you squat slightly. lower your Qi.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. with eyes looking forward (Fig.10). relax the left side of the crotch. 7. Focus the eyes on the right palm (Fig. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. Finally. The whole movement is mainly guided by the rotating waist and relaxed shoulders. 7. palm slanting upward with intention to gently guide and draw in. drawing an arc of about 180o which goes downward and then up to the right. then switching to 90o Shun reeling. Next. It only requires vertial hand revolution and very small shifts in weight. with the rest of the foot gradually fully touching the ground.12).
王 西 安 194 . 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. Vertical arm rotation is guided by spiraling movements of the waist and back. 7. 7. 7.11 Fig.10 Fig. Practice rotating both arms in turn. then reel in Shun. 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. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. Finally.陈 氏 太 极 拳 推 手 技 法 Fig. reel in Ni to the right at 90o.
15 195 . This body posture is now one of holding and collecting. otherwise the shape of the posture will be lost (Fig. Relax the left crotch and while focussing on the right crotch. the palms should move forward at an inclined angle (see picture).13). 7.14). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 7.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. the forward shift of the body should stop once the palms reach their natural end position.14 Fig. then raise the right foot. 7. palms facing to each other. shift your the weight gradually forward. Bend the left knee to put the body in a crouching stance. Also. 7. in preparation for action (Fig. eyes facing the front (Fig.16). 7. Raise the forearms 90o upward. Note: when applying Tui Palm. pushing both palms forward (Tui Palm) at the same time. toes relaxed and pointing downward (Fig.13 Fig.7. 7.15). 7. Shift your weight gradually to the left leg. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.
7. Repeat the Tui Palm movement again. shift your weight backward and separate both hands to the sides of the body. Practice this cycle. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig.15) by drawing a circle by the sides of the body. 王 西 安 196 . 7. then pushing both hands forward. imagining the hands seizing the opponent’s wrists by Diao (Fig. 7. this time relaxing the right crotch and focussing on the left crotch. 7. palms vertical.陈 氏 太 极 拳 推 手 技 法 Fig.17 • • • Next.16 Fig. then lowering to the front of the abdomen.17).
lower the waist and shoulders.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. Shift your weight gradually to the left leg. Raise the forearms 90o upward. stated as follows: Stand at attention with the body upright and relaxed. drop the elbows and sink the Qi downward. While raising the hands. toes relaxed and pointing downward (see Fig. palms facing to each other. draw the chest inward.14). in preparation for action (Fig. Bend the left knee to put the body in a crouching stance. 7. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. 7. 7. 7.18 Fig. then raise the right foot. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.18). eyes facing the front. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. This body posture is now one of holding and collecting. 7.7.19). Grasp the ground lightly with the toes and face the eyes forward (Fig.19 197 .
21 • • • • 王 西 安 198 • Next. At the same time. During this process. 7. stopping at shoulder level (Fig.20 Fig. cross both hands slowly in Shun reeling. with the intention of supporting something upward. 7. Next. .陈 氏 太 极 拳 推 手 技 法 Fig. 7. after another small Ni reeling upward. both palms facing inward. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. Extend both hands forward in an ‘offering’ stance. push the crossed palms over the head in Ni reeling.21). As both hands separate upwards. step the left foot on the ground and shift your weight forward (Fig.20). finish the weight shift to your right leg. the palms descend to the sides. Then. continue to draw your chest inward. extending the hands forward so that the left hand crosses over the inner side of the right wrist. palms facing forward. 7.
陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . palms facing each other. You will feel the power after long practice. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. forearm. then hands.Note: as both hands separate outward. palms cross together. the chest. so as to start a new cycle. that is. shoulders. strike out in succession to the sides so that the arms become a pulled bow. Both hands then draw a downward arc to fall to each side of the abdomen. • • Now the left hand reels in Ni while the right hand reels in Shun. finger-tips pointing down. With body gathering. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. only that palms in the latter move horizontally. Closing form: palms continue to Shun reel. while weight totally switches to the left. upper arm.
6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. heel first. and An.22 Fig. Ji. Lü. Extend the left hand transversely and place it on the middle of the right upper arm. Coordinate the movements of your hands. Note that one should practice with intention rather than by force. extend the right hand diagonally forward to the right. 7. • As the weight shifts. • Stand at attention. When practicing. eyes. • Shift your weight to the left leg and lift the right foot to step forward. Open every body part to make your rotations natural and flexible. with the foot gradually stepping fully on the ground.陈 氏 太 极 拳 推 手 技 法 7. 王 西 安 Fig. body and steps. then bend it inward 45o. palm facing in. thumb pointing down and the little finger pointing upward.23 200 . The key points are the same as those of solo Tuishou. palm facing forward. act as if sparring with a partner. 7.
Meanwhile. focus your intention on meeting and holding the opponent’s hand. the left hand ahead of the right. 7. the wrist bent slightly inward and palm facing inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Shift your weight to the left slightly then to right. 7. At the same time. Next.22). As the left hand rises. Move the right hand in Shun reeling.• • • • • The left arm intends to Peng outward. During this process. lower the right shoulder and drop the right elbow. relax the left crotch. and the eyes look forward to the right (Fig. and so continue to Peng upward before executing Lü. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. the arm opens like a circle. shift your weight left and focus your eyes on the front of the right hand (Fig.25 201 .24 Fig. 7. as the left hand moves inward in Ni reelings. Relax the right crotch and turn the body to the right. raise both hands in Ni reeling. 7.23). 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.24). 7.
Repeat the process. visualize your left hand pressing down on the hand of the opponent. The edges of the hands become power-exerting points. shift your weight forward to the right leg. Note: In this movement. If the left leg is in the front. 7. Peng and An are transitional actions executed in 王 西 安 202 . the right hand executes Peng. As this happens. Execute An forward with both hands the palms facing each other about 33 cm apart. eyes looking forward. alternating left and right sides. You will also need to use your left shoulder to push and use the right hand to help press forward. pushing it outward. 7.22). At this point.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. an instant. This is the same as the starting posture of Da Shou posture. and the left hand helps the right to execute Lü. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig.25). The right hand reels in Ni direction also with the intention to push outward (Fig.
In practice. outward. 7. Hand movements consist of four Zheng hands: Peng. raise both hands to attack by pushing them to the front right of the body. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Ji and An. where the pushing power is exerted. As the weight moves forward. Lü. sink the shoulder downward and drop the elbows.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. Face the outer hand edges. These actions drive two the hands forward. 7. Lower the waist.26 Fig. draw the chest inward.26).27 203 . moving backward uses Peng and Lü hand movements. moving forward is combined with Ji and An hand movements. • • • • Step forward with the right foot then shift your weight forward.7. Step the left foot on the ground with the inner side of the foot touching the ground. Keep the eyes looking to the front right (Fig.
28 Fig. As the arm moves. tiptoe first. with the intention to close before opening.28). turning the right elbow out and upward.29 • • • • • 王 西 安 204 • • • After the pushing attack. Push the shoulder forward. The body moves forward following the shift in weight. 7. Note that Qi should not be allowed to float upward. thumb pointing down and palm facing down. 7. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body. As this happens. Eyes look to the front right (Fig. Bend the left leg to squat further and extend the right foot forward. shift your weight to the left and lift the right foot. toes pointing down (Fig. At the same time. 7.陈 氏 太 极 拳 推 手 技 法 Fig. withdraw the left hand gradually and place it on the middle of the right upper arm. . 7. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. Raise the right hand in Shun reeling. Relax the left crotch after pushing and shift the weight to the left.27). followed by the arm and the hand (Fig.29). At the same time. rotate the right hand slightly downward in Ni reeling. 7. and in preparation for moving.
the upper and lower body form a balanced block of strength with the waist as the boundary. Eyes look to the front left (Fig. The outer edges of the hands are power-exerting points.30). 7. thumb pointing down and palm facing forward. Reel the left hand first in Ni direction.32). then draw a circle downward. then shift your weight to the right. Next. Eyes look to the left (Fig.Fig. While the right hand switches to Lü. 7. then in Shun direction downward to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . Then the right hand switches to Lü.31 • • • • • • Relax the left crotch and shift your weight to the left. Raise the right foot and take a step backwards to the right. 7. The front push of the right hand provides an instant defense. 7. 7.33).which takes place in an instant. gradually squat the body. Both hands are about 33 cm apart (Fig. As the weight shifts. raise the left hand in a spiral to form a Lü movement with the right hand. raise the right hand quickly to push forward together with the left hand toward the left side of the body. Visualize sending the opponent’s right hand out to the left side of your body. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. 7. Next.30 Fig. Eyes look to the front left (Fig.31).
7. extend the right hand to the right front of the body following the right foot. until the left hand reaches the middle line of the body. the right arm then bends to 450 inward.35 206 . Eyes look to the front left (Fig.32 Fig. 7.34). As the weight shifts.陈 氏 太 极 拳 推 手 技 法 Fig. 7. Raise the body gradually and slowly shift your weight to the left leg. 7. At the same time.33 • • • Both hands execute Lü from left to right following the body. take a step forward with the right foot. 7.34 Fig. 王 西 安 Fig.
Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.35). 7. thumb pointing down.39 207 . Then shift your weight slightly rightward.37 • • Simultaneously. 7. 7. Eyes look to the front right (Fig.36). 7. place the left hand on the right upper arm.38 Fig. 7.Fig. Note that the waist power descends to the left first then the right.36 Fig. Eyes look to the front right (Fig. 7.
Next. Eyes look to the right (Fig. Relax the right crotch and shift your weight to the right. Eyes look to the front right (Fig.38). then move it out to the right. move the right hand in front of the left hand quickly. 7. As soon as both arms finish pressing forward.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. visualizing that you are pushing the opponent’s hand outward to the right.39). 7. Start a new cycle (Fig.37). At the same time. 王 西 安 208 . 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. raise the right hand quickly and exert An forward with power. execute Lü downward with the left hand. 7.
a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. The other movements are the same as the movements in Shun Step (forward or backward step). a major weakness with which you cannot even hope to attack the opponent. then the fives methods of solo Tuishou practice. and Kao. 7. Kao with large-scaled body movements. Bie. Lü Ji and An. the whole body will become stiff when you try to squat down in the big body movements. Furthermore.41 209 . Lie. literally meaning “big falling step”. As such. beginners should first practise the routines. whereby Player B executes Lü on Player A. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. If not. It uses the combat techniques of the four hand techniques in corner directions – Cai.40 Fig. One is Da Pu Bu. and Kao. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. Lü. Zou. Bie Zou. It is not easy to practice Cai.7. we will only refer to two main Da Lü postures as shown in the pictures which follow. 7. The circulating of steps in Da Lü when practicing Peng. the only difference being that the extent of the steps in Da Lü is bigger.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. The other picture demonstrates the big Frontward Bow Step. Ji and An is the same to those in Shun Step (forward or backwards Step). Zhou. In this chapter.
7. See how to execute Dian step in Figure 7. You need to rotate neatly when executing a step forward as the partner changes his or her direction. Ji. precise rotation.42.9 sOlO luan cai hua TuishOu The gait in Luan Cai Hu is called San Bu (scattered steps) or Hua Jiao Bu (steps in flower tracks). This way you will not lose energy unnecessarily nor become stiff. you should pay attention to the following points. 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. and also uses the Si Zheng Shou.陈 氏 太 极 拳 推 手 技 法 7. Lü. Luan Cai Hua is also built on the foundation of Peng. The body movement and gait should be neat and swift. 王 西 安 Fig. It’s features include free movement with no fixed direction.42 210 . and An. and flexible. In the Luan Cai Hua Tuishou practice.
you feel the partner’s energy as you rotate. the steps are small but the speed is fast. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. When circulating the four Zheng hand techniques (Peng. Do not just practice at fast speeds or you will lose your energy or get stiff.In this technique. It is not easy to apply Die Fa. the only difference being in the stances of the body. Ji. getting close to their upper body while causing them to raise their lower body or slant it. and entice the partner to advance and show his or her weak points. Lü. and thus impede any progress in Tuishou. You should practice listening repeatedly. heavy but not stiff. An). You try to sense the partner’s intention by through pressing and pushing precisely and lightly. Your movements should be quick but not chaotic. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. When you apply Luan Cai Hua in Tuishou sparring. light but not empty and floating. looking for the attacking opportunity. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 .
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 .
If both partners have Taiji proficiency. I hope that the reader will use this to practice diligently and master the key points. Pair Tuishou embodies the essence of Taiji Tuishou. An introduction to Tuishou pair practices has been provided in the following pages. agile. development should follow the stages of San Shou to Zhan (coherence).1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. lowering to mid-height then low stance. 王 西 安 214 .陈 氏 太 极 拳 推 手 技 法 8. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. pair practice should start slowly. gathering speed in the later stages. Lian (connecting) and finally Sui (following). so you must strive to concentrate. flexible and without weaknesses. like a flowing river: smooth. similarly. the practice stance should start high. Pair practice Tuishou improves combat skills. movements in pair practice should start simply before gaining in complexity. In addition. pair practice becomes beautiful to watch. Lastly. Faster progress may be made if your partner is proficient in Taiji. moving as the partner moves. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. Like solo practice. then pair Tuishou may be described as “acting as if there is no partner although you have one”. If possible. try to choose a partner of similar level for pair practice. flexible and rapid. whereby your actions should be precise. Nian (sticking).
toes pointing slightly outward to form a 八 shape. gradually forming a front Bow Step.1 Posture 1 Both players stand at attention facing each other.2. The distance between both right feet should be about 10 cm. 王 西 安 215 . 陈 氏 太 极 拳 推 手 技 法 Fig. arms hanging relaxed by the sides.1 Both players take a step forward with their right feet. Player B refers to the female practitioner dressed in red. 8. Their bodies are upright.8. an arms length from each other so that their fists touch when arms are outstretched.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. These may be shortened to ‘A’ and ‘B’. 8.
8. Fig. and his body crouches slightly to form a closing power. Alternatively. .2 8.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. corresponding with the rotation of the waist. Both players watch their hands throughout this step. A’s weight shifts backward. eyes focussed on the right hands.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. the left hand can also be placed naturally along side the body.2. both players raise their right palm and extend it forward. As both players draw this arc. B’s weight continues to move forward to form a single-hand An (pushing) power. with the middle fingers at nose level. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. The back of the palms touch each other. using the middle line of the nose as the boundary. The right hand extends forward with the left hand akimbo.
then she guides A’s hand to the front of his abdomen.Fig.4 217 . 8. At the same time. B shifts her weight gradually backward while her hand draws an arc following Player A. Repeat this cycle.2. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then Ni reels 90o to the front of Player B’s abdomen.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. 8.3 8.
before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen.3 single-hand verTical circle wan hua in pair pracTice 8. then then draws a 90o arc to the left.陈 氏 太 极 拳 推 手 技 法 8.3. Fig.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).3. the only difference being that here the Da Shou (meet partner with hand) position is higher. 8.1 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. Both players then rise. both hands perpendicular to each other and eyes looking forward. .5 8.
For example. Partner B relaxes the left crotch.7 219 . 8. guiding Player B to Ni reel 900 to his right side. with eyes looking at the same direction.6 8. 8.Fig. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. turning to the right (B’s left side). B always adheres to A. During the above process. when A draws an arc to the right side. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3.3 Posture 3 Player A relaxes his right crotch and turns his body to the right.
While waiting. toes turned up (optional). heel first. Then Player B extends her hands forward. having first shifted their weight onto the left leg. lower the shoulders and drop the elbows. eyes looking forward. 王 西 安 Fig. Both players step forward simultaneously with their right foot. with aim to form a front Bow Step. Player A raises two hands in front of his chest. they lower their waists.4.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. ready to move and attack if hands touch. placing them outside A’s hands.陈 氏 太 极 拳 推 手 技 法 8. Both right feet start to uncurl to the ground. draw their chests inward and gather their ribs. 8. Now both players wait in a defensive mode.1 Posture 1 Both players stand at attention facing each other.8 220 .
4. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. He stops pushing when his hands are 20 cm away from Player B’s chest. As Player A pushes his hands forward. B’s little fingers “stick” to A throughout the process. her hands reel in Shun. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. 陈 氏 太 极 拳 推 手 技 法 Fig. As B’s weight moves backward. 8. A’s weight shift to the right foot has been fully completed. Here. In other words.9 王 西 安 221 .8.
She relaxes her chest as her hands separate.4. B moves her weight forward to form a Bow Step.4. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. using the outer edges of his palms.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. Fig. While A draws arcs. 王 西 安 222 . then separates Player B’s hands to the sides of her body at shoulderlevel. Then both players return to the original position. While Player A separates.10 8. B senses the speed of A’s pushing and separating power as her hands are tightly guided by his hands and separated by them to the sides.陈 氏 太 极 拳 推 手 技 法 8. He shifts his weight backward.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. 8.
Fig.11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 . 8.
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.12 王 西 安 224 8. the weight for both parties starts to shift to the right. guiding Partner B to raise her hands. all eyes look forward.1 Posture 1 Player A and B stand facing each other. with the inner sides of both feet facing each other and 10 cm apart. draw a vertical circle outward. 8. A’s weight is all at the right foot. . The positions of all hands are higher than the eyes. and separate hands to the sides of the body at shoulder level.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8.5.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward. Fig.陈 氏 太 极 拳 推 手 技 法 8. The two parties’ eyes always follow their movements. B has been shifting her weight to the left. Now. Now. then step their right feet forward simultaneously.
8.5. while he shifts his weight backward.14 225 .13 8. she shifts her weight forward to form a front Bow Step. and draw arcs to the lower abdomen.Fig. his little fingers slightly catching Player B’s wrists. Both players’ eyes face forward. While Player B rotates her arms downward following Player A. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3 Posture 3 Player A switches to Shun reeling. 8. Player A draws outwards while Partner B draws inwards.
whether Player A separates B or vice versa. the body squats to prepare for openning. Both players can practice this in turn. and continues to move her weight forward. Note: The steps are the same. his hands crossing before the chest with both palms facing in.陈 氏 太 极 拳 推 手 技 法 8.5. Then Player A returns to the original position by Ni reeling and separating his arms outward. 王 西 安 226 . Player B follows Player A closely and feels his change.4 Posture 4 Player A continues Shun reeling. Both players face forward. Repeat this cycle.
Player A and B stand facing each other. and then extend their right hands forward so they cross each other. then step their right feet forward simultaneously. with the inner sides of both feet facing each other and 10 cm apart. backs of the hands touching. 陈 氏 太 极 拳 推 手 技 法 Fig.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. eyes looking forward.15 王 西 安 227 . Now. yet start to shift to the right.8.6. 8. the weight for both parties are both in the left. Both players then shift a little more weight to the right.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands.
2 Posture 2 Player A shifts his weight forward. he places his right hand on the middle of B’s left upper arm.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. Fig. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. then extends forward to press against A’s left forearm.陈 氏 太 极 拳 推 手 技 法 8. Her right hand presses Player A’s right hand slightly downward. During this process. .16 8. Player B places her left hand on the right upper arm of Player A as he moves. then turns his right hand left in Shun reeling following the turn of his body. 8. Player A relaxes his left crotch and moves his weight slightly leftward. he places his left hand on the middle of the right upper arm. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. In this way. both of B’s arms form an An (Pushing) power.6.6. gradually switching from Peng (ward off ) to Lü leftward. At the same time. While the right arm turns.
thus returning to the original position. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.17 8. Repeat this cycle. and executes Lü (roll back) again.4 Posture 4 Player B executes Ji (press) on Player A. Then Player B wards off Player A’s left hand upward. shifting his weight forward to add more pressure. Player A executes Lü on B’s hand and presses it downward. Player B switches from An (push) to Peng (ward off ). In response. 8.18 229 . In response. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand.Fig. Partner A withdraws his pressing hand and places it on his own right upper arm. 8.6.
8. bending it 450 inward. Player B steps her right foot forward at the same time. then places his left hand on the middle of his right upper arm. placing it on the outside of A’s right leg.7.陈 氏 太 极 拳 推 手 技 法 8. A’s left hand then crosses with B’s left 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. Player B’s right hand crosses the outside of A’s right hand. palm facing outward. Player A steps his right foot forward to form a front Bow Step. 王 西 安 Fig.19 230 .1 Posture 1 Both players stand at attention. Player A raises his right arm as his right leg moves. Both players look at each other from the side. so that both knees touch (A’s inner knee and B’s outer knee).
At the same time. Both players look to the front. raises his left hand. 陈 氏 太 极 拳 推 手 技 法 Fig. and then wards off Player B’s left hand upwards. Simultaneously. Player B continues to move her weight forward when Player A applies Lü.2 Posture 2 Player A then relaxes his right crotch. 王 西 安 231 . 8. and switches both hands to double-hand Shun reeling to ward off outward gradually. and moves his weight leftward.7. Player B shifts her weight forward to double her pressing power. Both players look to the front and gather themselves to prepare for futher movements. shifts his weight slightly to the right.7. executing Lü (roll back) with his right hand. he places his right hand on the middle of B’s left upper arm.3 Posture 3 Player A relaxes his left crotch first. turns his body to the right.8. As Player A’s body turns right. he lowers his left shoulder and left elbow.20 8. 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. This switch from Peng to Lü happens in an instant.
When Player A presses downward. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. At the same time. 8. 8. then pushes her left hand rightward.7.陈 氏 太 极 拳 推 手 技 法 Fig. forming an An force.22 232 . 王 西 安 Fig. he presses Player B’s left hand downward to the front of her lower abdomen. with the aim of getting her to fall to his right side. with the coordination of his right hand. A then extends his left hand up and forward and presses the middle of Partner B’s right hand.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right.21 8.
her right crotch relaxes and she shifts her weight to the right. 陈 氏 太 极 拳 推 手 技 法 Fig. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. A’s upper and lower body move as one. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. In this move.5 Posture 5 Player B’s left foot steps on the ground. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. At the same time. then her foot gradually steps on the ground fully.7. At the same time. 王 西 安 233 . his right hand switches to Ni reeling to force Player B to step backward. Player A moves his weight first to the left and lifts his right foot quickly to step forward.7. 8.6 Posture 6 Player A shifts his weight back to the left leg after pushing.23 8. tiptoe first. both her hands follow the body and turn right to execute Lü (roll back) on the right side of Player A’s right arm until her left hand reaches the mid-line of her body.8. As Player B executes Lü.
shifting her weight gradually rightward. B also places her left hand on the middle of her right upper arm. In response. While this happens. . palm out.24 8. and steps within A’s left leg so that their two knees connect. shifts her weight leftward. Simultaneously. 8.7. to form Ji (press) power with her right arm.陈 氏 太 极 拳 推 手 技 法 At the same time. Fig. Both players look diagonally to the front. Player B relaxes her left crotch.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. then pushes Player B’s right hand first down then left using the pressing power of his left hand. Player B wards off slowly outwards with both hands in Shun reeling. turns his body slightly left and shifts his weight slightly leftward. Both players look to the side at each other. so as to form Peng and Lü with both of his hands. B steps forward in synch with A’s guiding hand. Player A places his left hand on B’s right upper arm. then takes a step forward with her right foot.
7.25 8. B also places her right hand on the middle of A’s right upper arm. 8. then raises her left hand in an upward Peng on A’s left hand. then switches her left hand instantly from Peng to Lü. Player B lowers her left shoulder and left elbow. 8. At the same time. Simultaneously.Fig.26 235 . 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left.
王 西 安 Fig. both A’s arms form an outward Peng power. As Player B pushes A’s left hand downward. then raising his left hand upward onto B’s right upper arm to warding off (Peng). she presses forward on the middle of A’s right lower arm. At the same time. Both B’s hands work together to form an upward pressure pose. His right hand then comes into contact with B’s right hand. Player A continues to shift his weight forward.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. Both players look diagonally to the front.陈 氏 太 极 拳 推 手 技 法 As this happens. then withdraws his right hand to place it on the middle of his left upper arm. 8. Both players look to the sides.27 236 . A responds first by flowing downward. In this instance. then quickly forms a pushing power towards B. Then with her left hand. she presses Player A’s left hand first down to the front of his lower abdomen. then to her left.7. 8.
and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. He moves in Lü until his left hand reaches the mid-line of his body.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. relaxes his left crotch. 8. Player B shifts her weight first to the left. 陈 氏 太 极 拳 推 手 技 法 Fig. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. leading to increased exposure to attacks.7. taking care not to go beyond their territory as this would mean that the transferring and changing of movements would not be as quick and flexible. Both players should defend and stick to defend their own territory. 王 西 安 237 . Player A steps his left foot on the ground.8. 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.10 Posture 10 Both players keep moving and rotating. following A’s Lü power.
Finally. to form a Ji power with his right arm. 8. foot gradually steps fully on the ground. 8. her right hand changes to Ni reeling to force Player A to step back. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. Ji and An. Both playesr look diagonally to the front. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. as well as an accomplishment of one cycle of Peng.7. Simultaneously. You may have found that. A relaxes his left crotch.26. As B shifts her weight backward. At the same time. palm out. one full cycle consists of one step forward and one step backward. B places her left hand on the middle of A’s right upper arm. and are ready to start a new cycle. her two hands forming a Lü posture. Player A places his left hand on the middle of his right upper arm. and 8. Both their knees connect. 王 西 安 238 . Lü.27.25. The rotating methods are the same as those on Figures 8.11 Posture 11 After pushing forward. Player B shifts her weight backward to her left leg. both players return to their original positions. tiptoe first.28. At the same time.陈 氏 太 极 拳 推 手 技 法 8. shifts his weight leftward. for both of the two players.
29 王 西 安 239 . you should combine Si Zheng Shou practice with Si Yu Shou. Zhou and Kao.8.8 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. In this low body movement. This technique consists of larger scale body movement. 8. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. Bie. which is aimed at reinforcing your lower body stance and leg power in this technique. The practice of Da Lü movements is very important in learning how to apply low body movements in combat without impacting on other combat movements or losing agility and flexibility. and is based on Shun Bu Tuishou. which is Cai. 陈 氏 太 极 拳 推 手 技 法 Fig.
陈 氏 太 极 拳 推 手 技 法 8. can you win consistently. or power direction. try to feel the Gongfu level gap between you and your opponent by listening. 王 西 安 240 . use your elbow or Kao (shoulder strike) to attack when you find a weak point. so as to transform the opponent’s power. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). Sao means to sweep or clear away. reel them in Shun and Ni directions. Gun Shuan is an extension of Da Sao. During combat. Instead of sweeping the arms horizontally. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). Gun Shuan (roll and seize). With this method. nor the location of your body weight. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. In Da Sao. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. push and press against the opponent to force them into a defensive mode. Bi Ya (push and press) and so on. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). depending on the circumstances. If you choose not to attack under some circumstances. From this position. Only this way.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. the opponent cannot discern your target. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. left and right. up and down. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support.
you can advance two or three steps to gain a territorial advantage. Apply Ti (lift) and Long (holding close) unpredictably and precisely.30 陈 氏 太 极 拳 推 手 技 法 Fig. 8.31 王 西 安 241 . 8. direction and angle of changes. For example. if the opponent retreats one step. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). coordinated with Shang Long Xia Ti. Your footwork should be based on the speed. flexible. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. Your Dian Bu should be light. 8.32 Fig. Combine the power of both your hands so that they become one indivisible power. Actually. which you think harmful to your opponent. agile and swift.Your footwork should be coordinated with your handwork. there are no restrictions in the application during practical body combat. This is an example of the Die Fa. These are the main methods and purpose of Luan Cai Hua pair practice. Fig.
This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. At its foundation. much of the theory in this book is based on the guidelines written by Yang Chengfu. Yang. each action or form occurs as a result of a certain combination of forces which are generated by Heaven.Other books by INBI World: OLEG TCHERNE philosophy of Taiji The philosophy of Taiji was developed in China at the height of the Daoist era between 700 bc to 200 ad. culminating in the modern-day Chen. According to this philosophy. Sun and Wu Styles. the philosophy of Taiji attempts to explain the workings of the universe. of two fundamental forces: Yin and Yang. and offered new ways of understanding humans as a microcosmic blueprint of the Universe. we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. our world and the human body through the interactions. through Taiji forms and postures. opposing and complementary. one of the pre-eminent representatives of Yang Taiji family. . While the Taiji form has undergone many changes through the ages. For this reason. that is. Taiji Philosophy is most easily expressed and understood through the use of body language. Earth or Human realms.
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. including his meticulous inscriptions for over 400 illustrations. this tome was intended by its author to be both the first ever written repository of Taiji lore.CHEN XIN The illustrated Canon of Chen Family Taijiquan “The Illustrated Canon of Chen Family Taijiquan” is universally acknowledged by the Taoist community and Taiji practitioners as the seminal sourcebook of Taiji philosophy and techniques. A work of intense scholarship which took over fourteen years to complete. and a referential resource for Taiji instructors and practitioners for generations to follow. www.com .inbiworld.
Henan Province. All people who buy calligraphy or make a direct contribution will have their name and the amount carved into a stone tablet to be displayed in Chen village. Q. How is the project being funded? A. How do I purchase calligraphy or make a contribution A.com . Wenxian. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. Q. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. Who was Chen Changxing? A.chenxiaowang.Chen Village Restoration Project • Q. Q. What is the Chen Changxing - Chen Village Restoration Project? A. founder of the Yang style. www. China. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide.
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