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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 .
Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . as an expression of the profound spirit inherent in all human beings. to consist of everything’. we believe that Taiji.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. One of the finished manuscripts resulted in this book. More than ever. I recall Master Wang working on two manuscripts which he carried around in his bag during his visit to Tokyo in November 1995. 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. 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. ‘to exist everywhere. Indeed. In the spirit of Taiji’s original meaning. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. newly written by Master Wang Xian. I look forward to Master Wang’s future works with great enthusiasm. indubitably a result of the efforts of Taiji followers in both countries. Tokyo. an impressive feat of concentration and energy considering Master Wang’s teaching workload.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
... Zhan Nian Techniques.................................................... Energy Explosion .................. Palm Practice ............................97 8............. Jietuo (Escape) Practices............................................................. Feet Practice ...................................................................................84 7....... Na (Seizing) Practices ......................................................................... Misleading and Transforming Techniques .......................................................................................................10 5........31 9..............................................................................................................................................................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix ....... The Origin of Taijiquan Tuishou ......................................... Reeling Silk .................................18 3..........................63 5..............3 Tuishou Practice – Going Inward........................ 3............................................................... Fist Practice ........................................................... Introduction ...............................21 4...............................................................................................................................34 10..40 3...................................... Listening to Energy ......................................................................................................25 6.............................105 9........................................................................ Step by Step .............................................................4 The Core of Tuishou .............................................................................Table of Contents Chapter One: Introduction 1................ Ti (Raising) Energy . Dongjin – Realization of Energy ................... Kao (Push) Practices.....72 6.............................. Na (Seizing) Techniques .......................................................................................... Lian Sui Energies .................... 4............ Tuishou: the Only Criterion to Judge the Gongfu of Taiji....................... The Relationship Between Three Stages of Taijiquan Practice and Tuishou ................... Elbow Practice ................................13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1............. Leg Practice .......................................................................... 2............29 8..............38 2.................................... Opening and Closing ..............................26 7...55 4...........................23 5............................35 Chapter Three: Single Form Practice 1....16 2.................
.................... San Ti Shi (Three Postures)....................... Introduction ... Introduction ................................................................................. 183 Chapter Seven: Solo Practice in Tuishou 1.............195 5............................................................................ Single-hand Vertical Circle Wan Hua in Pair Practice .................187 3.............................. Solo Double-hand Flat Circle Wan Hua ...........................................................200 7..154 Chapter Five: Practice for the Buttocks and Crotch ...............................230 8......................... 215 3........... 133 3........239 9..................................................................... He Bu-Tuishou ......186 2.................................. Shuang Shou Li Yuan Wan Hua..................... Pair Practice in Luan Cai Hua Tuishou........209 9..............171 3....................................................................... Shuang Shou Ping Yuanwan Hua .........................................................陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1............................................146 6....................... Pair Practice in Shun Bu Tuishou................... Tuishou Steps .......... Solo Wan Hua ... 157 Chapter Six: Chen Style Taiji Tuishou Categories 1............218 4..........................................210 Chapter Eight: Pair Practice in Tuisho 1............................................ Chan Si Zhuang (Reeling Silk Posture) ....193 4................................214 2.. Shun Bu Tuishou .................................................................149 7................................................................................................................................................................ Solo Ping Yuanwan Hua ........................................... Pair Practice in Da Lü Tuishou .....203 8.........................................132 2............................................................................................................... Introduction ............ Wu Ji Zhuang (Wu Ji Posture)......179 5......... Tuishou Handwork Techniques ...................................... Solo Danren Da Lü Tuishou ......... Tuishou Footwork Techniques......................... Solo Tuishou With Static Footwork .......................168 2.... Single-hand Horizontal Wan Hua in Pair Practice .................................................240 王 西 安 x ................................................................................................................................... Hand Techniques in Tuishou Reeling..175 4....197 6............................................. Solo Luan Cai Hua Tuishou ........................224 6..................... Solo Double-hand Wan Hua in a Vertical Circle ......................................... Hunyuan Zhuang (Circle Posture) ....................... Kai He Zhuang (Opening and Closing Zhuang) ..............................227 7....................220 5...... Classifications of Tuishou ........ Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ...................................... 138 4.....142 5..............
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
is a practical combat technique based on grabbing. sword and stick routines. originally known as Jieshou or Dashou. it helps maintain fitness. ‘The Family Tree of Chen’. location or access to equipment.1. and he was recognized as the creator of Chen Family boxing. Chen Wangting. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. Chen Wangting. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . Wenxian County. Henan Province. In doing so. As a combat techniqiue. catching. was the creator of Taijiquan and 9th generation head of the Chen Family. Taiji Tuishou practice is not restricted by a practitioner’s age. (also known as Zouting) was a famous martial arts master. Its creator.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. throwing and striking. the ‘Book of Changes’). awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. gender. as well as the principles of Yin and Yang. As it is not stressful to the body. and will continue to do so in years to come. transforming. China. According to the book. reducing illness and prolonging a healthy life. it helps build health and defence as well as to develop a sensitivity to movement. With the accelerated pace of modern life. agility and flexibility. he drew on the theories of the Yijing (I Ching. in the period between the Ming and Qing Dynasty. Tuishou.
Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. Become familiar with the single hand horizontal and vertical practice. ‘From the familiarity of forms. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. to the Deity’. With sustained practice over a period of time.2 TuishOu pracTice – gOing inward. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. or appreciate the interplay of the slow/quick. catching. so much that you will be able to apply combat techniques. Less well known is Tuishou’s other application as a technique for internal transformation. and what it consists of. an athletic activity based on mutual pushing. Tuishou translates as ‘push hands’. with greater efficacy and subtlety. Literally. intuitive and subconscious. Relaxation is fundamental. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. Tuishou practice should be soft and modest. nor will you be able to intuit your opponent’s energetic intention. Initially. followed by the double hand horizontal and vertical practice. pacing your learning step-bystep. and striking. enabling you to throw opponents meters away without hurting them. You will not realize inner transformation. listen to each other’s energy flow. that is. sTep-by-sTep To practice Tuishou. and do not disconnect or oppose your partner’s energy. such as grasping. be relaxed. principles.陈 氏 太 极 拳 推 手 技 法 1. from the realization of Jin. to the realization of Jin. you will be able to release explosive energy to both small and large targets. hard/ soft. A Taijiquan proverb pertains also to Tuishou. Follow the circling movements with the whole body. As you reach the level of adept. transformation is the basis. throwing. 王 西 安 4 . you must know its significance.
imagine a partner practicing or competing with you. you will ultimately enhance your health and combat techniques. force and speed in your actions. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 . As long as you practice persistently and make progress. be calm and concentrated in your demeanour. mind and spirit with determination. Skill arises from consistent and accumulated practice. In solo practice. but never practice just in order to practice.Remember that ‘inner listening’ is the one essential skill required to improve your technique. To cultivate ‘inner listening’. your intention and commitment must be deeply held. combining your heart. Practice makes perfect.
continue. opening or closing. You will learn to follow your partner’s intention and forget your own. actions to the left or right. gathering or exploding. follow) and Chansi Jin (Reeling Silk).3 The cOre Of TuishOu The core of Tuishou consists of Zhan. and so on. upward or downward movements. Tuishou practice is based on thirteen ‘forms’ or energies. The thirteen forms are: • Ward off • Roll back • Press • Push • Pull down • Split • Elbow strike • Shoulder strike • Advance forward • Retreate back • Look backward • Gaze forward • Central equilibrium Peng Lü Ji An Cai Lie Zhou Kao Jin Tui Gu Pan Ding 王 西 安 6 Tuishou flows seamlessly between the application and combination of opposites. distance and direction of energy. . which are also the essential elements of Taiji.陈 氏 太 极 拳 推 手 技 法 1. while its theoretical basis builds on the philosophies of Yin and Yang. your partner’s weight. At a more advanced stage. Nian. speed. Qing (light) and Zhong (heavy). it will enable you to feel. Kuai (quick) and Man (slow). When you can control these energies within yourself. Sui (stick. attacks or retreats. adhere. you will develop the capacity to subconsciously anticipate quick or slow changes. with the lightest of touches. Lian. Movements alternate freely between Gang (hard) and Rou (soft).
‘if the opponent does not move. When releasing explosive energy. expansion. ‘if the opponent moves slightly. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically. stretching. concentrate on one direction at a time. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. don’t move’. it is the force of friction that enables you to hold and seize their arms etc. or other deformation. Attack the opponent’s centre of gravity Use techniques such as ‘control a stronger opponent with weak force’ and ‘defeat weak points with a stronger force’. Like a balloon whose air has been exhausted. move before they do’ etc. be calm and relaxed To release bursts of energy effectively. 王 西 安 7 .Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. this energy refills automatically to its original ‘full’ state. ‘follow slow attacks unhurriedly’. Use the forces of elasticity and friction Use these forces when applying techniques such as ‘draw the opponent into one’s orbit to destroy their centre of gravity’. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands.
no matter how hard they press. none of your opponents can defeat you. known as Shang Long Xia Ti (which means to place the opponent in a passive position unawares by holding close to his or her upper body while lifting their lower body). I follow my partner. Similarly. when you move forward in your turn to press. 王 西 安 8 .” This technique. Using this. results in the shaking off of the opponent’s upper body and lifting of their lower body. push or strike.” Chen Changxing. the 14th generation master. whether they strike or twist. I can conquer a force of a thousand jin with a tiny force of four Liang. utilizing the techniques of Kao.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. whether ascending or descending. also states: “No one knows when I gather or stretch. I always follow their intention. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages. I perform strictly to the principles so as to make me unassailable. The canon of Taiji teachings is rich with such sayings. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. Even if attacked by a monster. and is worth remembering. push or strike your opponent you do so without alerting them in order to capture their energy.
the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. I sincerely hope Taijiquan followers will embark on a serious study of this art and strive toward the as yet unbounded acme of this science. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . As a science. Here. requiring us to further our exploration and improve our practice of it. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. One with four Yin and six Yang is among the group of the adepts.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. In order to inherit and develop this Chinese cultural heritage. Only one with five Yin and five Yang is called adept.
still regarded hard’ turns into ‘fouryin six-yang. one comes into the group of the adepts’. ‘Chen Style Taiji Laojia’ (Old Routine). The three stages of Taijiquan are: 1. . 2. Zhao Shu (familiarity with the forms) Outer form drives Qi. Correspondingly. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. Zhong Quan (medium circle) At this stage. Dong Jin (realizing the inner energy) Qi drives outer form. with fuller details available in Chapter Two of my book. as stiff as a stick’ evolves to ‘two-yin eight-yang. 2. ‘three-yin seven-yang.4 The relaTiOnship beTween The Three sTages Of Taijiquan pracTice and TuishOu A brief description of the three stages of Taijiquan practice will be provided here. is San Shou’. 3.陈 氏 太 极 拳 推 手 技 法 1.
along with the Tuishou practice of Da Quan (big circle). enjoy a feeling of lightness. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities). one is regarded as a Deity’. that is. By this stage. that is. Note that ‘no circle’ denotes a state of subtlety and skilfulness. 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). all parts of the body become as highly sensitized as finger tips so that when competing. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. the complete fusion of external form and internal spirit. at the first stage. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. ‘I hit with any part of my 陈 氏 太 极 拳 推 手 技 法 王 西 安 11 . At the second stage of Dong Jin (realization of energy).3. Following a correct program of practice as outlined above. We must pay attention to different methods during different stages of practice. That is to say. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). as well as the combination of the respective techniques applied in the big. random alternations between states of energy gathering and releasing within a relaxed and elastic body. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. At the third stage of Shenming (deity). an adept may say. possess abundant internal energy. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). medium and small circles. in addition to a diligent assimilation of knowledge. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). and does not mean total stillness.
陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. Also known as ‘Five-Yin Five-Yang’. as our ancestors tell us. “Taiji practice is like rowing in the river. This is not unattainable.” 王 西 安 12 . if you don’t make efforts to go forward. those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void). even though I don’t know how I do it’. you surely go backwards.
tough energy. This is called. When forces are equally matched during competition. In other words. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. It simply requires practitioners to have sufficient physical force for competition. Hence. These reflexes are faster than thought and only come with constant practice. ‘thousands of Jin’ (i. the stronger force) also can defeat the weaker force.5 TuishOu. ‘Weak side strikes strong side.e. 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. Ding meaning ‘stiff resistance’). 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. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. Nevertheless. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. While appearing deceptively easy. It is this dynamic that we need to explore during practice. Without the latter. meaning ‘loss of energy’. hence it is essentially a competitive activity. softness can break through hard. Remember too where your weight is placed to maintain control of your centre of gravity. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. 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. nor is it just a matter of pitting one’s physical force against others. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. no techniques can be executed. The Only criTeriOn TO judge The gOngfu Of Taiji Not only is Tuishou a reliable test of one’s level in any martial art form. However. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured.1. four Liang defeats thousands of Jin’. Skilled practitioners rely on a highly developed sense of touch. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 .
陈 氏 太 极 拳 推 手 技 法 王 西 安 14 .
CHAPTER TWO: inTeRpReTaTions on The Ten FoRCes oF Taiji 陈 氏 太 极 拳 推 手 技 法 王 西 安 15 .
What is listening with the bones? It is the ability to anticipate an attack by listening through the skin and responding swiftly to an opponent’s attempt to seize. The entire body surface of a high level practioner is highly sensitive. her body light and flexible. and a highly-tuned awareness of sensations in the heart and nerves as well. I know others and sweep all enemies aside. and taking Zhan Nian Lian Sui (stick. alluding not only to listening with the ears. filled with abundant internal Qi. when an opponent touches one’s fine body hairs.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. Listening can be divided into three areas: listening with the bones. ‘Without being known. With your skin. one’s force is injected into the marrow. her changes in rotation. the skin. One’s skin is the key weapon.’ 王 西 安 16 . Hence the saying. but also with the eyes. feel your partner’s movements. Similarly. no matter if the changes are in the opponent’s rotation. On receiving these signals. a practioner’s body can react instantly with great accuracy and flexibility. the act of ‘listening’ has profound resonances. continue. with the skin and with the fine hairs on the body surface. squeeze and press. allowing both body and mind to enter into the level of deity and transformation. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. follow) as fundamentals. During Tuishou sparring. position and magnitude. What is listening with the skin? It means following the command of the heart and mind. At this stage. When Wu-Yin Wu-Yang (energy equal and balanced) is attained.陈 氏 太 极 拳 推 手 技 法 2. adhere. sensing through the skin enables reaction in any manner within the rules. a rise or fall in height or changes in weight. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu).
It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. defending and attacking blindly. your judgement confused. your listening untrue. “The most super-human strategy is formless and soundless. until it is too late to repel danger. opening and closing (快、慢、沉、稳、虚、实、 开、合). making all one’s muscles stiff. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. Your reactions will become slow. Listening is essential to Tuishou. While the majority of practitioners are able to listen with the bones. Only through accumulated practice can one’s sensations detect the smallest changes. listen without hearing. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. emptiness. listening would be impossible. ‘descending Qi and steady steps’.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. you fight back. Failure to do so will cause one’s energy to remain stuck in the chest. that is why it destroys the strongest of enemies”. Without this preparation. solidity. so a practioner cannot generate energy for sparring if he or she is unable to listen. descending. Nervously. very few achieve the ability to listen with the skin. slow. blood and breath. ‘clear manifestation of emptiness and solidness’. which is essential for constant adjustments to frequently changing circumstances. Just as a deaf person is unable to comprehend a conversation as he cannot hear. In all this. rising to the upper body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . As Sunzi Bingfa says. where every knot of one’s body opens and stretches without crude force. let alone the attainment of energy for combat. calm. special attention should be paid to ‘the intervals of fastness and slowness’. leading only to failure. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. How good it would be to attain this level. You will look without seeing.
straightness and curvature. hardness and softness. Meng (sudden). Qi (insult). Without ‘hearing’ the energy of one’s partner. You may find yourself being too stiff (Jiang). Tui (push). Jia (stiff ). 王 西 安 18 . length. you cannot realize it. Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. 拿na – capture. Ke (knock). It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. Zhuan (cheat).2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. Di (resist) and Gun (roll). your energy too resistant (Ding) or being lost unnecessarily (Diu). your posture too straight (Zhi). While beginners may find this difficult to achieve. Be warned that mistakes will occur on this learning path. Bo (move with hand). speed. you cannot note any of the above changes in the oponent. Qin (intrude). We call such shortcomings. direction. Na. Ba (pull out). Even for those who achieve this skill. “faulty palms” or “faulty body”. A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). 发fa – explode) at the appropriate opportunity. Ba (seize by force). new challenges such as ‘being too fond of competing’. Ying (stiff ). Ji (hit). magnitude and hitting point. 化hua – change. It is the ability to note present or potential changes in emptiness and solidity. Li (leave). Shan (dodge or flash). Gou (hook).陈 氏 太 极 拳 推 手 技 法 2. await them. Ting (stick out). Teng (jump). Ling (pressing). Pai (squeeze out). this skill may eventually be attained with diligent practice and a good teacher. Zhan (chop). vertical axis and flexibility. An (press). Realizing energy is based on listening. Fa (引yin – lead. Shi (tight). Dang (block off ). Failure to overcome these shortcomings would be to fail to realize energy. Cuo (rub). Hun (mix up). Duo (escape). the ability to circle and the principles of Zhan Nian Lian Sui. Zhi (straight). Gua (hang on). Hua. that is. Ya (push down). Lou (hold). Peng. Zhe (hide). transform.
falling. Hence. but also in the combat arts and and Sanda (free sparring). ‘The Taijiquan Formula’: No one knows when I gather or stretch. Ji. Whilst all Chinese martial arts possess unique characteristics. I always keep remembering to follow their intention. and shares many common principles with Sanda (free sparring). says in a verse from his book. changing one’s centre of gravity and flexibility) in synchronous movements. form and quality of Tuishou. Concordant with the adage that ‘external forms are the method and the pathway’. hence its continuing ties with Tuishou and. transforming. is misleading and does not take into account its fundamental role across the Chinese martial arts. Sanda complies with basic Tuishou principles. Whilst acknowledged as a combat technique in its own right. dodging. ultimately. angle. Lü. In effect. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . utilizing the techniques of Kao in spiralling. In fact. they share the common practice of ‘realizing energy’. and also in one’s facilitiy with the eight energies or techniques (Peng. As Chen Changxing. Sanda can simply be taken as a higher evolution of Tuishou. Ultimately.The practice for ‘realizing energy’ also tests one’s position. twisting. striking. I follow my partner. rather than use them as disparate forces to enhance one’s attacking prowess. these eight techniques form the method for Tuishou. Cai. look around and maintain an upright axis during Tuishou practice. Tuishou is the combat application of Zhan Nian Lian Sui. An. Zhou and Kao). Lie. developed from further transformations of Tuishou routines. no matter if they use the technique of Kao or twist. relaxation and health practice for the old and infirm. 14th generation Taiji master from the Chen family. the Tuishou practitioner must aim to apply these techniques (seizing. When attacking. grasping. The quality of one’s form practice and Tuishou level speaks for itself – it is reflected in one’s ability to freely move forward or backward. with Taijiquan. the poplular stereotype of Taijiquan as a non-combat. which is used not only in Tuishou. jumping.
“From the familiarity of forms. Li. ward off. leading to a wider understanding of the profound benefits and applications of Taijiquan. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. step by step. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. and horizontal Cai are also irresistible. Indeed. fourth and fifth sentences refer to the application of Taiji Sanshou. that is. we can clearly see that in all movements. push or press. Hence. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. The second sentence of the verse means to follow the other partner’s intention while circling them. The author stressed the importance of ‘follow’. The third. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. strike. adaptable to both Tuishou and Sanshou. to the realization of energy. to forget about one’s own intentions and follow the opponent’s. only with accumulated practice can one exert energy flexibly and 王 西 安 20 . As mentioned. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. The attacks from me by twisting. this verse confirms Taijiquan as a profoundly practical Martial Art. ‘listening and realizing energy’. Again. Everyone knows how to hook. to act naturally and follow one’s intention. Chen Xin once said. until I come to the level of Deity”. press and hold back. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. With the development of modern weapons. Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. In addition to applying Master Chen Changxing’s advice. that is. the Chinese martial arts have evolved into health and fitness promoting practices. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat.
Zhan Nian techniques develop one’s capacity for high precision. Whilst it is said that form practice cultivates a capacity to know oneself.” Zhan literally means ‘stickiness’. that is. “Form practice is the essence of Zhan Nian training. Conversely.effectively. magnitude. At this point. in this way maintaining the upper hand at all times. ‘Realizing energy’ is the middle stage of the three major phases in Taiji development.3 zhan nian Techniques Zhan & Nian are forces directed forward. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . the first being ‘familiarity with form’ and the last being ‘realizing deity’. Only with the awareness of both oneself and others can others be conquered. 2. will be able to instantly sense the delicate changes in the movement. direction and the position of a partner’s energy flow. and its natural and intuitive use. This ability comes through great patients and a life-long perseverance of effort through the three stages. Tuishou practice cultivates the capacity to know others. the adhesive force that allows a practitioner to become strongly attached. Ultimately. 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. A practitioner. this results in a deeper and more precise understanding of energy. This is why it is said. Nian means to chase and follow one’s opponent. to one’s opponent. while Tuishou exposes the quality of Zhan Nian techniques. like glue. and come to realize the laws of movement and force. with which one’s opponent will find difficult to escape. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. so that he finds it hard to escape. on reaching the final stage of ‘deity’. extent. Through reeling-silk practice. Zhan Nian energies work as a pair. It is commonly used in attacking strategies.
victory or defeat is decided in an instant. these techniques will lead the opponent into faulty moves. Not an easy task for ordinary practitioners. continuous and diligent practice. the practitioner can exert Zhan Nian forces towards the opponent. ‘I win by striking after the enemy has struck (My fist starts late. This is why it is said that at this relatively high level. Simultaneously. During Tuishou. and forget my own’. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. as reflected in their stiff bodies and tense. 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. have failed to attain high proficiency in the art. yet arrives at the hitting point earlier than the opponent)’. Zhan Nian energies can be detected by sensations that start at the palms. especially those who. slow reactions to slow attacks’. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. Ultimately. ‘Fast reactions to fast attacks. as indicated by these teachings: ‘Follow my partner’s intention. and so on. Once the whole body is enveloped. ‘I don’t move if they don’t move’. inflexible muscles and joints. 王 西 安 22 . flow up the arms to the shoulders and back. an internal energy manifesting externally. ‘I move before them on feeling their slightest motion’. and then through the entire body. but certainly achievable for diligent practitioners with good teachers. Understandably. despite prolonged practice. but even many long-term practitioners find total understanding or realization elusive. It is Zhan energy that envelops the body. one can never accomplish quality ‘chasing’ (Nian). When Zhan Nian techniques are applied.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). 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.
non-pressing. Lian has a rich amalgam of meanings. including consistency. can we execute Yin Jin Luo Kong efficiently. that is. fast reactions to fast attacks. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. ‘to react while following’. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . adhesiveness. Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. In so doing. follow and move in the same direction as one’s opponent. the act of connecting and maintaining the continuity of one’s movements with those of the opponent.2. moving effortlessly between quick/slow and forward/ backward movements.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. one observes and reacts to the opponent’s Zhan Nian techniques. continuity. Without Zhan’s adhesive force over the partner preventing escape. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. ‘Bu Diu Bu Ding’ (no loss of energy. and can only exist in the presence of the latter. there can be no Lian. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. non-forcing. Used in concert with Zhan Nian energies. taking any opportunity to attack. Sui. another rises’. no resistance). Unless one follow’s the opponent with Lian (co-relation). the opponent cannot escape because if one follows closely using Zhan Nian. slow reactions to slow attacks. Lian is dependent on one’s use of Zhan. and no chance to escape. It can be summarized as ‘co-relating to the opponent’. so that ‘as one falls. Once palms come in contact. how can Sui be achieved? Sui technique means to react. emerges from the application of Lian.
on the other hand. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. upper and lower coordinate any motion in the middle. so that they can ascertain if their energy levels match the purpose and intention of their actions. “The lower body automatically follows any motions of the upper body. Beginners may attain the preliminary stage of Lian Sui. 王 西 安 24 .” Here we refer to the ability to keep every part of the body functioning as an integrated whole. following their energy flow without interruption. As the teaching says. the basic ability to follow the opponent’s movements. whether through form practice or Tuishou”. 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. without any break in flexibility or continuity. It is vital that beginners are able to feel the movement of internal energy inside their bodies.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. therefore it is advisable to practice the combined application of both. Lian and Sui can never function without the other. Adepts. Only with unimpeded energy flow and smooth internal co-ordination can one interact seamlessly with one’s Tuishou partner. successfully use Lian and Sui to attack and prevent escape.
striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform).2. if my partner presses my right arm with their palms. I use Yin Jin Luo Kong to constrain my partner’s energy while simultaneously gathering energy carefully to prepare for an explosive release of energy at any angle or position. I lower my body then stretch my right foot toward his or her crotch. Yin is the ability to draw the opponent’s energy into one’s control. using our arms. reeling my back inward before suddenly striking outward. Using these complementary techniques. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 . knees. A particularly effective combination is Luo Kong. we should apply She Ji Cong Ren without being detected. using Lian Sui to follow their energy flow. going up or down. Literally meaning ‘to draw’ or ‘to lead’.5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. Once neutralized. legs and so on”. hence ‘misleading’ and transforming the opponent’s energy. Use these principles whether you are going backward or forward. and cannot exist without Yin first being applied. hips. we then use our shoulders. Hua is the transformative force. Note that while applying Yin and Hua forces. When we feel the changes in our opponent’s energy flow. palms. hands. neutralizing any opportunity for attack. As Chen Xin explains. I apply Shun reeling downwards. While moving. turning left or right. then gradually upwards. so as to mislead my partner’s energy and upset their centre of gravity. When applying Yin. and in this way mislead and neutralize your opponent’s energy. one should avoid Diu and Ding (losing energy and resistance). the adept draws the opponent into his or her domain. or feet to upset their centre of gravity. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). elbows. For instance.
look one way and go another”. they are conquered. As Chen Changxing advises. destabilizing their centre of gravity and transforming their energy in order to conquer them. i. and hence the harder the opponent falls. the more one stretches the bow. Hua and Xu (gathering). explode energy as if releasing the arrow”. elbows. In Tuishou and San Shou. depending on circumstances. touch. Any hard fan guanjie (joint twisting. tie up. just as one should attack forcefully without hesitation. meaning the direction which hurts the natural structure of joint. Instead. using all these techniques to mislead my opponent. he or she can easily capture his opponent through the combined use of all . That is to say. As Chen Xin suggests. However. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. that of Taijiquan is accepted as the most refined. the further one’s arrow flies. I “roll over.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. so as to accumulate and release energy effectively.e. In this way. sweep. shock. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. one must cultivate the forces of Yin. “gather energy as if pulling on the bow. When I attack. rotate an opponent’s joint towards its unnatural direction. dodge. 2. hence rendering them helpless. I know my partner without being known. my Taiji harmony within emerges so that even ghosts fail to predict my next move. wrists or hands to inhibit their rotation or movement. Opponents will feel as if their tendons and bones are about to break. It is important to remember that one must gather energy well before misleading one’s opponent.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. and their pain penetrates right to the marrow.
techniques such as Zhan Nian Lian Sui. you still have the opportunity to move in quickly and seize them by their palms before they move away. ‘Only this. I utilize Na to prevent my partner from escaping or from transforming their energy. ‘is called the “best of the best”’. To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. This is called ‘dual-utilization of seizing and gathering’. so that I may capture my opponent without hesitation or detection. Zhua (grabbing). strengthen your force so that your opponent finds it too difficult to escape or transform their energy. thus reaching their goal. With the combined application of seizing. Hua (transforming) are all preconditions for striking (Da). The seizing technique in Tuishou is very important. Shuai (throw).’ as Sun Zi Bing Fa says. When utilizing Na. I move using the principles of Qing Ling Huo Qiao (lightness. you must react quickly and flexibly to any changes in your opponent. This is why it is said that Na is the pre-condition of Da. Na (seizing). Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvantage position and conquer them. These recovery measures also depend on a light. If he or she succeeds in escaping. Tuishou accentuates Taijiquan’s martial power. transforming and striking. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. throwing. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . a Tuishou practitioner can exert the invincible might of Taiji. flexibility and skilfulness). applying the energy smoothly and judiciously without over-exertion. Indeed. If you fail to attack lightly and skilfully and your intentions are detected.their gathered forces. To apply Na effectively. ‘Na (seize) always goes with Da (strike). There is a saying. in order to strike well. In Tuishou. agility. you need to seize first’. agile. so that I can strike them cleanly and successfully.
just as it is stated. making sure your hitting points are clearly defined. stomach and the protruding and concaved parts of the shoulders.’ 王 西 安 28 . application of appropriate angles and techniques. your root will become unsteady. the targets for both being the arms. Next. Na technique works together with Cai technique.陈 氏 太 极 拳 推 手 技 法 When applying Na. seize him then guide his pressing force into your territory using Lü energy. whether you exert Na by the co-ordination of your hand and chest or with your ribs. remember to maintain a relaxed state by lowering your whole body. both palms covering his right wrist. stomach and legs. and your ribs. Common problems. every part of your body works in harmonious cooperation. Exert your energy first lightly then with force. In peace every part of my body moves at the time of movement’. hence it is advisable to heed the teaching. Never let Qi float upward and never let your feet lose their roots. and all parts in a gathering motion. twist his right arm inward with your left hand. in which case. releasing your force like bullets rushing out of a gun. ‘Never be rude and rash when you begin to practice Na. By relaxing. you have no option but to relax your joints. with no part tense. include controlling one’s speed and magnitude of attack. chest. your centre of gravity destabilized and you will find it difficult to protect yourself. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. If you fail to Peng (ward off ) your opponent adequately. Then strike directly forward in a spiral and hit your target accurately. your chest rolls inward naturally. shoulders and crotch all gather downward in concert. ‘No part of my body is not peaceful. Using this will overcome the opponent without fail. use the Na technique carefully to avoid hurting your sparring partner. If Qi ascends. When relaxed. How then can you hope to seize another? Indeed. Na is the synchronous manifestation of the internal and external. especially amongst beginners. he will be able to press forward. if you want to seize your opponent. Miscalculations often result in injuries. During practice. and sensing the amount of force the partner’s joints can withstand.
Remember – to attack your target with agility and flexibility requires long accumulated practice. one cannot ‘open’ without first being ‘closed’ and vice-versa. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. Keep every joint relaxed before you exert Na. Inhale from the stomach so that it remains solid. Closing (He) means to draw in. This is an important concept which bears deeper contemplation. making sure all movements are steered by the waist.Work on your technique step-by-step: develop a closed crotch. Opening (Kai) means to stretch and reach.7 Opening and clOsing In the martial arts. just as Chen Xin mentioned in his works. bend and gather. Mengzi. As Chen Xin says. often meaning to ‘guide and attack’ in the martial arts. Even masters of Chinese philosophy – Kungfuzi. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. transform. gathering versus exploding. every part of the body is engaged in the action of opening and closing. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. preserve. solid stomach and slightly concave chest. OpeningClosing techniques. Sanda and form practice. opening and closing illustrate the subtlety of Taijiquan. relax the shoulders. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. Indeed. Gather the ribs. In all Tuishou and Taiji movements. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). 2. hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. As complementary opposites. are widely used in Tuishou.
Closing not only means to bend and withdraw your upper body. While standing. ‘Opening-Closing. crude and slow. forceful. Your heart acts as the guide and leader during energy explosion – when your heart opens. with the qualities of both solidity and emptiness. As the saying attests. Yi moulds changes in external shape while Jin (force) rises with Qi. swift and powerful. since Yi (intention) follows wherever Xin (heart) goes. from the soles of the feet. The quality of the effort you put in to closing determines your ability to open with power and effect. the rebounding force exerted by the ground can be used to energise any upward movement. Without closing well. pressing the ground with your heels to empty the Yong Quan points.’ Only diligent practitioners have the opportunity to experience this phenomenon. your intention (Yi). you will find your opening powerless. Kai (opening) energy originates in the root of your body. that is. the louder the explosion. In practice. so that all parts of the body work together. so that your targets become accurately defined and attacks successful. 王 西 安 30 . In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. if your energy is gathered and conserved well. The Opening-Closing technique starts from the closed state. grasp the floor with the toes and soles. external shape (Xing) and spirit (Shen). muscle energy (Qi). you will find that Qi penetrates your whole body more smoothly and powerfully. and sometimes they disappear. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. Likewise. Thus positioned. these changing motions. every part of your body follows suit.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled. your ‘opening’ explosion will be natural. sometimes appear before our eyes. but also to coordinate the heart (Xin). filling you with great vigor. this means that one needs to be closed first before one can open.
you will need to drop and relax the shoulders. then to every corner of the body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . The solution is to make your energy round. strikes may not find their mark. To gather energy of this quality. roll your chest slightly inward. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accumulated practice.33 cm. your centre of gravity may be lost. or worse still. presenting your partner with opportunities to attack. 2. After exploding energy.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). flexible and compact enough to mislead and upset your opponent’s centre of gravity. the energy released unhindered. albeit swift and powerful. Beyond this range. keep your elbows down. and to develop high sensitivity and rapid responses to external stimuli. To master this elastic force. This energy originates from the soles of the feet. or you may find your Kai technique lacking in power and precision. spirals up the legs to the waist control-center. lower your waist and let Qi flow along the spine. which then distributes it to the other extremities. The explosion should be short.As you explode energy. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. then spiral your internal energy up the legs to the waist. Exploding energy at close-range is best as Kai energy. the whole body returns to a state of softness and relaxation. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. while being mindful of the adage. is limited by its short duration and small coverage which extends only as far as your body. Practitioners also need to build-up a reasonable level of muscular strength. you need to train your muscles in relaxation and gathering. land on the ground on your in-steps.
which manifests as our weight. and exploding energy with elastic vibrations. your opponent is vanquished. horizontal forces and so on. that you are unable to neutralize. To do this. counter forces. Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. utilize. Transforming and gathering are complementary and cannot function without each other. The main external force that we humans experience is gravitational force from the earth. transforming and attacking are closely related. not relying on rigid or crude force. frictional forces. there are also a myriad of other forces which influence our bodies – supporting forces. internal forces. Failure to counter your partner’s force means. To combine the power of the three. one must explode energy smoothly. However. not strength”. The external force of both parties affects each’s internal energy flow. though random wins may happen. spiral forces. Your performance in competition depends not only on the quality of your sensitivity. all these are prerequisites to “destroy something already in a state of ruin”. Gathering. skilfully. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. When doing Tuishou exercises. straight forces. 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. but also that of your internal energy and combat strategy. consistent good performances will not be achievable. together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. Without these. The force that you and your partner exert on each other in Tuishou is external force.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. and with that outburst. Constant diligence. it is necessary to distinguish clearly the respective functions of internal force and external force. flexibly and harmoniously. you must practice Changjin 王 西 安 32 . dissipate or absorb her external force. abundant internal energy and intense physical and energetic concentration. in effect. and to explore the interactive relationship between them.
instantaneous. there would be no striking the partner from one inch”. easy conquest of the opponent does not necessarily follow. This means that if one finds it difficult to attack from a distance. Close-range attacks require a high-level of competence. Still Tough’ and ‘Four-Yin Six-Yang. Upward energy and downward energy exist in opposition to each other. you will find it easier to hit targets more accurately and swiftly.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . imagine a line between the navel and Mingmen. as their attacks flow naturally from their heart and intention. the medium circle practice. even with the slightest touch. will find the opponent flung far and wide. An attack. beginners need to do the following: do the big circle practice. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. and the small or no circle practice. As it is said. quick. one should not attack at close target. Alternate between these three with slow. At the transitional stage between ‘Three-Yin Seven-Yang. By mastering the key points of energy explosion. and even when elastic cunjin (hitting a target at very close range) is executed. the whole body moves as a synchronized force to follow the slightest movement of intention. At this level of Gongfu. Only very high-level practitioners may achieve this. elastic or vibrating variations. it is not advisable to exert Changjin (long energy). despite its ferocity. Good Hands’. during Tiaozhou practice (upward strike with elbow). leading to very smooth and swift responses. “Without striking the partner from a distance of three metres. while downward flowing energy helps maintain a firm and stable root. To reach this level. For example. below which energy flows downward and above which energy flows upward. Continue developing these techniques step-by-step until the level of deity is reached. especially exhaling-inhaling and opening-closing motions.
Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . Remember to maintain your centre of gravity with the coordination of the other leg. while you keep your intentions and energy flow undetected. and may lead to loss of control. At the same time. then your instant and precise attack can never fail”.9 Ti (raising) fOrce Ti means to ‘rise spirally’. First. while you maintain a state of relaxation. As Qi flows up the spine.陈 氏 太 极 拳 推 手 技 法 2. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. Even if not thrown completely off balance. The rising force is difficult to use if forced. Remember to maintain full concentration. never let your partner know your intention before you act. combine your rising force with your elastic force. To apply Ti successfully requires the whole body to work in coordination. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. This means that no matter what Tuishou techniques you use. waist and arms. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. Instead. 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. 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. When applying Ti. The arms and legs work together. rotate your Dantian so that your body lifts with greater speed and accuracy. 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. heart. To lift your opponent up with Ti requires the combined effort of legs. powered by upward spiralling energy. Using Zhan Nian Lian Sui. keeping your axis upright and combine your eyes. and intention into one entity. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. your opponent’s upper body will shift out of their control. To conquer your opponent.
whether you rise or descend. reeling to the left or reeling to the right. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. You roll. For beginners. you will be able to transform energy while striking. you will lose awareness of your physical body and location. Adequate practice will naturally lead to success. as it emerges from the feet. transform and defeat your opponent’s attacking energy. The Reeling Silk consists of great varieties: reeling inward. Attaining high-level skills will make you braver. but once attained. When this happens. until it reaches the fine hairs of the skin. you will come to sense it with practice. your force will reach its target just with intention. mislead. Mastering this energy requires much effort and practice. your attacks will never fail. walk with such assurance as to shock evil spirits. on the verge of losing their centre of gravity. Do not try to strike others before you have attained a reasonable level of competence. reeling outward. 2. and manifests externally as it permeates through to the fine hairs on the skin. passes through the legs up the spine and arms. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . You will attack like a flying dragon.10 reeling silk Reeling Silk is a spiralling. so you feel able to “protect your descendents and kill the rebels”. tie. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. touch or sweep in response to the circumstances and you remain always observant and alert. you will find it easier to follow. go forward or backward. reeling upward. their root and they will certainly fall. revolving energy which originates internally in the body. and not even know from whence your power emanates. Though undiscernible initially.and power. follow the primary principles and develop your skills stepby-step.
reeling forward and backward. and apply opening and closing techniques. reeling horizontally or reeling vertically. remember to keep your Zhongqi (energy to keep your axis upright). maintain the interplay between solidness and emptiness. Shun reeling (conforming) and Ni reeling (contrary). all these reeling movements are always comprehensively combined together and closely connected. and thus renders you unable to react properly and to be easily manipulated by the opponent. Yin (guiding. When using Reeling Silk energy. misleading) always comes with Jin (approaching forward or attacking) and vice versa. collapse the waist and establish a stable centre of gravity in the legs. one must avoid being too soft or too tough. excessive toughness makes you get too rigid. When being utlilized. 王 西 安 36 . focusing your energy internally and guiding the flow of your responses from Yin to Yang. Be humble and respectful during form practice. While reeling. As for posture.陈 氏 太 极 拳 推 手 技 法 small circles. quiet and calm. The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. remain balanced. 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. reeling to the front or reeling aside. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. Keep a firm root. and so on.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
As we know. Shuai (fall). To win. full relaxation of the joints. Zhan (battle). interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Da. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’.陈 氏 太 极 拳 推 手 技 法 3. Shan (dodge). Erlu explodes In this technique. as well as techniques focussing on various target areas of the body. Lü. Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. Kao. goes through the Sanguan (Three Gates). if practice is diligent. Ji. 3. movements gradually become agile and flexible. so the Single Form Practice and Erlu help to compensate for this disadvantage. It also demands a period of diligent practice to ascend gradually through the primary. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Cai. Tui (go backward). who is then inevitably conquered.1 inTrOducTiOn This is a practical lesson in combat practice. Zhou. relaxed and soft. This means that Yilu fosters Zhongqi so that. Ti. Because Yilu lacks speed and Gang (tough) energy.1 Yilu cultivates Qi. Erlu and Single Form practice help to accumulate and strengthen Gang. Hua (transform) and Na. Single Form practice is vital for hand-to-hand Gongfu combat. keeping your energy tracks undetected by the opponent.1. An. you need to execute Jin (go forward). A wide variety of single movements must be practiced repeatedly. and exerting energy too forcefully (Ding) while exploding energy. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. where ‘Qi spreads to the whole body. This practice requires a solid foundation in preparatory exercises. Faji (attack) effectively under any conditions. 王 西 安 38 . for example. Lie. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. medium and high-level stages.’ In this way. Qi will flow around the body to the extremities and skin.
as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). they always got hit and thrown to the ground. ‘Skills come naturally when you are familiar with forms’. so that the path to deeper understanding and realization may be paved. Significant gains may be attained by practicing the single forms step-by-step. each have their own unique combat style drawn from continuous tempering in their practice. more like a relaxing stretch to enjoy the subtle. Though widely differing in style. Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. you harvest. These clearly advise diligent practice of the shoulders. 拴Shuan (tie). Single Form practice is of vital importance. neglectful practice becomes increasingly difficult to rectify. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . To do otherwise would be to ‘attend to trifles and neglect the essentials’. If prolonged.Gongfu masters. ‘You practice. back. He was known to say that he found throwing partners too easy. inner meanings of the mysterious art rather than a competition. the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. resulting in loss of vigor and effectiveness. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. be they exponents in internal Gongfu or external Gongfu. such as: ‘Profound principles emerge by themselves. we have Master Feng Zhiqiang who is venerated for his steady. Hence. sober movements and his relaxed yet vigorous energy explosions. No matter how steady his partners stood in the beginning of a fight. Lastly. elbows. The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. 搭Da (touch) and 扫Sao (sweep). these masters have attained their expertise through a shared and unwavering focus in Single Form practice. the seizing techniques of Eagle Claw King. Chen Zhaopi was the undisputed master of 滚Gun (rolling). after you practice the form ten thousand times’. hands. you don’t. legs and hips using relevant principles. Well known examples include the foot techniques of Li Bantian. you fail’ and so on.
陈 氏 太 极 拳 推 手 技 法 3. alternating between both legs: kicking forward. face to the front.1 Exercise One • • Squat slightly. With one hip relaxed and the opposite foot slightly touching the ground. upwards and sideways. bend and raise your knee slightly.1 . swinging up and down and so on. stomach gathered and head suspended from above.2 feeT pracTice Feet practice includes the following movements. 3. horizontally. trampling. pedalling forward. 王 西 安 40 Fig. chest rolled slightly inward. 3.2.
upward and downward swing. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Descriptions of some of these exercises are provided below. bend the other leg with toes grasping the ground to maintain a firm centre of gravity. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. stepping. • Relax the feet so energy can reach the toes where it is required. pedaling. make sure your in-step is stretched moderately tightly.2 41 . sideways.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward. feet hanging backward and so on. • Roll the chest inward and aggregate energy with the whole body. collecting the energy at the abdomen. • Kicking smoothly.2. up and down.3. horizontal. 3.
3. they will be able to direct energy explosions to targets with precision and ferocity. It should be practiced with both feet so that.3). On landing with either foot.3 • This technique is applicable to the toes. if you kick with the right leg.5). your left foot prepares to kick with the toes or instep as the right foot lands. except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. edges of the foot plate and the sole (Fig. 3. for example. At this point. use the rebounding force of the earth to bounce up and propel your kick (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. 3. 3. b) Horizontal Kick 王 西 安 42 The key points of the Horizontal Kick are basically the same as those of the Forward Kick. . Beginners should practice slowly. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form).4.
4 Fig.Fig.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. 3.6 43 . 3.
The kick should be light. • Switch your centre of gravity to the left foot.7 The Upward Kick is used for high targets. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. a principle also applicable to the Double Kick (Er Qi Jiao). 3. usually the opponent’s chin. practice kicking with each foot sequentially. There is no jumping in the Upward Kick. . flexible and quick.陈 氏 太 极 拳 推 手 技 法 Fig. The Upward Kick should match the rhythm of the hands’ movements. The whole body must be kept balanced and straight when kicking upwards. instead. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart.
all the while rolling the chest slightly inward. feet firmly grasping the ground. raise the right knee gradually (Fig. 3. 王 西 安 45 . 3. As your right foot explodes energy stamping downward. keeping the right foot at the same distance from the left foot as before. 陈 氏 太 极 拳 推 手 技 法 Fig. Then empty the Yong Quan point.8 • • • Then stamp your right foot on the ground. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. but try to keep some weight in the un-weighted side as well. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted.• Bend the left knee. cup your right fist and left wrist together in front of the chest. standing with left leg.8). grasp the ground with the left toes and. exploding energy as quickly and fiercely as you can.
e) Forward Kick This consists of a straight kick forward with the sole of the foot.9 Regardless of which leg steps forward first. 3.9).10).陈 氏 太 极 拳 推 手 技 法 Fig. you can practice with the alternation of legs (after praciticing with the right leg for a while. In Single Form exercise. remember to follow instantly and quickly with the other leg. The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. The key points here are the same as those for the previous segments. 3. 王 西 安 46 . 3. and then withdraws elastically like a rubber band springing back into shape. Kick as high as your opponent’s stomach and chest. including the alternating use of the legs (Fig. practice with the left leg) (Fig.
• 陈 氏 太 极 拳 推 手 技 法 The Inward Kick is executed upwardly to the front.12) and the Outward Kick (Fig.10 Fig. with hitting points mainly on the inside of the foot (with the occasional use of the outside). f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. 王 西 安 47 . 3. sometimes with the soles. As you reach a higher level of skill. prepare well by relaxing the chest and stomach to ensure your kick is fast.Fig. 3. 3. 3. Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity.11). your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig.11 Kick mainly with the heels. Before kicking.13). fierce and perfectly targeted. 3.
3. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. 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. explode energy like releasing the arrow”. while the body becomes straightened when kick is streched). the whole body gathers together then opens up with an explosion of energy.陈 氏 太 极 拳 推 手 技 法 Fig. Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). In the Sideways Kick.12 Fig.13 • The Outward Kick is executed outward and upwardly. with the hitting points mainly on the outside of the foot (occasionally inside). 3. 王 西 安 48 • .
use the Gen Bu (follow-on Steps). turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. Before kicking. then bring it backward (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. If kicking with the right foot.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other. Eye your target and prepare for the kick by gathering your internal energy and lowering it. be it with the right or left foot. which allows you to use quick and continous forward steps. toes grasping the ground and all muscles of the body relaxed. smack the foot with your hand to ensure the integrity of the energy. Always coordinate the kick with your hands. then swing it outward in a natural arc. 3.15). While swinging outward to the level of the shoulder.14 49 . 3. Kick upward with the back foot. Squat slightly.14). 3. while your hands are targeted at the face. Your swinging foot is targeted at the back of the opponent’s head.
And kick upward along with palms coordinated with Lü.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility. . And smash enemies to pieces. 3.15 With openings and closings. I smack in the air by switching into the track of a swing arc. I take the back of the opponent’s head as target.
• Hold the body in a squatting position for the next few movements. • Pay attention to that you finish this action with the guiding of the waist and back. keep your footwork flexible and neat. rotating it slightly so that it slants to one side. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. • Hang one foot backward. Gua (hanging) and Gai (covering) in a second. depending on the distance between you. No matter which you use. coordinating both with Tou Bu (sneaking steps). meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. You should finish Lü. palms facing outward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . • Swing both hands backward to the side of the back hanging Foot. • The action must be quick and powerful. • Use both hands to execute Lü on one arm of opponent behind the body. The powers of hand and foot combine together.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. • The foot hangs to the calf suddenly to make the opponent lose his balance. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. During solo practice. remember to balance upward Long (close) movements with downward Ti (raise).
陈 氏 太 极 拳 推 手 技 法 Fig. I take the opponent’s upper body and chest as target. 3. 3. twisting the waist and rotating the back to exert more power (Fig. . 王 西 安 52 The secret of Back Hanging Foot is to plot the method to seize the opponent down and to fiercly bring him under your control without detection. Then lower your foot to the ground. your face looking upward. As a Tuishou poem states: With Yin and then Jin techniques. And enemies fall to the ground with face to the air. Move forward with Tou Bu (Sneaking Steps). I explode my energy with the rotation of my waist. Hold your position and collect yourself enough to kick upward then swing downward. And kick upward along with palms smashing downward.16).16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force.
these may not provide an accurate picture of weight changes required in practice or combat. Note that while weight distribution ratios may be used as a guide (e. 40:60. The attacking leg must be flexible enough to swing to the left or right. 3. 20:80).g. 3. mindful that while one is in the air. 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. 3..18.19). since these are in a constant state of flux depending on the circumstances.17).17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3.Fig. 30:70. Use Front Bow Steps to practice this movement (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 . Practice this transfer of weight by alternating the legs.
3. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. waist and hands. Short energy attacks are often used to ‘give a shock to the lower limbs’.19 Using Short Energy: Short energy should be used in both inward and outward kicks. As one master said: 王 西 安 54 I move my centre of gravity. 3. I explode and shock the ghosts. making your intention easily anticipated.陈 氏 太 极 拳 推 手 技 法 Fig. . Avoid using long energy as it is likely to dissipate the concentration and power of your attack. so that the strikes are as rapid and powerful as possible. shock their lower limbs and unbalance their upper body with my feet.18 Fig. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’.
3. that is. step your right foot 40 cm forward to the right. Begin with slow practice. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. then squat and step out with your right foot. look in the direction of the moving leg. Practice continuously alternating both legs. Xiacai Tui (Downward Cai energy). Move the left foot half a step to the left. 3. Lower the tip of the toes of your unweighted right foot to the ground. Waibai Tui (Legs Swinging Outward). 王 西 安 55 . repeating the movements while keeping reeling from the left to right. Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). change the weight to the right and step out with the left foot.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). working up your speed in gradual stages.3. When the right foot lands fully on the ground. Use intention (Yi) rather than physical force (Li). Keep your legs reeling from left to right. ‘Yong Yi Bu Yong Li’. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart. Nichan Tui (Legs Reeling in Ni Circles). As the toes touch the ground. a shoulder width apart from the left foot. making sure your leg is no higher than 15 cm above the ground. just as in form practice. toward the target. Lihe Tui (Inward Knee Strike). Change your weight to the left.
step forward 40 cm with the right foot. continuous practice.20 56 .2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. transferring all your weight to the left. then step forward 40 cm to the left. and then rotate 360o left stepping on the toes (Fig. Step the right foot forward.3. striking to both sides with each leg. remembering that the inner side of the heel is the striking point. 王 西 安 Fig. rotate to the left forward at an angle of 360o. Raise the left foot. transferring all your weight to the right. Practice these steps in continuous alternating cycles. 3. Next. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner.20).陈 氏 太 极 拳 推 手 技 法 3. 3. You also need to practice Nichan and Shunchan with both legs. Inner knowledge can only develop with concerted.
attack with Lihe and then move 90% of your weight to the back leg (Fig.3 Lihe Tui … Inward Knee Strike Lihe Tui is an inward strike using the inner side of the knee and is widely used in Qian Gong Bu (Front Bow Steps) and Ban Gong Bu (Half Bow Steps). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. change your weight to the front foot. • While practicing.22). then transfer your weight to the left before moving the right foot forward (Fig. practice with both legs and with change of directions. As such. 3. 3. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg.3. we usually attack with Lihe Tui using the right leg.21). In Huobu Tuishou (Tuishou while walking).21 Fig. • Combine Lihe Tui with the rotation of the waist and spine.3. • Stand at attention.22 57 . 3.
During practicing Waibai Tui. practitioners will come to realize the deep significance of their efforts.23).4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps). 3. 3.24).3. regardless of whether you practice day and night (Fig.23 Fig.24 58 . Through diligent solo Tuishou practice. and requires a sudden outward swing of the leg as weight is transferred. 3. Take care not to exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. 3. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig.陈 氏 太 极 拳 推 手 技 法 3. 王 西 安 Fig. Being content with a superficial understanding is fruitless. step forward with one leg and swing the other outward and then closing inward. 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.
Shun Cai and Ni Cai are based on Front Bow Steps. • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent.25 Fig. Xiacai Tui consists of Cai to the left. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles).5 Xiacai Tui … Downward Cai Energy Cai means to pull down. placing your toes slightly outward. placing your toes slightly inward. 3. 3.26 59 . then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. The outer side can also be targeted once your ability improves.3. • To do Ni Cai: move the back leg forward.3. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Start with your centre of gravity at the back leg. Cai to the right.
27 Fig. Bend your knees about 40o – more than this and you will lose your centre of gravity. Practice with alternating legs during Single Form practice. 3.28 60 . 3.26). you can enter the opponent’s territory (Fig.3. striking to the front. Train your body to understand the meaning of ‘stretching consists in bending. With a spiralling move forward.25). striking inward and striking outward. Deepen your understanding of Jin Li (energy and force distribution). keep ankles relaxed and Qi descending (Fig. 王 西 安 Fig. 3. bending consists of stretching’.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). 3. 3.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right.
• • •
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
4 Xia Za Quan … Fists Smashing Downward Fists Smashing Downward shares many common traits with Splitting Fists: both strike with the back of the fists and require practitioners to look to the side of the stepping foot. there are three main distinctions: the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used. 3. 3. Hold the right fist close to the left side of the chest.陈 氏 太 极 拳 推 手 技 法 3. Next.37 . 王 西 安 66 Fig. Rest the left fist beside the left leg (Fig. However. • • • • • • Take a half step to the right with the right foot. change your weight to the right leg and step your left foot forward. Rotate the body to the right then strike downward with the back of the right fist. fist centre facing inward. at the same time hooking the left fist upward.37). Rotate the right toes slightly outward as the foot lands.4.
stepping the right foot forward and exploding the fists before landing. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other.38). 陈 氏 太 极 拳 推 手 技 法 In summary.Fig. 3.39) 王 西 安 67 . 3. Then repeat with the other foot. and lower the left fist from its upward strike position back to the left side of the body). involve your whole body in the attack. After striking. Practice these steps. For example.38 Fig. (Fig. 3. as the left foot steps forward (weight on the right). alternating both sides continuously (Fig. both left and right fists rise and descend at the same time. the left fist rises above the right side of the chest and smashes down to the left. Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest.39 • • • • • Again. downwards on the right and upward on the left. when the right foot steps forward (weight on the left). step the left foot horizontally over the right one. the right fist is raised above the left side of the chest for more power and then smashes down to the right. 3. For each step. Likewise.
40).40 Fig. • Sink your weight into the right foot and rotate the waist to the right to gather energy. • Gather the right fist under the right rib (Fig. concentrating your power in the Quanding (the front of the fist). 王 西 安 Fig. 3. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’.陈 氏 太 极 拳 推 手 技 法 3. avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig. • Sychronise both arms so that while the right fist flings forward. Practice this technique on both sides. fingers vertical. 3. • Then fling the right fist forward in Ni reeling. • Step the left foot forward.4. 3. This counter-balancing movement helps to accelerate the punch of the right fist. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power.41 68 .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. 3. stretching the left hand upward. the left arm gathers inward and strikes backward to the left with the elbow.41).
3. 3. The power of this technique depends very much on the practitioner’s physical condition. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. so that the strike manifests within a narrow range yet internally it contains great power and flexibility. bringing the left palm to the front of the body (Fig.42 Fig. • • • • Step the right foot forward.43 69 . Then step the left foot forward.3.43). Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). 3. Instead. simultaneously gathering the right fist beside the right ribs. 3. Repeat with the other side. Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. and practice alternating both sides. only about 40% of the jin force generated is exerted as short rather than long energy.4.6 Baokong Quan … Half-Moon Fist Baokong refers to the half-moon shape that is formed by the arms as you strike the centre of one palm with the other fist.42). the main difference being that in the former. energy does not manifest externally.
• Clench your fist so the middle joint of the middle finger protrudes. and press the tip of the thumb against the middle fingernail. • Strike with force and ferocity with this fist using short energy.44 .陈 氏 太 极 拳 推 手 技 法 3. • Brace the middle finger with the index and ring fingers. • Attack to the left or right. 3. 3.44).7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force. like hammering a nail.4. This forms the ‘peak’ of the fist. This makes the fist ‘peak’ stable and solid. 王 西 安 70 Fig. up or down. using small agile steps (Fig.
46).45). 3. hence creating a dual attack with both fists and knee (Fig. 3. gather the ribs and lower your energy to the Dantian (Fig.3. Guanyang means to hit the temples with two nails. Form two nail-shaped fists and strike from both sides using short energy. Practice both methods using both legs.8 Dingzi Quan Guanyang Nail-shaped Fists targeting acupoints on the temple Dingzi Quan is also another term meaning ‘Nail-shaped Fist’. Bring the fists together in the middle about 25 cm apart. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.46 71 . 3. Roll the chest and shoulders slightly inward. Bend the other leg then strike both fists upward together. 3.4.45 Fig. Method 1 • • Method 2 • • • Step forward with either leg. Place your weight on one leg.
47). transferring your weight to the front. palms facing forward. 3. • Step forward with the other leg.陈 氏 太 极 拳 推 手 技 法 3. practice using long energy first. thrusting them forward with explosive force. • Place your hands in front of the chest. 3. the chest rolled slightly inward and the spine slightly lifted. 3.48 72 . and lower the energy to the abdomen (Fig.5 palM pracTice 3. fingers pointing up (Fig. though in the initial stages. 3.47 Fig. • Step forward with either leg. • Prepare for the strike by ensuring your axis is upright.48). the ribs gathered.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy. 王 西 安 Fig.5. while making sure the chest is relaxed. • Strike forward with both palms.
• Thrust the right palm forward or diagonally to the side. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. a Double Palm Push needs to be sudden and exerted directly forward. Just before the explosive strike. 王 西 安 73 . while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push.49). 3. 3. gather the chest and stomach like a cat stalking a rat. • Repeat using the left palm.52). speed.5. 3. lower your energy abruptly and push forward with short energy using small steps. thrust your arms out about 50% (Fig.50. • At the same time step forward with the left leg. The power.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back).49 When practicing with short energy. As the energy reaches the wrists.51. using long or short energy (Fig. elbows and wrists are lowered. 3. To be effective. 陈 氏 太 极 拳 推 手 技 法 3. Make sure your shoulder.Fig. 3.
Fig. 3.51 Fig. abruptness and power of the push. 3.50 王 西 安 74 Fig.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. With continuous practice.52 . gradually increasing the speed. and hence conquer your opponents without effort. 3. you will be able to explode energy with natural ease by combining both external form and internal spirit.
This creates an energy balance that stabilizes your centre of gravity. while gathering the other hand beside the ribs (Fig. 3.3.3 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. Direct energy above the waist upward and energy below the waist downward.54).53 Fig. • • Step one foot forward and ward off an arm attack with one hand. 3. whilst using the other palm to push at the opponent’s chest or strike at their stomach. 3.54 王 西 安 75 .53). 陈 氏 太 极 拳 推 手 技 法 Fig.5. enabling you to hit your target with more precision and power (Fig. 3.
3.陈 氏 太 极 拳 推 手 技 法 3.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. and then straighten it while pushing the right palm upward. • Keep the hips relaxed.55). • As you push upward.5.55 76 . while gathering energy on the left side. the stomach gathered and the chest rolled inward (Fig. • At the same time. 3. open the right side of the chest and stomach. • To push with the right palm: bend the right knee. press downward with the left hand as a counterbalance between the upper and lower body (taking the waist as the dividing line). 王 西 安 Fig. first at an angle then vertically upward. Explode this energy through the right side of body out through the right palm.
5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing.’ Apply this technique during Single Palm practice.57 77 . rotate your body to the right. 3.57).3.56 Fig. then quickly striking their chest with your right palm (Fig. • Then swiftly draw the opponent into your domain by touching their back with your left hand. 3. • At the same time. 3. stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’. Shun means ‘sequence’) (Fig. Keep your body and energy lowered while doing this.56). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. 3.58).5.
lower the shoulders.5. For example. 3.6 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. This helps to concentrate energy in the palms. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. Coordinate the movements of your body with those of the palms. if the opponent seizes your right hand and twists it outwards with Shun reeling.陈 氏 太 极 拳 推 手 技 法 Fig. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. and gather the ribs and dantian. 王 西 安 78 . moving the body quickly forward. 3. • As you lower the body.58 • • Also apply the usual principles: roll the chest inward. left and right.
extending the thumb and fingers (Fig. thrust forcefully at the opponent’s ribs. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. 3. 王 西 安 79 .59 Fig. respond in this way: • Step forward with the left foot. this time at the left side with your right hand. inclining outward and exploding with the left palm (Fig. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward. 3. • Again. Next.60 • • • As you do this.Fig. lower your body then extend it forward with Shun reeling.60). Unify the three actions of stepping forward.59). 3. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. • Key points are the same as with the left hand push above. 3.
3.5. roll your chest slightly inward and bend your right arm inward. Relax your joints to enhance energy application. change your centre of gravity from the left to the right. dominates the waist and penetrates to every part of body. especially when stepping forward and exploding energy (Fig.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind.陈 氏 太 极 拳 推 手 技 法 Fig. 3. as advised in an essay. regardless of the technique or force used.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. “Energy comes from heels. coordinate the waist and legs when exploding energy. Also. goes through legs.61). . so that energy flows to the very tips of the body.” 3. • As you seize. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles.
guide or bring along . Thus. listening closely to your partner as you do so. 3.63). • At the same time. To speed up your response. you are able to use both palms to seize the opponent (Fig. Change your right hand to Shun reeling and your left to Ni reeling. 陈 氏 太 极 拳 推 手 技 法 3. If the opponent escapes.63 • • • With your right arm.62). 3. practice alternating the seizing between right and left hands. reach under your opponent’s front arm. 3. 王 西 安 81  ‘Dai’ means to lead. 3. palm open.Fig. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended.62 Fig. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig.5.8 Shuang Dai Zhang Danshi Yanlian Fa Double Dai Palms Single Form Practice Step your right foot forward and transfer your centre of gravity to the front.
face the left palm outward. 3. 3. 王 西 安 82 3. 3.5. 3.65). Clench the left hand into a loose fist and push it forward. palm up. gather the right hand beside the ribs. Practice on both sides. Bend your right arm 90o inward and form a fist with your right hand.64 Fig.64). 3.陈 氏 太 极 拳 推 手 技 法 Fig. Transfer your centre of gravity to the front.9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. fingers to the front (Fig. fingers pointing to the front (Fig. As your step forward. fingers up. .65 • • • • • Extend your right arm forward. Then hit the opponent with the right arm (Fig. moving your arms to stabilize this rotation.66). Change your weight to the back and turn to the right.
left under right and right under left (Fig.67). move the left hand and foot quickly forward together. To increase the precision and power of the fingers.Fig.67 • • • • • • Lift the left palm over the right. reel the right hand in Shun reeling to the right and step the right foot forward. Next. Also. place the left thumb and little finger in opposition while the remaining fingers face forward. 3. As the right foot lands on the ground. 3. and then explode both palms forward with a piercing thrust. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. coordinate the waist and spine when shaking the right palm forward in Shun reeling. 3. to increase the speed and power of the explosion. 王 西 安 83 .66 Fig. Return the hands to their original positions before the next energy explosion.
palms facing in (Fig. 王 西 安 Fig.6 elbOw pracTice 3. In this case. 3.69). Practice striking with both elbows with corresponding weight changes to either side. the left arm counter-balances the movement of the right.陈 氏 太 极 拳 推 手 技 法 3. 3.68 Fig.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot. At the same time. Remember to apply long energy before you apply short energy (Fig. As you change your weight to the front.69 84 . bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body.69). 3. 3. strike forward with the right elbow while hitting backward with the left elbow.6.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.6.71). and clench the right hand into a fist. 3. 3. bend the right elbow inward. Lift the left hand when the right elbow completes 90o of its descent.3. 3.70 Fig. Alternatively. At the same. gather it close to the right ribs. step the right foot forward again and extend the left arm forward. slap the right shoulder with the left palm. Then strike the right elbow down for the second time (Fig.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. At the same time. wrist turned inward and the palm facing backward. After the strike. 3. Step the right foot forward and strike the right elbow down forcefully as the foot lands. return the elbow to the right side.71 85 . palm up.70). Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. take a small step forward with the left foot.
3. then turn right with the right toes facing slightly out.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. 3. Fig.陈 氏 太 极 拳 推 手 技 法 3.6. 3.72 王 西 安 Fig. Rotate slightly to the left.73 Fig.74 86 .
gather the ribs and lower your Qi. transferring your centre of gravity to the left. Focus on ‘hitting upward’ with your right elbow so as to destabilize the opponent’s centre of gravity and lift them off from the ground (Fig. 3. Turn to the left and strike out explosively with the right elbow.• At the same time. clasping the right forearm with the left palm. then step forward with the right foot.72). 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.75).6. Step the left foot forward. 3. palm facing in. Gather the body to prepare for attack by lowering the body slightly (Fig. raise the right hand across the front of the chest to the left in an upward arc. Gather the body by bending it slightly. 3. as if warding off (Fig. 王 西 安 87 . clench the right hand into a fist. toe tips slightly touching the ground. 3. Step the right foot to the left and bend the right arm. Remember that the right leg moves forward with the right arm and vice-versa.73). so that both feet are approximately 50 cm apart.74). 3. Move the body to the left and transfer your centre of gravity to the right and back. • • • Practice with the other arm. As you do this.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. clasping the right forearm with the left palm.
Practice with both sides (Fig. the right fist lowered to front of the left armpit. practice with long and slow energy. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block).6. 王 西 安 88 3.76 • Spiral the right arm forward with Ni reeling. palm down.75 Fig.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. strike the right elbow to the right. 3. with the following differences: .76). Next. Simultaneously.陈 氏 太 极 拳 推 手 技 法 Fig. gathering it horizontally in front of the chest. 3. • In the initial stages. step right with the right foot. turning the body to the right. Once familiar with the practice. 3. use short and fast energy. balancing this movement with the left hand.
3. • Turn the body to the right and reel the right palm across the chest to the right.• • Shun Lan Zhou is aimed slightly to the back.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. fingers pointing up. Before the foot lands. toe tips on the ground. palm facing right.78). 陈 氏 太 极 拳 推 手 技 法 Fig. while Xin Zhou is targeted to the front (Fig.78 3. 3. 王 西 安 89 .6. jump slightly with the right foot. palm down. • Stand at attention with the arms relaxed at the sides. extend your left palm forward. • Jump the left foot half a step to the left. landing approximately 50 cm apart from the left foot. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. 3. Touch the right knee with the right palm.77). 3. • Simultaneously.77 Fig.
. Move the right fist toward the right shoulder using Shun reeling. avoid letting all your energy flow upward as this will destabilize your root. taking the waist as the dividing line. bending the wrist before striking upward quickly with the back of the right fist. Next. toe tips touching the ground (Fig.81). Instead.陈 氏 太 极 拳 推 手 技 法 Fig. Practice on both sides. Return the left fist beside the right ribs (Fig. step the right foot forward. 3. Look to the right side of body while striking upward. 3. then gradually using short and fast energy. balance the energy between the upper and lower body. then transfer your centre of gravity to the right. Also.80 Fig.81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. 3. step the left foot to the left. 3. placing the left fist below the right. 3. After the strike.79 Fig. followed by the right foot. starting with slow movements initially until the steps become familiar. As you change weight. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity). While striking on the right. 3.80). clench both palms into fists.79). toe-tips on the ground.
then strike with the right elbow. 3. Practice alternating both sides.83). while the left the supplementary strike.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.83 王 西 安 91 .6. Change your weight to the left.82 Fig. If you stepped to the left. place the left arm inside the right.3. looking to the left and concentrating energy in the elbow tips (Fig. • • • • Step to one side with either leg. 3. then exploding both elbows horizontally. 3. the right elbow executes the dominant attack.82). Gather the fists close to the chest (Fig. 陈 氏 太 极 拳 推 手 技 法 Fig. 3. In this position.
This increases the force of your attack. As your weight transfers to the front.6. holding fists on either side of the ribs (Fig. Try to feel the effect of this preparation during practice (Fig. 3.85 . 3. looking to the front and rolling the chest and shoulders inward. 王 西 安 92 Fig.8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows. • • Step one foot forward.85).84 Fig. 3.84). prepare for the stike by gathering the wrists inward. 3.陈 氏 太 极 拳 推 手 技 法 3.
Simultaneously. palm facing inward and inclining backward. rotate the body to the right. 3. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. 3. As your centre of gravity shifts to the left. Practice alternating both sides. clench the left palm into a half fist and place it beside the left leg.3. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.86).87).9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. 3. palm to the front. take a big step forward with the right foot in front of the left.86 Fig. As the weight shifts to the left.87 93 . clench the right hand into a fist.6. At the same time. then lift it so that the right elbow is positioned over the right knee (Fig.
In this way.6. the legs should be parallel to each other.88). • Extend the right hand outward. • Shift your weight abruptly to the right and form a half fist with the left palm. • At the same time. • Step the right foot forward. Make sure both hands move and arrive at their destinations simultaneously. As one of the Eight Forces. shifting your centre of gravity to the front. moving it beside the left ribs.88 94 . 王 西 安 Fig. palm up.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). 3. • All movements are guided by the rotation of the waist and spine. • Change your weight to the left. 3. the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng).陈 氏 太 极 拳 推 手 技 法 3. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. strike forward explosively with the right forearm using a short-energy (Fig. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. then lower it over the right knee. • After exerting Pie force.
Form a hook (Diao Shou) with the right hand with the little.3. using downward Ni reeling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.89 95 . The thumb and index finger form the character Ba ‘八’. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. • Keep the left hand open so the thumb is separated from the fingers. • Raise the right hand from the right side. lower the left hand from the front of the chest to the left ribs. closing it slightly. both internal and external movements are integrated with the movements of the body and limbs. • Step backward with the left foot shifting your weight to the left. ring and middle fingers.6. bending the elbow.11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow.89). 3. 3. • Then. use Cai technique to strike out explosively with the outside of the right forearm and elbow. palm up. using guiding energy from the little finger. • While lowering the left hand. In this way. and extend the left hand forward to the right. Shift your weight more to the left as you do this (Fig.
moving your weight to the right (Fig.91).91 .陈 氏 太 极 拳 推 手 技 法 3. especially useful as a defensive move when being attacked while in a passive situation. toes grasping the ground. the right thumb guides energy flow. • • • • Bend the left knee. 王 西 安 96 Fig. you raise the right hand in Ni reeling to descend the elbow (Fig. 3. 3. While transferring weight.6. strike the right elbow backward at an upward angle (Shang Chuan Zhou). Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. 3. At the same time.90 Fig. and then. 3. Note: For maximum effectiveness. make sure power is gathered properly through the whole body and that your timing is correct before you strike.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward. and extend the right leg backward.90).
Ying Men Kao. As you shift your weight to the right. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.93 97 .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. 3.7. The right foot and right arm should reach their positions at the same time (Fig.92 Fig.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward.3. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao. Shuang Bei Kao and Qi Cun Kao. Ce Jian Kao. Xiong Kao.92).
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. if you find you get into an appropriate space for attacking.93). 3.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. step forward with the left foot and place it next to the right foot. use the outside of the right shoulder to execute Qian Zai Kao.7. As the heel touches the ground. On completion of the shoulder push. Then step the right foot forward again to execute Zai Kao for a second time. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. After executing the above. . take care to maintain your centre of gravity by not stretching too far forward (Fig.陈 氏 太 极 拳 推 手 技 法 • • • Then. pushing it forward and down. Repeat these steps for both sides. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. Note: Only push when you are in the correct position. 3. you can choose not to use Follow-on Steps (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). As the body inclines forward significantly during this move. 3.94).
王 西 安 99 . arms are a defense against attacks. 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. lowering down but not stiff. Dai (lead and pull) and Ji (attack) energies together. 3. 3.Fig. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. light but not floating” . When firmly closed.94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks. conversely if one is able to ‘open’ the doors of the opponent.7. then techniques such as Ying Men Kao can be used to penetrate defences and attack.
Next. cross the hands in front of the chest. At the same time. the right hand above the left.95 Fig. Separate the hands of the opponent to expose his chest (Fig.96 • • • • • • 王 西 安 100 Take a large step forward with the right foot.96). 3. • You can use more of the shoulder surface in the attack. move the left foot forward parallel to the right foot and repeat the sequence for another attack. 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. Once the attack is completed. 3.陈 氏 太 极 拳 推 手 技 法 Fig. 3. It is easier to hurt the partner using a narrower attacking surface. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. move both arms to each side of the body and push the right shoulder forward in attack (Fig.95). . fingers pointing up and palms facing the sides of the body.
• Change your weight to the left while pulling the opponent toward your chest using your palms (Fig.98 101 .4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent.7. • Then roll the chest inward and shift your weight quickly from left to right. A good sense of timing is essential for defeating the opponent. • After this move is completed. 3.97 Fig. • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. Only with a thorough mastery of this technique. using this shift to deliver a sudden push with the chest (Fig.98). • Step the right foot forward. move the left foot parallel to the right. shifting your weight to the front. • To begin. • Extend both arms from the sides to the front in an embracing gesture. the chest and waist are in a collapsed position. Note: Focus on sharpening your sense of timing during practice.3. 3.97). 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. can you execute it in actual combat (because you may easily hurt yourself ). 3.
3. • When the whole body holds and collects to a moderate extent.100 102 .5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. a capability that comes only with extended Quan practice. shoulders slightly concave and with power guided by the thumbs (Fig. 3. This technique also uses Duan Jing (short power). as the shoulders deliver Bei Kao backwards (Fig. rebounding and shaking power).100). • Gently rotate backwards with both palms facing backwards. 3. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 3.99 Fig. • When the weight moves forward the chest rolls inwards.7.99). • Stand with feet parallel. and the shoulders execute Bei Kao to the right . 3. remember to gather and withhold energy before delivering the strike. You may lead with either leg. take a sudden breath in and push the chest forward quickly. Note: As mentioned in previous techniques.
Note: If the opponent is at close-range.101 103 . This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. extend the distance of your Kao slightly. • Gradually move the right arm downward toward to the inside of the right leg. if further away. Find a stable centre of gravity with the body and gather your body in this position.7. • Once your root is stabilized. 3. • Start doing Shun reeling with your right hand as you move your weight slightly to the front. • Extend the right foot and arm forward.101). use short power in your push.3. 3. • Practice pushing from both the right and left sides.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. fingers pointing down. continue to transfer your weight to the right. • Turn the body slightly to the left as the right hand rises. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
王 西 安 Fig. 3. Place the elbow below the knee (Fig. Note: Power applied in the initial stages should be slow rather than quick.陈 氏 太 极 拳 推 手 技 法 3. Practice this sequence in rounds from left to right. 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.102).7. • • • • Take a large step diagonally forward with the left or right leg. Incline the body forward in the same direction. 3. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing).102 104 .
Diao gai Na. Fu Na. and Shuang He Na. • At same time. • Relax the left side of the crotch and shift your weight forward to the left. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na.3.103). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Tui Na. 3. palm facing in. palm up (Fig.104).8.103 Fig.104 105 . draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. 3. 3. 3.1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. Shuang He Fu Cai Na. 3. Xiong Na. Chan Rao Na. • Rest the right hand near the right ribs. • Extend the left foot and left hand forward.
Note: Shun and Ni reeling are interdependent and cannot be separated. After seizing. and lower your waist and Qi. With practice. If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. drop the elbow. 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. 王 西 安 106 Closing with the left while seizing with the right and vice versa. even though you deliver the power later than the partner. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. When seizing. Try to relax at every step while applying the seizing action firmly. in order to block the opponent’s energy path.e. . then you must respond promptly by swapping the reelings to the opposite hands. Repeat the above sequence. i. this time reeling in Shun direction with the left hand and Ni direction with the right. Your moves will become more effective as your internal Qi integrates more closely with the external movements. move the weight slightly backward then move forward again. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. changing the weight from left to right. you will be able to execute these changes quickly and smoothly. roll the chest in. Observe your opponent’s changes and respond accordingly: if the opponent uses long power. Shun reel with the right hand and Ni reel with the left. but she evades your attack by ducking down. tighten the ribs. lower the shoulders. if you practice each side diligently. Seizing techniques are quite difficult to practice.
3.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. 3.107). 3. 陈 氏 太 极 拳 推 手 技 法 Fig. lower the Qi. and clench the right hand into a fist.106). 3.106 Fig. As you do this. placing it in front of the chest.105 Fig. palm out.8.3. Then rotate the right hand and body to the right. extend the left hand forward to rest in front of the body (Fig. At the same time.107 王 西 安 107 . relax the left side of the crotch and shift your weight to the left. Again. and shift your weight to the right side. Relax the left side of the crotch. tighten the ribs. Then lower the right hand to the right ribs. The shift to the left enables you to hit the target clearly (Fig. 3. roll the chest in.105). • • • • • Step forward with the left foot and move the right hand in front of chest to fend the opponent off upwards to the right at head level (Fig. 3.
and gather energy in the ribs. the palm forming a “八” (Ba) shape.108). Move the whole body in a natural and relaxed state. • Close the crotch. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. 3.8. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. Move quickly and follow your partner but do not lose power. Make sure to keep your own axis when seizing the opponent.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. while the two hands serve as supports. palm facing left (Fig. • Step the left foot forward and extend the left hand to the front. Shift your weight forward and accumulate power well. • At the same time.109). Draw the arc with the intention of meeting the opponent’s hand. reel with both hands in a Shun direction. roll the chest slightly inward and gather the ribs. rotate the body. The left hand leads by closing the power causing the right hand to follow. lower Qi to the abdomen in preparation for the inward roll and seizing. • As the weight shifts to the left. Relax the crotch. the force of upward suspension maintains the axis. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground. palm facing right (Fig. The strike is actually applied by the left side of the chest. Match the speed of your movements to that of your partner. 3.” 3.3 Fu Nang … Seize with the Abdomen This technique consists of seizing with the abdomen filled with descending Qi with the assistance of the hands. 王 西 安 108 . • Step the right foot forward and pass the right hand across the left side of the body.
3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3.110 109 . the left hand moves lightly and assists the right.109 Fig.Fig.110).108 • • As the Qi descends. seize with the right and roll the abdomen – these three actions combine to become one power. clench the left hand. 3. The eyes look forward and to the left. The abdomen provides the main supporting element. whose movement is heavier (Fig. 3.
8. roll the chest slightly inward. 3. extend both arms to the front. push the abdomen out suddenly (Fig. capture and immobilize the opponent. the right hand moving down while the left moves up. followed by the left.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. Continue to shift your weight forward. move the palms up to chest level and seize the opponent’s elbows using Na power. 3. As you seize. Move swiftly without hesitation. At the same time.陈 氏 太 极 拳 推 手 技 法 In summary. 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. Concentrate your energies then pounce on your opponent like an agile cat.111). bending them at the elbows. the right foot steps forward. and both feet standing steadily as the hands move. whereby the abdomen gathers power to support the hands. 3. and commence shifting your weight forward. • • • • 王 西 安 110 • • Take a half step forward with the right foot. facing in so that the fingers are directed towards each other. while the hands use Na (seizing) power to collect inward. immobilizes their wrists by bending them outwards. As your weight shifts. and gather them towards you (Fig. do not be kind to the foe for the opportunity to attack comes just once. .112). Both hands extend forward in sequence. Direct the eyes to the front. palms about 10 cm from the lower abdomen.
and lower Qi in your abdomen before protruding it forward.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen. 陈 氏 太 极 拳 推 手 技 法 3.Fig. Step the left foot forward and shift your weight to the left. 3. Lower the right hand then cover it with the left. so that you respond by moving your weight forward. supported by the warding right hand. 3. Reel the left hand forward. • • • • Step the right foot forward and pass the right hand across the chest. 3. 王 西 安 111 . fending the opponent off upward to the right (Fig.113).5 Chan Rao Na … Seize by Reeling This technique uses the gathering power of one hand to seize while the other reels from the inner side of the opponent.111 Fig.8.
gathering the ribs and lowering the waist and Qi. Step the right foot forward again and repeat the above steps. But remember: practice like an adept. this technique can be used effectively to break wrists. bones. . Alternate practice on both right and left sides. tendons and veins.114). 3.113 Fig. Collect the body by rolling the chest slightly inward. 3. 王 西 安 112 Note: If Qi descends smoothly.陈 氏 太 极 拳 推 手 技 法 Fig. Combine them with the power of chest to become one power (Fig.114 • • • • Put your body in a squatting position by bending the knees slightly. by taking a step forward (Shang Bu) each time. 3. Collect the hands inward to about 15 cm in front of the chest. not like a thug.
115). • As soon as the right hand reaches the level of the left leg. shift your weight forward and bend the knees slightly so that the body squats like a bent bow. 3. swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing. the Three Powers (Jing Qi Shen) combine to seize the opponent.115 Fig.3. 3. roll the chest in and gather the ribs (Fig. lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni reeling to seize downward from the right side. The powers of the left arm and right hand unify as one.8. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • As you step.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg. • As the knee swings inward. Lower your Qi. fingers pointing forward. • Step forward with the left foot and extend the left arm to the front. In this way.116 113 . • As the weight moves forward. relax the crotch. 3. • Bend the left arm inward to gather both palms. and move both hands to assist the left leg.
The changing of the legs happens quickly. • At the same time. As you step forward. shift your weight quickly to the left and step forward with the right foot. • Then lower the right arm by executing Lü downward in Ni reeling.7 Diao Gai Na … Seizing with Both Hands This technique uses both hands to seize: the right hand moves up from the right to grasp the opponent’s arm from the bottom while the left presses down from the top.117). guiding it to the right ribs for support (Fig. 3.8. 3. spiral the right hand up from the right side into an arc. extend the right arm and pass it from the upper left side of the body to the right in a warding off motion (Fig. 3. gradually guiding it inward to rest in front of the right ribs. 王 西 安 Fig. 3.116).118 114 .陈 氏 太 极 拳 推 手 技 法 • • • After seizing.117 Fig. • Step forward with the right foot. 3. Then step forward with the left foot. shift your weight to the front and extend the left arm again to repeat the steps and seize once more.
As the hands move. 3.119 • • • • • • As soon as the right foot touches on the ground. lower the shoulders. As the right foot touches the ground. 3. Then extend the right hand forward to cover and seize with both hands with Gai power (Fig.119). shift your weight to the right and move the left foot and hand forward (Fig. shift your weight to the right and step forward with the left foot. The intention is to have the whole body collecting and seizing together with the hands. roll the chest slightly inward and bend the knees slightly into a squatting position. 3. Then move the right hand forward in Shun reeling until it reaches the same level as the nose.Fig. Continue to move the right hand and foot forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 .118). 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. When the right hand moves up.
120 Fig.120). At the same time. Combine this with the power gathered in both hands and seize with one force.8 Shuang He Na … Seize by Gathering Both Hands This technique uses the gathering power of both hands to seize.陈 氏 太 极 拳 推 手 技 法 3. • • • • • Sweep the right hand from left to right in a warding off movement (Peng) to fend the opponent’s arm out and upward (Fig. Prepare for the seizing by lowering Qi to the Dantian. 3. Bend your knees so your body squats like a bending bow. strengthed by whole body coordination. then gather both hands and grasp the opponent’s wrist firmly downwards. Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. 王 西 安 Fig. rolling the chest inward and tightening the ribs.8. 3. 3. This step marks the transformation of Peng (ward off ) to Na (seizing). 3. step forward with the left foot and shift your weight to the front.121 116 .121).
• Hang the hands naturally at the sides. the Guan Gong Jie Dai technique is said to be named after its creator. ‘Wars Among Three Countries’ by Guan Yu. • Next.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. Shan Jing Zhen Zhang Jie 8. middle finger. then exhale as you bend the knees slightly to put the body in a squatting position (Fig. such as a waist grasp from the rear to throw you down. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. Qu Wan Fan Na Jie 6. This technique enables a practitioner to avoid capture or break a hold. Guan Gong Jie Dai 2. shoulder-width apart. Guan Gong. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. Diao Wan Qu Zhi Jie Tuo 3. Shuang Wan Zhi Jie 4. • Move Qi in from the outside and lower it to the Dantian.3. 王 西 安 117 . Chuan Zhang Jie 5. and finally the index finger. then the ring finger. Shan Jing Ce Jian Jie 7.9. 3. Fan Na Cu Bu Jie 9. • Inhale. eyes looking forward.122).1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. • Stand with both feet in parallel.
In this way. 王 西 安 118 3.9. 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). 3.123 • Synchronise the speed of this movement with that of the body.122 Fig.陈 氏 太 极 拳 推 手 技 法 Fig.123). If the fingers are being held. 3.2 Diao Wan Qu Zhi Jie Tuo Escape by Hooking Wrist & Bending Fingers This technique is especially useful to release a hand hold by an opponent. 3. the squatting of the body. This technique becomes effective only after extended practice. otherwise it is not easy to unfold (Fig. and also with the speed of Qi descending. the gathering of the ribs and the hooking of fingers should combine to become one unit. .
By the end of your movement.125). unblocking the arm area being attacked.125 • • • • • If the fingers of one hand are seized by the opponent.124). and lowering your Qi as you do so. lowering the elbows. By doing this. 陈 氏 太 极 拳 推 手 技 法 This technique is only to be used if you have become proficient in it after extended solo practice. slowly bend the wrist and fingers. join the fingers of your hand together and point them diagonally upward to the right (Fig. As you move. relaxing the shoulders. 3. rolling the chest inward.124 Fig. 3. Practice these steps with both hands in turn.Fig. Move your body to transform the attacking power. 王 西 安 119 . so that Tuo (escaping) power can reach the fingers effectively. you relax and elongate your encaptured arm. your conjoined fingertips and knuckles should be able to escape with ease (Fig. 3. 3.
王 西 安 Fig. At the same time.127).9. 3.126 Fig. It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand. It is not necessary to use large movements in this technique. 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.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold. Just focus on relaxing and lower the Qi. 3. 3.陈 氏 太 极 拳 推 手 技 法 3. While doing this. tighten the ribs.127 120 . lower the shoulders and elbows. closing your hands while opening the opponent’s.126). clench both hands into fists. roll the chest inward. then move your arms forward and upward as your weight shifts forward (Fig. 3. bend the arms.
• Bend both arms 90o inward and cross them in front of the chest. two eyes look forward horizontally. placing the right hand on the left (Fig.9. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.129 121 . 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 lower the shoulders. • Bend the knees slightly to place the body in a squatting position. • Two feet stand flatly and the body stands straight.3. 3. 3. tighten the ribs. 3. elbows.128).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.128 Fig. and Qi. and roll the chest inward.
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. 3. 3. and move the right hand in Shun reeling while the left does Ni reeling.5 Qu Wan Fan Na Jie Escape by Bending the Wrist and Seize the Opponent This technique is used to counter-attack a hold on the right fingers. Then ward off (Peng) by pushing both palms outward. 3. and lock the palms of the opponent. then rotate forward again.130 Fig.陈 氏 太 极 拳 推 手 技 法 • • • If you choose to turn to the left: rotate the body to the left then right. 王 西 安 Fig.9. It requires you to twist the captured fingers outward in Shun reeling. swapping the Shun and Ni reeling to the opposite hands.131 122 . If you choose to turn to the right: rotate the body to the right then left. Do not rush forward but defend you territory in straight postures (Fig. 3.129).
132). raise the elbows. relax the shoulders. While rotating the arm. 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.131). it will be difficult for opponents to overcome your attacks. If you practice diligently. As you do this. Rotate the arm about 1800 outward in Ni reeling. 3. palm facing left (Fig. Apply the principle of constant change and flexibility in Taiji circles.133). 3. As the right toes touch the ground. extend the left hand forward to support the right hand as it seizes downward (Fig.133 • • • • • Extend your right arm forward. 3. 王 西 安 123 .132 Fig. wrist bent inward in readiness to seize and fend off danger (Fig. 3.Fig. 3. step the right foot forward (Fig. Your movements should be relaxed and executed with power at all times. 3.130). 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. then bend it about 450.
right fingertips initially pointing downward. coordinating it with the lifting of the back and the descending Qi.135 124 . 王 西 安 Fig. • The right wrist bends inward with the arm to rotate the hand in Ni reeling. palm facing right. • As the right palm reels outward. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). roll the chest inward. Together. so that the power of the left hand combines with the right to become one. 3. you should rotate externally and upward in Ni reeling. 3.陈 氏 太 极 拳 推 手 技 法 3.9. In response. move the left hand rightward to the front of the chest. this sequence of movements make up the Shan Jing Ce Shen Jie technique.134 Fig. then move swiftly to the right to destabilize the opponent. • Simultaneously. the palm gradually guided by Ni reeling to slant externally to the right. Next.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. • Extend the right arm horizontally and bend it 900 inward.
shift your weight to the left . then quickly step the right foot forward (Shang Bu). All the above movements of the hands. 陈 氏 太 极 拳 推 手 技 法 3. Note: Move in Ni reeling while the opponent moves in Shun reeling. then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. giving him a sense of losing of Qi. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. So Shan and Jing serve as the pre-condition of escaping.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. make a big step forward with the right foot. The above movements of both arms and the right foot should occur in one very smooth and swift motion.• • • As your left hand moves. because with these.135).134). Use your whole body to collect energy and attack: the Yin force (guiding) from the upper body and Jin force (inserting and attacking) from the lower body. Almost at the same time. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). touching the ground with the toe tips (Fig.9. 王 西 安 125 . 3. and thus enabling one to evade capture. 3.
then Shang Bu (take a step forward). As soon as you surprise and destabilize them with your moves. slowly raise both hands and bend them inward about 1800. palms facing up and eyes looking forward. the body squats. 3. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig.137). 3.138). 3.138 126 . step forward quickly and attack with the palm (Fig. then the whole body sends a Dou in a circle in Shun reeling (short power).137 Fig. open both fists and shift them away from the sides of the body. At the same time. Simultaneously.陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time.136).136 Fig. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. When the body and two hands send the Dou power. 3. This power should be quick and strong. 王 西 安 Fig. Next. 3. 3. and both palms draw inward. clench the hands into fists and place them at the sides of the body (Fig. and the extending palm reaches the right position at the same time. palms facing up and the two little fingers placed on the middle of each arm.
Two elbows draw inward and hands move outwards. As the right foot steps on the ground. then shift your weight to the left and inclining the body to the right to hold and collect. With Shan and Jing.139). 3. fingertips slanting up (Fig. It is not wise to grasp the opponent’s elbow with your fingers. thumb separated from the fingers (Fig. 3. extend the left hand from left to right. 王 西 安 127 . which is against principle. Step diagonally right with the right foot. and attacking by the Cu Bu or Dun Bu technique (stomping).140). Then push the left palm to the right.It is just like the poem reads: ‘It is not a failure if you retreat your pace. palm facing out. 3. since he or she can easily twist your fingers and get you caught’. you find escaping easy. the partner cannot reach you though his attacking power is strong. first bending it inward then moving it outward to the right. holding and collecting a quicker speed. extend the right hand diagonally forward to the side. because sometimes appropriate retreating gives one a closing power. Bend the knees slightly to place the body in a squatting position.9. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm.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. At the same time.
only by this will you increase in strength. the body should move from high to low.陈 氏 太 极 拳 推 手 技 法 Fig. 王 西 安 128 . do not react or become anxious but remain confident in your prowess. Be patient and diligent with practice. During the practice. Incline your body and explode the energy with great unity by stomping with the right foot. Stand rooted like a big tree. This power can only be gathered with greatly unified power. paying attention to the upper and lower body and your surroundings. Even if you sense the opponent’s intention to move. from long power to short power. side pushing with the left palm and exhaling at one time. 3.139 Fig.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. from slow to quick. 3. Then you will free yourself from capture.
exhale. separate the hands to the sides of the body. • Step the right foot forward. breathing in as you do this. As you do this.3. the left hand in Ni reeling and the right in Shun reeling. 3. palms facing in (Fig.142 129 . roll the chest in.142). eyes looking forward (Fig. • Then bend both wrists inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. • Next.9.141 Fig. • Extend both arms forward.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. the hands wrest free of the opponent’s wrist grip. • In this way. bending inward about 90o. palms facing each other.141). 3. lower the shoulders and elbows. tighten the ribs and lower Qi to the Dantian. 3.
get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. then separate them to each side.144). During practice.143). insert both palms downward (Xia Cha Zhang. You can escape from seizing by one closing and one opening. 3. If you still can’t free your wrists with this technique. 王 西 安 130 .陈 氏 太 极 拳 推 手 技 法 Fig. keeping both arms tightly together like pincers. 3. finally returning them to the front of the chest to repeat the cycle (Fig. then raise your hands.144 Notes The extent to which you separate your hands depends on the opponent’s grip. If you cannot push the opponent’s hands away. 3. Palm Inserting Down) (Fig. then you transform and eliminate the seizing on your wrists.143 Fig. 3.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
each of which can be practiced individually or in sequence: 1. rising and falling.1 inTrOducTiOn Taiji Yangsheng Zengqi Gong is a collection of health and Qi enhancement practices essential for the formation of robust Taiji and Tuishou techniques. Kai He Zhuang (Opening and Closing Posture) 4. Wu Ji Zhuang (Wu Ji Posture) 2. 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. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. opening and closing. Lü. Chen Xin. its leaves and branches must flourish.陈 氏 太 极 拳 推 手 技 法 4. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. Taiji Yangsheng Zengqi Gong can be divided into six postures. These movements are applied throughout the whole system of Taiji and Tuishou practices. . Chan Si Zhuang (Reeling Silk Posture) 6. As Qing Dynasty Taiji Master.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). San Ti Shi (Three Postures) 5. 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. states: “If a tree has deep and strong roots. Peng.
keeping your mind relaxed.4. feet parallel and shoulder width apart. breathing gently and slowly. eyes closed.1 133 . Open your eyes gradually. Hang both arms at the side of the body and relax. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2.2 wu ji zhuang (wu ji pOsTure) 4.1 Postures a) Posture 1 • • • • Stand upright. 4. Concentrate your intention (Yi) in the Dantian.
2 Fig.3). 4. 4. the right over the left for male practitioners. Maintain the hands at shoulder height. c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. Take care of these points and you will not lose power (Diu Jin) unnecessarily. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. do not do it so gently that Qi becomes too soft and weak to reach every part of the body. Try to expand your arms moderately. the right hand rotating in Shun reeling and the left in Ni reeling.3 134 . when it should actually be solid.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides.2). Lower the hands onto the abdomen. 4. 王 西 安 Fig. On the other hand. the reverse for females (Fig. 4. palms facing downward and slanted diagonally (Fig.
so that the waist descends naturally. 3. inhale and then swallow saliva down into the stomach.2. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. Your elbow joints should be lowered.4. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling.2 The requirements for every part of the body 1. 4. The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. The neck should be firm and straight. until they reach the lower Dantian. 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 .2. Lift the buttocks and anus up a little. lower it when exhaling. Pay attention to the following points when practicing the Zhuang posture: 1. bend the knees slightly and grasp the ground gently with the toes. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation. the mind and facial muscles naturally relaxed. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue. The whole body will be steady if you gather the internal organs consistently. Your shoulders should be loose and slightly lowered. 2. guiding the Qi and saliva through to the middle Dantian. Gather the chest and ribs inward.
Feel the sensation of all the body joints. While lowering the internal Qi. keeping your body upright and lifting your back slightly. 王 西 安 136 . so that they all have the same rhythm. across the Yu Zhen point. 3. Practice also enhances your ability to guide Qi with Yi (intention). Note: Do not press the abdomen down too much as it will swell naturally as it lowers. leading to Qi filling and blocking the chest. until it reaches the Bai Hui point. through the Wei Lü Guan point. roll the chest slightly inward.陈 氏 太 极 拳 推 手 技 法 2. including the internal organs. While inhaling Gather your chest and abdomen inward while breathing in Qi. which will help with the distribution of Qi around the body. By practising the above key points. While exhaling Lower every part of the body. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). lower the waist and gather the Qi in the Dantian. Maintain your vertical axis. you will enlarge your vital capacity and exercise the diaphragm muscles. up along the spine. skin and fine hairs opening as the Qi rises. Raise your Yi (intention) from the Hui Yin point (perineum). Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further.
and achieve the smooth Zhoutian circulation and help with body combat. Qi cannot be separated from Yi (intention). Only these can guarantee normal and healthy internal Qi circulation. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). Only through mastering your mental activities such as intention. and emotions. these can be accomplished only by hard learning. patients and the correct mastery of key points.2.4.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. Qi follows Yi. consciousness. Practitioners should modify the scope of their practice according to their level and progress. just as Xing (posture. quietude and concentration. thinking. external movements) follows Qi. Beginners generally find it difficult to remember the postures and key points. The key requirements for practice are relaxation. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . can the mind obtain full rest and be adjusted so that every organ system may be well promoted. During Wu Ji Zhuang. However.
1 Postures 王 西 安 Fig. 4. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation.” Hence.3. is an important basic skill in Chinese Martial Arts.5 138 .陈 氏 太 极 拳 推 手 技 法 4. 4. people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill. 4.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.3 hunyuan zhuang (circle pOsTure) Zhuang skill. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.4 Fig.
Execute the posture as if embracing a big tree. 陈 氏 太 极 拳 推 手 技 法 4. mid-level and low. Leave your eyes naturally open or close them. a little more than shoulder-width apart. Lower the elbows and shoulders slightly. focus your attention on the Dantian (Fig. The upper body should be kept upright. waist and back straight.4). Stand with your feet parallel. the neck. 4. waist and crotch. 王 西 安 139 .3. then lower the waist (Fig.5). focus on a static object at the same level as your eyes. Keep the head naturally erect. fingers pointing at their counterparts about 30 cm apart. 4.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. The palms face each other. then move them back to the middle. if closed. shift your weight to the right and lift the left foot and take half a step to the left. The old and weak may practice using a high body stance. Relax the shoulders. If your eyes are open. with practice duration increasing gradually from short to long. Keep the fingers evenly open and slightly bent as if half grasping a sphere.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. b) Posture 2 • • • Separate the hands when the left foot reaches ground. Bend the knees so that the body is squatting a little. Next.
Que Qiao. inhale slowly first. At the same time. In this case. and slight trembling may occur. past the Yu Zhen point. This relieves or may even stop the trembling for a period. 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. Wei Lü Guan. up the spine. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). For example. then a low stance. the thigh muscles and even the whole body may tremble rhythmically. Should this happen. The trembling may only be detected by touch or by close observation of the leg muscles. you should raise your stance slightly to rest. and guide the saliva down to the middle and lower Dantian. Inhale again as the body rises. swallowing your breath with saliva. although this may become more obvious with prolonged practicing at mid or low stances. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. Du Mai. through the Ren Mai. raise Qi from the heels up the legs. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. increasing to thirty or forty minutes at later stages. 王 西 安 140 . until it reaches the Baihui point. Practice duration can last just a few minutes in the initial stages. when doing Standing Zhuang at a high stance. b) Rising and Falling Method This method refers to the subtle rise and fall of the body during Standing Zhuang following the rhythm of the breath. becoming gradually longer. At this point. Beginners will find that the thighs may ache after two weeks of practice. then lower your body again. touch the palate with the tip of the tongue. graduating to midlevel.
It rises and falls like a boat in the ocean. Standing on the ground steadily like a mountain. breathing motions and digesting processes.3.3 Breathing Breathing is an important element of Zhuang skill. as it responds to the circulating blood. Practice this process repeatedly.As you exhale slowly. This is explained in the Song of Huanyuan Zhuang: The body ascends or descends corresponding with the breath. like a wild goose flies off and falls. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 . The body weight is always subtly moving in various directions. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. 4. but the apparent non-activity is misleading. the body quivers in a relaxed and peaceful state of mind. Zhuang skill is actually a practice using static strength and tension. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground.
8). the palms face inward and the eyes are slightly closed (see Fig. the body rises slightly with the inhalation. The distance between both arms starts short then grows longer. the middle fingers connect. extend your breath slowly through the practice process. the breath is usually short. 4.陈 氏 太 极 拳 推 手 技 法 4. At the same time. as are the requirements and key points for the body parts.4. 王 西 安 Fig. The only difference is that in this posture. 4. relax and open the internal organs.6 Fig. 4. In the initial stages of practice.7 142 . Gather the chest and abdomen.1 Postures a) Posture 1 • • • • Inhale and slowly separate both arms to each side.4 kai he zhuang (Opening and clOsing zhuang) The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang. The navel and Ming Men are in the same rhythm. 4.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Focusing on your intention (Yi). Roll the chest slightly inward. crouch down and lower the elbows. All internal organs are filled with strength. use your intention to guide the current outward. b) Posture 2 • • • • • • Exhale and gather the organs. 4. the navel and the Ming Men Mai swell out. using your intention (Yi).Note: when you inhale and open up. Acting slowly. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. Qi appears between finger tips of both hands like a magnetic force. lower the waist and gather the rib muscles. Do this practice slowly. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. At the same time. Drop the wrists and hold the palms facing inwards in a concave shape. Relax the body.8 143 .
For example.4. For example. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. . intention and Qi. it also helps increase internal strength and distributes Qi around the whole body. if you require the breath to be slow. This is called. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath. “the internal Qi moves inside”. For thought (or attention) to combine with intention.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. the ebb and flow of Qi and strength (or power) are in synch with each other. 4. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. as well as breath control. Qi and strength.2 The relationship between Thought. Qi here refers to the fresh air exchanged between the lungs and the outside. then your strength must be soft. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. gentle and even. Lastly. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. and also helps the practitioner build skills in relaxation and quietness. This practice also strengthens the practitioner’s ‘root’. In this way. one’s thoughts need to implement intention consistently. and when Qi rises – the body and internal organs gather slightly. as well as the internal Qi moving in the body with the guidance of your intention. when extending the hands.
you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. the chest. abdomen and back. With practice. this movement becomes a conditioned reflex and helps move muscles which are normally static. and are one of the main requirements in Zhuang skill. In particular. Its purpose is to stimulate the nerve system by muscle movement. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. Guided by intention. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 .The relaxing and gathering of the internal organs mentioned here refers to the activities of the internal organs and the muscles around the midriff area – under the ribs.
10). the right hand in front of the left. then shift your weight forward from the left foot to the right knee. 4. 4. When the weight shifts completely to the left leg. The length of inhalation should match the speed of the weight shift.9). When inhaling. a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot. This posture could also be called a sideways Bow Step (Fig. . Start the posture with your eyes closed. The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. make sure your eyes are drawn inward to looking internally. inhale and move your weight backward.陈 氏 太 极 拳 推 手 技 法 4.5 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. then open your eyes and look into the distance. Swallow the fresh air inhaled. Purify this saliva with your intention. Expand the crotch like a circle. Gather the Lao Gong points of both hands inward. At the same time. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. The fingers are poised as if grasping the air. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. Next. then breathe it out slowly as you move forward (Fig.
11). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. lower the waist. then push both hands forward slowly (Fig. close and fold your strength into your chest and waist. You need to have the feeling of closing before opening.Fig.10 Fig. 4. 4.9 b) Posture 2 • • As Qi is lowered into the Dantian. 4. As you exhale and shift your weight forward.11 147 . Repeat this process alternating the left and right sides. 4.
confident and diligent practice. then your progress will be poor. your practice hesitant and inconsistent. leading to progress and experience of the benefits. persistence may be engendered. You can persevere only if you firmly believe in the benefits of Zhuang skills. with confidence and determination. determination. practitioners are required to cultivate their Three Spirits when they begin practice. and persistence. With confidence comes determination. and great determination. Indeed. Through serious dedication. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results. So where does confidence come from? From practice. and hold firm to these attributes throughout path of practice and study.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. on the contrary. confidence is a critical prerequisite. Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. 王 西 安 148 . your belief is half-hearted. Confidence in Zhuang skills grows with practice as difficulties are overcome. Only after prolonged practice can confidence be nurtured. If. practioners will make the expected progress. In sum.
both palms facing forward. Peng force is maintained while the foundation of the body is reinforced as well. In this way. 王 西 安 149 .12).4.1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. extend both hands forward with the right hand before the left. Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill.6.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. As you step forward. 4. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). • At the same time. • The fingers of the both hands point to each other. 4. 陈 氏 太 极 拳 推 手 技 法 The difference of this posture from that of San Ti posture is: • Both hands extend outward with Peng energy to prepare for the opponent’s Lü gesture. inhaling all the while (Fig.
13 Fig.14 .12 王 西 安 150 Fig. 4.陈 氏 太 极 拳 推 手 技 法 Fig. 4. 4.
At the same time. relax the right crotch and shift your weight gradually to the right. turn the waist and twist the crotch. When the left hand executes Lü (roll back) to the middle of the body. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. the right hand in front of the left. 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. As this happens. you will lose your weight and axis).14). otherwize. step the right foot on the ground. lower the shoulders. As you shift your weight. When this happens. keeping the left hand inside and the right outside (Fig. relax both arms. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. Both hands make a half fist when reeling. you start to repeat the sequence. suffusing it with Qi before lowering it down to the middle and then lower Dantian. open both fists into palms facing inward. 4. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. drop the elbows.b) Posture 2 • • • • • • • Next. As the weight shifts.13). withdraw the right hand so it intersects the left. gather and close the whole body so it forms a posture prepared for opening activities. inhale and crouch the body slightly. Inhale and swallow saliva. 4. rotate the left hand in Shun reeling in front of the lowered abdomen. 王 西 安 151 .
After mastering the key principle of natural breath. the most essential principles to apply when practicing Zhuang skill is intentional natural breathing and intentional technical coordination. After practicing Zhuang skills for a period. and comes only after accumulated practice. When you practise Zhuang skills to a certain level. inhalation/exhalation being one breath. Dual practice with Yi (intention) and Qi connects the whole body. your breath should be natural and of the proper duration so that it enhances body combat and health. The normal breath frequency of adults is six to twenty times per minute. decreasing to seven or ten breaths per minute.6. It is incorrect to exhale with a long breath and inhale with a short breath (known as “too much Yin”) or vice-versa (“too much Yang”). the breath can become slower and longer. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. Therefore.陈 氏 太 极 拳 推 手 技 法 4. Inhalations and exhalations should be of proper length. Ren Mai starts 王 西 安 152 . This phenomena of “connected arteries. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. you will feel your key joints and your arteries and veins become unblocked and re-connected. This helps in the exchange of carbon dioxide and promotes metabolism in the body. This is a primary sign of beneficial Zhuang practice. then to five times per minute.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. you should focus on increasing the duration and depth of your breath. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. and even to one or two times per minute. Only by this can you avoid errors and side effects.
then rises through the backs of the legs before joining the routes of Xiao Zhou Tian. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. even and quiet. the body should be relaxed. except that the breathing in the former is longer.from the tip of the tongue. all channels extended and unfolded. then infusing Qi into the Dantian. In Da Zhou Tian. reaches the Bai Hui point through Wei Lü Guan. The whole process of moving Qi through Ren Mai and Du Mai. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. and Yi and Qi should move in the required routes. For both. The Qi of Da Zhou Tian originates from the Yong Quan point. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. more gentle. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. Du Mai starts at the perineum. reaches the perineum through the Dantian and then connects to Du Mai. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. deeper. the difference being that Da Zhou Tian extends Qi to the lower limbs. Jia Gu Guan. the five sense organs internally gathered. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . and Yu Zhen Guan.
15). bring in the arms and place both palms in front of the abdomen (Fig.15 Fig. At the same time. 4.陈 氏 太 极 拳 推 手 技 法 4.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. then bring in the right foot so that both feet are a shoulder-width apart. then infuse it into the lower Dantian.16 154 . Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang. 4. close your eyes and inhale. 王 西 安 Fig. Swallow Qi down with saliva and guide it down to the middle Dantian. 4. a) Posture 1 • • • Shift your weight gradually to the left leg.
4.17). palms facing in (Fig. 4. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. fingertips pointing obliquely down. swallow Qi and saliva and infuse them into the lower Dantian (Fig. Clench both hands into fists and lower them to ear level as the body lowers.17 Fig.16). Then using the little fingers to guide the energy. lift both arms upright. 4.18). finally placing them in front of the shoulders.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. separate the arms to the sides. 4. palms facing each other.18 155 . pointing the fingertips upward. 4. As the body lowers. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig.
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c) Posture 3
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Lower the body into a crouch and open the fists into palms. Move them slowly to the outside of the legs and push down slowly while exhaling. Stop pushing when exhalation is complete (Fig. 4.19). Inhale again and slowly raise the body, extending the arms to the sides and lift them upright again. Repeat this process six times. When you finish, detach the tip of the tongue from the palate, open your eyes slowly. Join the hands together and heat them up by rubbing. Then use your warm hands to rub your face, neck, chest and other parts of the body. This method of warming helps relax the acupoint channels, stretches the tendons and muscles, and promotes the generation of Qi (Fig. 4.20).
pRaCTiCes FoR The BuTToCks anD CRoTCh
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5.1 pracTice fOr The buTTOcks
The requirements for positioning the buttocks in Taijiquan practice are very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the end of spine) in an upright position when practicing, gathering and raising it naturally so that the buttocks do not protrude nor swing too much, otherwise the buttocks will be unable to rise and lower naturally. Taijiquan novices sometimes err on over-gathering or raising the buttocks, which can result in various negative effects. For example, if the buttocks are gathered too far forward, the posture will become unnaturally stiff and not follow the natural straight alignment of the body; in addition, this posture may also impede natural breathing as it blocks smooth circulation of Qi throughout the body and may even destabilize the firmness of the weight of the lower limbs. Gathering or raising buttocks in routine and Tuishou practice must be applied in accordance with each specific practice and not generalized. For example, while relaxing the the joints and muscles in the Lan Zha Yi posture (Lazily Tying One’s Coat), the buttocks should be raised slightly as the waist is lowered so that Qi can descend smoothly into the Dantian. If the buttocks are pushed too far forward, the lowering of the waist is impeded and consequently, Qi cannot cannot descend through the Dantian and separate into two streams to flow through the Yong Quan point through to the legs.
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5.1.2 Application to Sparring: Bei Kao
An example of applying this principle in Tuishou sparring is as follows: if the opponent executes Lü on you, you need to relax, lower your Qi and gather your buttocks before executing the Bei Kao move (Kao with the back). In this move, gathering the buttocks helps to concentrate power drawn from the heels and transported up the legs before it is unleashed at the target. In contrast, raising rather than gathering buttocks at this point will hinder full release of striking power and thwarts any attempt to transform the opponent’s energy. Bei Kao is an opening-closing move, consisting of lightening-quick power exertion and rebound, during which you need to guide Qi upward to explode energy. To do this, you need to roll the chest slightly inward and bend knees a little, then stamp on the ground to generate rebounding power and ascending Qi. The gathering of buttocks at this point is essential so that Qi can descend instantaneously after energy release. Protruding the buttocks will impede Qi flow downwards, resulting in Qi blockage at the chest which affects the stability of a practitioner’s stance and may even be harmful to health. These key points in the above example need to be practised and applied assiduously during routine and Tuishou practice.
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5.2 pracTices fOr The crOTch (dang)
Dang refers to the crotch area where the legs connect to the body. To open the Dang area, the thighs need to be stretched apart as much as possible so that the waist and crotch can rotate freely. Any obstruction of Dang movement will negatively affect routine and Tuishou practice. The opening-closing of Dang, that is, the transition between emptiness and solidity of the crotch area, has a direct impact on the flexibility of the practitioner’s body and his or her ability to change speed and weight. The shift between emptiness and solidity of the Dang area is used as a measure to monitor and adjust movement and speed of movement, and also serves as the key point to increase the power to be exploded. The firmness of Dang relates to their exertion of power and resistance. Mastery of Dang power and posture in routine and Tuishou practice helps increase flexibility, emptiness and stability of waist and legs, reinforces the foundation and enhances your practice. Adjustments to the waist and Dang are usually the first steps taken when you feel there is something not quite right with your movements routine or Tuishou practice. As Master Chen Xin said, “When you attain realization of Taiji, even a bird cannot fly out from under you during Taiji movement.” In other words, the openingclosing of Dang is key to increasing and exerting power. When Dang is closed, the whole body is directed toward closing (He); when Dang opens, the body opens. Hence, Dang is essential to Xu (gathering), He (closing), Yin (guiding), and Fang (releasing) in routine and Tuishou practice.
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The Anus In the same way that the positioning of Dang is very precise. the weight distribution is 3:7. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. the left knee and ankle vertically aligned to each other and the ground.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. the positioning of the anus also needs careful attention. Doing so over an extended period can have a positive effect in curing hemorrhoids. Jian Dang and Tang Dang. This realization caused the ancients to suggest that “the ground door should be always closed”. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. To help you master correct Dang postures in routine and Tuishou practice. womb and so on. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. For example. In Taiji practice. A brief introduction is provided below. and it became difficult for vena blood to flow to heart. The right leg should be relaxed with the right knee inclined slightly outward and the Dang gathered inward so that both form a strong pair. rectocele. 王 西 安 161 .2. are described below: 陈 氏 太 极 拳 推 手 技 法 5. In ancient times. womb prolapse and so on. Yuan Dang. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. Ding Dang. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. advocating contraction of the anus during physical exercise as a remedy. This requires the left leg to be solid with the lower leg standing upright. After humans evolved to the upright posture and started to walk. anus contraction should only be slight and done in a natural way. a short introduction of key Dang movements.
when the right leg moves to the side. 王 西 安 162 . Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. energy in the legs is strengthened and the body is well supported. the right knee should incline outward. “It is easy to teach but hard to change what is learnt. These traditional teaching methods should be changed as implied by the adage. In traditional teaching methods. 5. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. As for practitioners. the body crouches as the right knee moves outward. “closing in opening” and that “Dang should open in a full circle”. 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.2. Hence. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. innate talents. the root of Dang should be relaxed.” Indeed. at the end of the Dan Bian (Single Whip) posture. That is. which means there will not be opening-closing power if he or she crouches in the Horse Stance. For example.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing. Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. there are many opportunities and responsibilities. This should be corrected at the earliest stages of learning. This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. Some perform better than others due to learning abilities. If a practitioner is advised to relax. and at this moment Dang should open in a circle so that both legs can support all parts of the body.陈 氏 太 极 拳 推 手 技 法 In this way.
and quality and length of practice, rather than due to a teacher’s attention. Some practitioners are happy to help the teacher out and teach others, their intention being to allow the teacher more rest. Students are also happy to learn from co-practitioners as this may help to accelerate learning.
5.2.4 Jian Dang … Sharp Crotch
In Jian Dang position, the Dang area is shaped like an inverted “A”, the bottom tip of the Dang area is tight and not relaxed. In this case, Dang cannot be lowered during routine and Tuishou practice, and Yuan Dang cannot be formed at all. Moreover, the Bow Step is hampered, one’s gait becomes unsteady, and the upper body becomes heavy while the lower body is unrooted, swaying to the right or left, while the feet are also unsteady. This mistake may be tolerated by the old and weak if their aim is just to improve health, but cannot be ignored by younger practitioners who want to improve combat skills. Because with Jian Dang, some get easily unrooted, some find they can’t get clear distribution of weight, some find it so hard to shift the weight because they put exceeded weight onto one leg. If the habit of Jian Dang is allowed to form over a period of time, practitioners will become used to it and feel comfortable in this incorrect stance, which should be avoided. On the contrary, one must learn to identify and cultivate the twin qualities of emptiness-solidity in the legs through the practice of Taiji routines. Novices practicing Dang will inevitably develop aching feet. This is no cause for worry, as these are normal physical indications of body development and they will disappear when you reach a certain level. For example, after a bout of Tuishou sparring, novice practitioners may feel a little ache in the arms and legs, and indeed, the whole body may ache after a little rest. This is because you are not used to the intense exercise and some capillary blood vessels may have been strained. This ache will lessen gradually after extended practise, as the body becomes stronger, blood circulation improves and lung capacity is increased. At this stage, any additional
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muscle ache resulting from further increase in practice will ease off more quickly. Hence, do not be deterred by any aches and apply Yuan Dang when practicing Taiji and Tuishou, so that Jian Dang may be prevented from developing. Without patience, Taiji skills cannot be improved.
5.2.5 Tang Dang
Tang Dang happens when the legs are spread too far apart, out of proportion to the weight distribution required on the legs and the lowered Dang. As a result, the movements of the legs are hampered as they are not able to move forward and back or turn to the sides with natural ease. This situation is also called Ta Dang, meaning collapsing Dang. The Taijiquan routine is a whole body practice, suitable for people of all ages, body constitutions and those engaged in mental and physical work. Typically, practice methods for Taijiquan routines start from large circle movements to smaller ones, then from smaller circles to no-circle movements. However, the opposite is true for Dang practice, which starts with smaller scale movements, growing to larger-scaled practice. This requires Dang to be positioned a little higher in the beginning before becoming lower and wider gradually. As with Ding Dang and Jian Dang, be careful not to form the habit of committing to Tuishou movements that bring a lot of pressure to the knee joints, as Tang Dang not only increases pressure, but may also cause harm. This results in chronically tight muscles which will eventually cause bad blood circulation in the legs. The Tang Dang posture has particular impact on the stimulation of the on the nerves in the knee joint, so hindering the supply and renewal of blood in the leg muscles. Prolonged Tang Dang positioning will result in aching knee joints and a very heavy feeling in the legs. In some large-scale movements, Tang Dang
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may actually be intentionally applied, such as in the Seven Cun Kao movement, that is Kao applied in the Xie Xing or oblique walk where the distance between the ground and shoulder is seven cun (about 23 cm). Yet even in this movement, heavy pressure on the legs last only an instant and the legs can recover quickly, so Tang Dang poses no real issues. However, large-scale movements cannot be applied to the whole practice; hence Tang Dang is considered harmful to health and body combat if applied for extended periods in routine and Tuishou practice. Generally speaking, Dang practice should begin modestly with a slight lowering of the body, gradually growing to bigger movements. Most importantly, it should match the physical conditions of the practitioner and the requirements of body combat so that the practitioner does not incur any injury.
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Chen sTyle Taiji Tuishou CaTegoRies
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In this chapter. we will describe how to apply these eight Tuishou techniques in sparring practice. practitioners may master its secrets and principles with serious study. Tuishou is commonly divided into eight categories. since both the attacking and defensive movements are interrelated and cannot be separated. if you advance using Ying Men Kao (Kao diagonally to the front). Indeed. the attack-defense stances change dynamically. you can defend using An (pressing).陈 氏 太 极 拳 推 手 技 法 6. For example. 王 西 安 168 . with attackers changing to defensive roles in an instant and back again without warning. While the combinations of Tuishou moves are infinite. your opponent may respond defensively with Xiong Kao (Kao by chest).1 Overview Within the Chen style Taiji routine. then strike back with Jian Kao. if the opponent attacks using Jian Kao (Kao with shoulder). For example.
Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. Shun Bu Tuishou (Tuishou with movable footwork.6. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. which is regarded as the highest level of Tuishou. i. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. normally a forward step then a backward step) 6. Da Lü (larger scale movements) 7. while Tuishou) 8.e. and any movements can be exerted by intention. He Bu Tuishou with static footwork.1. silk reeling in the shape of a flower) 2.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Luan Cai Hua (Picking Flower. Dan Wan Hua (Coiling Flower with Single Hand. where the the practitioners are no longer oblidged to the sequences or fixed routines. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 . Jin San Tui San (both parities advance and then retreat for 3 steps.
Si Zheng Shou (Peng. or Kao hand techniques. Shuang Tuishou (Tuishou with double hands) 3. novices should start by learning one set at a time. An) is usually applied. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. as follows: 1. these consist of the Cai. Duli Bu (standing on a single foot) 8. Si Yu Shou hand techniques are always used. Dian Bu (stepping on toe-tips) . i. Bie.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. Huo Bu (moving footwork) 3. Bing Bu (step touch. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4.1. including: 1. Cha Bu (inserting steps) 6. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. There are many categories of footwork techniques.陈 氏 太 极 拳 推 手 技 法 6. and not be limited to one or the other. However. During sparring. Ji. feet placed together ) 7. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. Qie Zhang (palm chop) In static footwork. Zou. Xuan Wan (rotating wrists) 4. Dan Tuishou (Tuishou with single hand) 2.e. Lü. Ding Bu (static footwork) 2.
1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout.1). The elbow must be dropped. In this posture.2). Shuan (bind). When cutting downward. The roots of the fingers are relaxed.2 TuishOu handwOrk Techniques 6.1 Fig.2.2 171 . In single practice. 6. you need to place the body in a crouching position.2. roll the chest slightly inward and lower the waist and shoulders.6. with the forearm bent toward the upper arm at an angle of 450. 6. palm facing in. one arm is extended horizontally sideways. when both players retreat after being mutually warded off. Da (meet) and Sao (sweep) movements. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. 6. it is also applied to Gun (roll). 6. 6. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the four fingers extended and joined together to form a slightly concave palm (Fig.2 Cutting with Palm This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. with the wrist lowered and fingers relaxed.
The palm posture during this direction change is called Xie Tuo Zhang. one player may guide the other to reel first in the Shun direction. then reverse to the Ni direction when the hands arrive at his or her body. when hands are rotating horizontally in a circle. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). 王 西 安 Fig. During sparring. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as the palm rotates upward. if the opponent executes Lü on you. 6. In this instance.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.4). the power lies in the root of the palm. the hand is stretched upward to the sides (Fig. As you rotate the hand downward or outward. 6. 6.2.4 Xie Tuo Zhan In this technique.陈 氏 太 极 拳 推 手 技 法 6. 6. For example.3). The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. the little finger is used to guide energy and draw inward toward the thumb.3 Fig. 6. where the raised hand lies above the middle of the upper arm. Xie Tuo Zhang is also applied in the process of Big Lü.4 172 .2.
separate them and switch to Cha Zhang. as the hands insert downward. and gradually press your hands toward the opponent.6. then lower your shoulders and drop the elbows. see above). see above). insert your hand downward and rotate it in the Shun direction. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork. 6. This technique is called Diagonally Upward Cha.5 Cha Zhang … Slanting Palm In this technique.5 173 .2. for example: • When you rotate both hands in vertical circles. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). the hand is inserted upward or vertically/diagonally downward. • In Luan Cai Hua (palms reel in non-predictable angles.5). fingers slightly parted (Fig. Cha Zhang is widely used in Tuishou. 6.
6.陈 氏 太 极 拳 推 手 技 法 6. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation.6). you can rotate your arm with the middle finger. and the little finger bending inward.2. 6. the ring finger. This way. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. Fig.6 王 西 安 174 . This type of hand is always used in Qin Na (arresting) and Tuishou with single hand in a horizontal circle. and your partner exerts An to your hand. while the thumb and the index finger form a “ 八” shape. When you guide your partner via Shun reeling to the front of your chest.
3 TuishOu fOOTwOrk Techniques 6. the Yong Quan point should be empty while the Dang is open with the intention to close. following the principle of ‘straightening in bending’. In this posture.7). 6. 6. following the principle of ‘closing in opening’.6. This knee is turned slightly outward to provide a frame for all parts of the body. One knee is bent so that the body is in a half crouch.3. 陈 氏 太 极 拳 推 手 技 法 Fig. the sole fully touching the ground. the knee positioned approximately above the tip of the foot (Fig.7 王 西 安 175 . the thigh nearly parallel to the ground. The other leg bends with the intention to straighten. The toe tips point slightly inward.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. toe tips bent slightly inward.
for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles). 6. toes grasping the ground.3 Qian Dian Bu … Forward Tipping Step In this step. • This step is always used in Shun step. 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.陈 氏 太 极 拳 推 手 技 法 6.8). body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. 王 西 安 176 .3.8 6.2 Hou Zuo Bu … Back Seat Step In this posture.3. It is applied widely in Tuishou. 6.9). the heel touches the ground with the toes pointing up at about 450 (Fig. big Lü and Luan Cai Hua. When the weight is completely transferred. straighten the front leg so that the back leg becomes the Bow leg. knee bent slightly over the toe tips. if the opponent presses on any part of your body with his or her hands or arms. 6. Position both feet fully on the ground. 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. Fig.
9 6.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü.10). followed by the sole then heel (Fig. and Luan Cai Hua For example. if an opponent applies Lü on you.10 177 . 6. 6. move your weight back and withdraw the front leg backward by stepping the toe tip back first. 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3.Fig.
Big Lü and Luan Cai Hua. When the opponent applies Big Lü on you.11). 6. 12). which now lies close to the ground. c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. 6. This posture is applied to Shun step.e. 王 西 安 178 Fig. quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg.陈 氏 太 极 拳 推 手 技 法 Fig. 6. For example. Hence the name ‘Falling Step’. Lü applied through large-scale movements) (Fig. 6. and is widely used in forward or backward movements (Fig.12 . in the ‘Dragon sweeps ground’ form.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i.
For example.1 Shun Chan … Conforming reeling In Taijiquan. with the other fingers slightly turned outward. This move is called Shun Ji Shun Fa (i. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. The principle of Shun Chan is that with the elbows guiding the hands. exerting Ji and Na in confronting reelings). you draw the opponent inward into your territory. when the opponent executes Lü on you. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. 6. the term ‘reeling’ means to spiral energy. power rises from the heels up the legs. while simultaneously executing Kao on the opponent. you can use Shun Chan to gather energy and edge into the opponent’s territory. where it returns to its original position of circulation. spirals around the waist and shoulders. Shun Chan means to spiral energy from the outside to the inside. In addition.4 hand Techniques in TuishOu reeling 6.4. in Bei Zhe Kao (Lean with back).6. with the little finger guiding energy as it points to the thumb when it is drawn inward.e. enters the bone marrow through gaps in the scapula and travels down the arms. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers.13 179 . In Silk Reeling technique. the shoulders guiding the elbows and the waist guiding the shoulders.
Ni Chan is used to open outward. shoulders and elbows. 王 西 安 Fig. extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent. the thumb gathers inward and guides the little finger.4. by using the waist to urge the shoulder. 6. Here.14 Fig. In horizontal circle rotations with single hand. 6. 6. 6.15 180 .2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’.14). In Ni Chan.4. the shoulders to urge on the elbows and the elbows guiding the hands.陈 氏 太 极 拳 推 手 技 法 6. Zuo Wan (descending wrist) technique is adopted (Fig. concentrate you energy in the wrist.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.15). Note: to apply this technique precisely. roll your chest slightly inward and lower your waist. while the other fingers turn out slightly (Fig. 6.
ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). your right hand rotates at 90o towards the right side of body in Ni reeling. 6. by holding on to the opponent by the hand. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. in case of single hand rotation in the horizontal circle. At this point.4. • For example.16). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.16 181 .6. while trying to ‘listen’. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). Cai. and adhere to him or her. Ji. the Shun hand changes to Diao Shou (Hooked Hand). to provide a closing and opposing force with the three fingers (Fig. Lie. Kao). then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. Diao Wan is also widely applied in response to a Lü attack. Zhou. 6. which is formed by pointing the little. Lü. The wrist is drawn inward to form a Diao Wan (Hooked Wrist).
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
3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly. Step the right foot forward.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape.e. precise and full of intention of listening. 王 西 安 187 .2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. 7. stepping without thought) (Fig. palms lightly touching the sides of the legs. heel first with toes pointed up. As your weight shifts. in preparation for the right leg step forward lightly. Maintain the vertical axis. 7. 7.1).2. straightening the neck and lifting the top of the head.2.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7. Your step should be light. then slowly roll down the rest of the foot to the ground. so as to avoid empty stepping (i. Relax the arms and hang them at the sides. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig.2). bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. the left toes grasping the ground. relax the crotch and lift the right knee. Shift your weight slowly to the left leg. 7. 陈 氏 太 极 拳 推 手 技 法 7. eyes looking forward (Fig. Continue relaxing the crotch.3).7. empty the Yong Quan point.2.
7. . 7. the left elbow and the right hand should move coherently in collaboration with each other. 7. right elbow and wrist.2.2 Fig. 7. relax the left arm so that the left hand hangs down. Complete the movement by raising the right fingers to form the Li (erect) palm.陈 氏 太 极 拳 推 手 技 法 Fig.4). 王 西 安 188 Note: in later movements. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. As the weight shifts.3 7. While the right arm moves. thumb behind the fingers (Fig.1 Fig.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step.
7.5 7. 7. 7. 王 西 安 189 . relax the left side of the crotch and shift your weight slowly to the left so that the inner side of the right foot touches the ground. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.Fig.4 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).
7.6 Fig.7).7 7. 7. 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. When the right arm moves downward. 7. Step the right foot either flatly on the ground or with toe tips pointing up.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. The right forearm now moves transversely in front of the abdomen. At this point. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps.6). 7.2. . the elbow in a slightly warding off (Peng) position in coordination with the little finger.陈 氏 太 极 拳 推 手 技 法 Fig. the weight shifts completely to the left. The other fingers reel outwards in coordination with the elbow (Fig.
continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape. While the right arm reels. draw the chest slightly inward and relax the right side of the crotch. Shun. power is most concentrated and exerted on the external side of the thumb and index finger. At this point. 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. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. As the arm changes to Ni reeling.9). three Shun reelings and two Ni reelings.7 Part 7 • • • • Using the little finger to guide the energy. Rotate the waist to the right. followed by the hand. extend the right hand slightly forward. that is. until it reaches the front of the right ribs.2. Shun. 7. 7. pointing the right knee slightly outward and moving it in a helix. 7. shift your weight to the right. The 3600 rotation of the arm follows this sequence of changes: Shun. Return the bent arm and the bow leg to their original positions (Fig. 王 西 安 191 . changing into Ni reeling. bend the knees slightly to place the body in a squatting position.2. 7.8). Ni. a 900 arc to the right side of body. Then place the palm downward (Fig.7.2. Ni.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. using it as a pivot to rotate the right shoulder rightward.9 Part 9 • • Now using Ni reeling.
Shun. the reeling sequence being Ni. the lower body follows. Relax the waist and shoulders. the upper body guides the lower body’s movement. The middle body moves in coordination with the upper and lower bodies.9 • The left arm rotates from the left. when one body part moves then all other body part follow.8 Fig. Shun. Practice until you reach a level where when one body part keeps still then all other body parts keep still. rotate the wrist. three Ni reelings and two Shun reelings. 7. Ni. all parts moving together collectively. and ensure your body weight moves back and forth in synch with the body movements. Notes In these horizontal-circle rotations. that is. 王 西 安 192 . that is. Practice alternating rotations with both arms so that there is a feeling of balance. the arms rotate with the waist and the axis while the hand guides the energy. The movement of every part of the body should be continuous and synchronised – when the upper body moves. practice on the left by switching to the left leg and the left hand. Ni.陈 氏 太 极 拳 推 手 技 法 Fig. 7. When you feel tired practicing on the right.
Next.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. 7. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. Extend the right arm forward (either below or above the head) with the arm bending inward about 45o and with the left hand akimbo. The whole movement is mainly guided by the rotating waist and relaxed shoulders. lower your Qi. then switching to 90o Shun reeling. heel first with the right foot. Finally. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. Focus the eyes on the right palm (Fig.11).10). switch to Ni reeling. 7. with the rest of the foot gradually fully touching the ground. drawing an arc of about 90o to the left. palm slanting upward with intention to gently guide and draw in.12).7. with eyes looking forward (Fig. drawing an arc of about 180o which goes downward and then up to the right. The range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. It only requires vertial hand revolution and very small shifts in weight. • • • • • Keep your body weight on the left leg and step forward. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. 7. Next. relax the left side of the crotch. Bend the left leg so that you squat slightly. then turn the body to the left and raise the right hand in Shun reeling.
7. 7. Vertical arm rotation is guided by spiraling movements of the waist and back. Practice rotating both arms in turn. Finally. 王 西 安 194 .11 Fig. Notes The single-hand vertical circle is not completely vertical but slightly slanted at an angle to allow you to guide and draw the opponent in. 7.10 Fig. then reel in Shun. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling.12 • • When rotating in the opposite direction. reel in Ni to the right at 90o.陈 氏 太 极 拳 推 手 技 法 Fig. then draw a 180o arc to the left side of the body with palm facing left and finger tips slanted upward.
Also.15 195 . shift your the weight gradually forward. 7.13 Fig. otherwise the shape of the posture will be lost (Fig. Shift your weight gradually to the left leg. Raise the forearms 90o upward.15). the palms should move forward at an inclined angle (see picture).16). toes relaxed and pointing downward (Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the forward shift of the body should stop once the palms reach their natural end position. then raise the right foot. palms facing to each other. 7. This body posture is now one of holding and collecting.7.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. 7. Note: when applying Tui Palm. 7. 7. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. pushing both palms forward (Tui Palm) at the same time. Relax the left crotch and while focussing on the right crotch. 7. eyes facing the front (Fig.13). in preparation for action (Fig. Bend the left knee to put the body in a crouching stance.14 Fig.14). 7.
7. then lowering to the front of the abdomen. 7.15) by drawing a circle by the sides of the body. this time relaxing the right crotch and focussing on the left crotch. Repeat the Tui Palm movement again. 王 西 安 196 . 7.16 Fig. 7. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. shift your weight backward and separate both hands to the sides of the body. imagining the hands seizing the opponent’s wrists by Diao (Fig.17 • • • Next.17). palms vertical. then pushing both hands forward. Practice this cycle.陈 氏 太 极 拳 推 手 技 法 Fig.
eyes facing the front. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua.14). in preparation for action (Fig. stated as follows: Stand at attention with the body upright and relaxed. drop the elbows and sink the Qi downward. toes relaxed and pointing downward (see Fig.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.7.19). Grasp the ground lightly with the toes and face the eyes forward (Fig. Shift your weight gradually to the left leg.18 Fig. then raise the right foot. Raise the forearms 90o upward. 7. Bend the left knee to put the body in a crouching stance. 7. lower the waist and shoulders. 7. palms facing to each other.19 197 . While raising the hands.18). 7. draw the chest inward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. This body posture is now one of holding and collecting. 7.
with the intention of supporting something upward. Extend both hands forward in an ‘offering’ stance.20). palms facing forward.21 • • • • 王 西 安 198 • Next. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. . Next. push the crossed palms over the head in Ni reeling.20 Fig. cross both hands slowly in Shun reeling. Then. As both hands separate upwards.21). step the left foot on the ground and shift your weight forward (Fig. continue to draw your chest inward. after another small Ni reeling upward. At the same time.陈 氏 太 极 拳 推 手 技 法 Fig. stopping at shoulder level (Fig. the palms descend to the sides. 7. 7. 7. During this process. 7. finish the weight shift to your right leg. both palms facing inward. extending the hands forward so that the left hand crosses over the inner side of the right wrist.
palms facing each other. that is. strike out in succession to the sides so that the arms become a pulled bow. only that palms in the latter move horizontally. upper arm. so as to start a new cycle.Note: as both hands separate outward. palms cross together. Both hands then draw a downward arc to fall to each side of the abdomen. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. Closing form: palms continue to Shun reel. With body gathering. the chest. You will feel the power after long practice. then hands. • • Now the left hand reels in Ni while the right hand reels in Shun. shoulders. forearm. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . while weight totally switches to the left. finger-tips pointing down.
• Stand at attention.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. • Shift your weight to the left leg and lift the right foot to step forward. and An. Lü. The key points are the same as those of solo Tuishou.23 200 . Coordinate the movements of your hands. Note that one should practice with intention rather than by force. eyes. 王 西 安 Fig. Extend the left hand transversely and place it on the middle of the right upper arm. palm facing forward. body and steps. act as if sparring with a partner. 7. 7. with the foot gradually stepping fully on the ground. thumb pointing down and the little finger pointing upward.陈 氏 太 极 拳 推 手 技 法 7. • As the weight shifts.22 Fig. then bend it inward 45o. heel first. palm facing in. extend the right hand diagonally forward to the right. Ji. Open every body part to make your rotations natural and flexible. When practicing.
As the left hand rises. Meanwhile. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. raise both hands in Ni reeling.• • • • • The left arm intends to Peng outward.25 201 . Move the right hand in Shun reeling. 7. as the left hand moves inward in Ni reelings. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. lower the right shoulder and drop the right elbow. 7. During this process. Relax the right crotch and turn the body to the right. focus your intention on meeting and holding the opponent’s hand. relax the left crotch.23). Next. and so continue to Peng upward before executing Lü.24). the arm opens like a circle. the left hand ahead of the right. visualize placing the outer edge of the right hand on the outside of the opponent’s elbow joint Then execute Lü with both hands slowly to the left side of the body until the right hand reaches the front of the right breast. 7. At the same time. the wrist bent slightly inward and palm facing inward. and the eyes look forward to the right (Fig.22). shift your weight left and focus your eyes on the front of the right hand (Fig. Shift your weight to the left slightly then to right. 7.24 Fig.
You will also need to use your left shoulder to push and use the right hand to help press forward. The edges of the hands become power-exerting points. shift your weight forward to the right leg. If the left leg is in the front. an instant. Note: In this movement. visualize your left hand pressing down on the hand of the opponent.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. pushing it outward. This is the same as the starting posture of Da Shou posture. Peng and An are transitional actions executed in 王 西 安 202 . The right hand reels in Ni direction also with the intention to push outward (Fig. Execute An forward with both hands the palms facing each other about 33 cm apart. Repeat the process.25).22). 7. the right hand executes Peng. 7. alternating left and right sides. As this happens. At this point. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. eyes looking forward. and the left hand helps the right to execute Lü.
where the pushing power is exerted. In practice. outward. Keep the eyes looking to the front right (Fig. Lower the waist. raise both hands to attack by pushing them to the front right of the body. 7. Face the outer hand edges.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. Hand movements consist of four Zheng hands: Peng. Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • • • • Step forward with the right foot then shift your weight forward. As the weight moves forward. Step the left foot on the ground with the inner side of the foot touching the ground. Ji and An.26 Fig. 7.27 203 . draw the chest inward.7. moving backward uses Peng and Lü hand movements.26). sink the shoulder downward and drop the elbows. 7. moving forward is combined with Ji and An hand movements. These actions drive two the hands forward.
Push the shoulder forward. thumb pointing down and palm facing down. 7. and in preparation for moving. Eyes look to the front right (Fig. turning the right elbow out and upward. move the left hand downward then draw a forward arc to form a Lü posture with the right hand.28). shift your weight to the left and lift the right foot. Bend the left leg to squat further and extend the right foot forward. rotate the right hand slightly downward in Ni reeling. The body moves forward following the shift in weight. 7. As this happens. 7. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body.陈 氏 太 极 拳 推 手 技 法 Fig.29 • • • • • 王 西 安 204 • • • After the pushing attack. withdraw the left hand gradually and place it on the middle of the right upper arm. At the same time. with the intention to close before opening.29). Raise the right hand in Shun reeling. Relax the left crotch after pushing and shift the weight to the left. followed by the arm and the hand (Fig. Note that Qi should not be allowed to float upward. At the same time. As the arm moves. 7. toes pointing down (Fig.27). . 7.28 Fig. tiptoe first.
Visualize sending the opponent’s right hand out to the left side of your body. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . As the weight shifts. Then the right hand switches to Lü. 7.which takes place in an instant. then shift your weight to the right. then in Shun direction downward to the left. the upper and lower body form a balanced block of strength with the waist as the boundary. Both hands are about 33 cm apart (Fig. 7. Reel the left hand first in Ni direction.31).30). Next. raise the left hand in a spiral to form a Lü movement with the right hand.31 • • • • • • Relax the left crotch and shift your weight to the left. Next. Eyes look to the front left (Fig.32). While the right hand switches to Lü. 7. Eyes look to the front left (Fig. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. Eyes look to the left (Fig. The front push of the right hand provides an instant defense. gradually squat the body. 7. 7.30 Fig. then draw a circle downward. Raise the right foot and take a step backwards to the right.33). thumb pointing down and palm facing forward. The outer edges of the hands are power-exerting points. 7. raise the right hand quickly to push forward together with the left hand toward the left side of the body.Fig.
34). As the weight shifts. Raise the body gradually and slowly shift your weight to the left leg.34 Fig. At the same time. extend the right hand to the right front of the body following the right foot. 7. the right arm then bends to 450 inward. until the left hand reaches the middle line of the body.陈 氏 太 极 拳 推 手 技 法 Fig. take a step forward with the right foot.32 Fig.35 206 . 7. 7.33 • • • Both hands execute Lü from left to right following the body. 7. 7. Eyes look to the front left (Fig. 王 西 安 Fig.
7.39 207 . 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.38 Fig. Eyes look to the front right (Fig.37 • • Simultaneously. Then shift your weight slightly rightward. Note that the waist power descends to the left first then the right.Fig.36). Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy.35). 7. place the left hand on the right upper arm. 7. thumb pointing down.36 Fig. Eyes look to the front right (Fig. 7. 7.
raise the right hand quickly and exert An forward with power.37). 7. As soon as both arms finish pressing forward. then move it out to the right. execute Lü downward with the left hand. Relax the right crotch and shift your weight to the right. then execute Lü movement with both hands to the left side of the body until the right hand moves in front of the right breast. 7. visualizing that you are pushing the opponent’s hand outward to the right. Eyes look to the right (Fig.38). Next. 王 西 安 208 . Start a new cycle (Fig.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left.39). move the right hand in front of the left hand quickly. 7. Eyes look to the front right (Fig. At the same time.
The other picture demonstrates the big Frontward Bow Step. and Kao. we will only refer to two main Da Lü postures as shown in the pictures which follow. a major weakness with which you cannot even hope to attack the opponent. Kao with large-scaled body movements. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. Bie Zou. 7. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.7. beginners should first practise the routines.40 Fig. Lü Ji and An. whereby Player B executes Lü on Player A. Zhou. The other movements are the same as the movements in Shun Step (forward or backward step). Lü. and Kao. the whole body will become stiff when you try to squat down in the big body movements. The circulating of steps in Da Lü when practicing Peng. Furthermore. In this chapter. It uses the combat techniques of the four hand techniques in corner directions – Cai.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng. One is Da Pu Bu. If not. It is not easy to practice Cai. Bie. the only difference being that the extent of the steps in Da Lü is bigger. Zou. literally meaning “big falling step”. then the fives methods of solo Tuishou practice. Ji and An is the same to those in Shun Step (forward or backwards Step).41 209 . Lie. As such.
See how to execute Dian step in Figure 7. and also uses the Si Zheng Shou. You need to rotate neatly when executing a step forward as the partner changes his or her direction. and An. This way you will not lose energy unnecessarily nor become stiff. 王 西 安 Fig. 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.42 210 . Luan Cai Hua is also built on the foundation of Peng. It’s features include free movement with no fixed direction. precise rotation. and flexible. In the Luan Cai Hua Tuishou practice.42. The body movement and gait should be neat and swift.陈 氏 太 极 拳 推 手 技 法 7.9 sOlO luan cai hua TuishOu The gait in Luan Cai Hu is called San Bu (scattered steps) or Hua Jiao Bu (steps in flower tracks). you should pay attention to the following points. 7. Ji. Lü.
and entice the partner to advance and show his or her weak points. If you are able to put the partner in a passive position you can fullfil your intention without being noticed. getting close to their upper body while causing them to raise their lower body or slant it. An). heavy but not stiff. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 . you feel the partner’s energy as you rotate. Your movements should be quick but not chaotic. the only difference being in the stances of the body.In this technique. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. It is not easy to apply Die Fa. looking for the attacking opportunity. When you apply Luan Cai Hua in Tuishou sparring. light but not empty and floating. Ji. Do not just practice at fast speeds or you will lose your energy or get stiff. Lü. When circulating the four Zheng hand techniques (Peng. You should practice listening repeatedly. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. the steps are small but the speed is fast. and thus impede any progress in Tuishou.
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 .
1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. like a flowing river: smooth. Lian (connecting) and finally Sui (following). similarly. 王 西 安 214 . Lastly. lowering to mid-height then low stance. pair practice becomes beautiful to watch. flexible and rapid. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. If both partners have Taiji proficiency. whereby your actions should be precise. agile. gathering speed in the later stages. In addition. Pair Tuishou embodies the essence of Taiji Tuishou. pair practice should start slowly. the practice stance should start high. An introduction to Tuishou pair practices has been provided in the following pages. so you must strive to concentrate. moving as the partner moves. Faster progress may be made if your partner is proficient in Taiji. movements in pair practice should start simply before gaining in complexity. try to choose a partner of similar level for pair practice. Pair practice Tuishou improves combat skills. Nian (sticking). development should follow the stages of San Shou to Zhan (coherence). I hope that the reader will use this to practice diligently and master the key points.陈 氏 太 极 拳 推 手 技 法 8. flexible and without weaknesses. If possible. Like solo practice. then pair Tuishou may be described as “acting as if there is no partner although you have one”.
陈 氏 太 极 拳 推 手 技 法 Fig. arms hanging relaxed by the sides. 8. Their bodies are upright. an arms length from each other so that their fists touch when arms are outstretched.1 Both players take a step forward with their right feet. 王 西 安 215 .8. 8. The distance between both right feet should be about 10 cm. Player B refers to the female practitioner dressed in red.1 Posture 1 Both players stand at attention facing each other.2. These may be shortened to ‘A’ and ‘B’. gradually forming a front Bow Step.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue. toes pointing slightly outward to form a 八 shape.
Both players watch their hands throughout this step. Fig. The back of the palms touch each other. 8. As both players draw this arc. with the middle fingers at nose level. B’s weight continues to move forward to form a single-hand An (pushing) power.2 Posture 3 王 西 安 216 Player A guides Player B to draw a 90o arc from the waist midline toward his left. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. eyes focussed on the right hands. . and his body crouches slightly to form a closing power. A’s weight shifts backward.2 8. corresponding with the rotation of the waist. both players raise their right palm and extend it forward. Alternatively.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. The right hand extends forward with the left hand akimbo. the left hand can also be placed naturally along side the body.2. using the middle line of the nose as the boundary.
Fig.3 8. Repeat this cycle. 8. then Ni reels 90o to the front of Player B’s abdomen. B shifts her weight gradually backward while her hand draws an arc following Player A.4 217 .2. 8. then she guides A’s hand to the front of his abdomen.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. At the same time.
2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand). 8. the only difference being that here the Da Shou (meet partner with hand) position is higher.5 8.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation.3.3. Fig. both hands perpendicular to each other and eyes looking forward. Player A guides Player B to move first in Shun reeling. Both players then rise. then then draws a 90o arc to the left.3 single-hand verTical circle wan hua in pair pracTice 8. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. .陈 氏 太 极 拳 推 手 技 法 8.
8. For example.6 8.7 219 .3 Posture 3 Player A relaxes his right crotch and turns his body to the right. with eyes looking at the same direction. 8. when A draws an arc to the right side. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. guiding Player B to Ni reel 900 to his right side.Fig.3. 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). During the above process. B always adheres to A. Partner B relaxes the left crotch.
they lower their waists. toes turned up (optional). Now both players wait in a defensive mode. draw their chests inward and gather their ribs. While waiting. placing them outside A’s hands. Both right feet start to uncurl to the ground. ready to move and attack if hands touch. 8. with aim to form a front Bow Step. 王 西 安 Fig.8 220 .4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. Both players step forward simultaneously with their right foot.陈 氏 太 极 拳 推 手 技 法 8. lower the shoulders and drop the elbows. having first shifted their weight onto the left leg.1 Posture 1 Both players stand at attention facing each other. Then Player B extends her hands forward. heel first.4. eyes looking forward. Player A raises two hands in front of his chest.
8. 8. 陈 氏 太 极 拳 推 手 技 法 Fig. As Player A pushes his hands forward. In other words.4. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance. He stops pushing when his hands are 20 cm away from Player B’s chest. Here.9 王 西 安 221 . 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. A’s weight shift to the right foot has been fully completed. her hands reel in Shun. B’s little fingers “stick” to A throughout the process. As B’s weight moves backward.
4. using the outer edges of his palms.陈 氏 太 极 拳 推 手 技 法 8. B moves her weight forward to form a Bow Step.10 8.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction. She relaxes her chest as her hands separate. While Player A separates. He shifts his weight backward.4. 8. then separates Player B’s hands to the sides of her body at shoulderlevel. Fig. B senses the speed of A’s pushing and separating power as her hands are tightly guided by his hands and separated by them to the sides.4 Posture 4 Player A switches to Shun reeling and draws an arc inward. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs. While A draws arcs. Then both players return to the original position. 王 西 安 222 .
11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 . 8.Fig.
A’s weight is all at the right foot. the weight for both parties starts to shift to the right. with the inner sides of both feet facing each other and 10 cm apart.1 Posture 1 Player A and B stand facing each other. Now. 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.陈 氏 太 极 拳 推 手 技 法 8. all eyes look forward.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. B has been shifting her weight to the left. Fig. and separate hands to the sides of the body at shoulder level. The positions of all hands are higher than the eyes. The two parties’ eyes always follow their movements.12 王 西 安 224 8.5. draw a vertical circle outward.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward.5. 8. then step their right feet forward simultaneously. . guiding Partner B to raise her hands. Now.
Fig.5.13 8. Player A draws outwards while Partner B draws inwards. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. she shifts her weight forward to form a front Bow Step. and draw arcs to the lower abdomen. 8. 8. his little fingers slightly catching Player B’s wrists.3 Posture 3 Player A switches to Shun reeling. Both players’ eyes face forward. while he shifts his weight backward. While Player B rotates her arms downward following Player A.14 225 .
whether Player A separates B or vice versa.陈 氏 太 极 拳 推 手 技 法 8. and continues to move her weight forward. his hands crossing before the chest with both palms facing in. 王 西 安 226 .4 Posture 4 Player A continues Shun reeling. Both players can practice this in turn. the body squats to prepare for openning. Both players face forward. Then Player A returns to the original position by Ni reeling and separating his arms outward. Repeat this cycle. Player B follows Player A closely and feels his change. Note: The steps are the same.5.
15 王 西 安 227 . Both players then shift a little more weight to the right. Now. backs of the hands touching.6. the weight for both parties are both in the left. eyes looking forward.1 Posture 1 The gait of He Bu Tuishou is the same to that of the Vertical Coiling Flower with Double Hands. yet start to shift to the right.8. then step their right feet forward simultaneously. 8.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8. Player A and B stand facing each other. 陈 氏 太 极 拳 推 手 技 法 Fig. with the inner sides of both feet facing each other and 10 cm apart. and then extend their right hands forward so they cross each other.
he places his right hand on the middle of B’s left upper arm. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture. At the same time.2 Posture 2 Player A shifts his weight forward. In this way.16 8. he places his left hand on the middle of the right upper arm. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm. While the right arm turns. then turns his right hand left in Shun reeling following the turn of his body. both of B’s arms form an An (Pushing) power. Fig. .6.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. Player B places her left hand on the right upper arm of Player A as he moves. Player A relaxes his left crotch and moves his weight slightly leftward. During this process.陈 氏 太 极 拳 推 手 技 法 8.6. Her right hand presses Player A’s right hand slightly downward. then extends forward to press against A’s left forearm. gradually switching from Peng (ward off ) to Lü leftward. 8.
4 Posture 4 Player B executes Ji (press) on Player A. Then Player B wards off Player A’s left hand upward.6. Partner A withdraws his pressing hand and places it on his own right upper arm.Fig. and executes Lü (roll back) again. Repeat this cycle. 8. shifting his weight forward to add more pressure. 8. Player A executes Lü on B’s hand and presses it downward. thus returning to the original position.17 8. Player B switches from An (push) to Peng (ward off ). In response. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.18 229 . then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. In response.
Player A steps his right foot forward to form a front Bow Step. Player B’s right hand crosses the outside of A’s right hand. bending it 450 inward.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. Player B steps her right foot forward at the same time.1 Posture 1 Both players stand at attention. Both players look at each other from the side.7. then places his left hand on the middle of his right upper arm. and places her left hand on the middle of A’s right upper arm. palm facing outward.陈 氏 太 极 拳 推 手 技 法 8. 王 西 安 Fig. placing it on the outside of A’s right leg. Player A raises his right arm as his right leg moves. A’s left hand then crosses with B’s left hand. so that both knees touch (A’s inner knee and B’s outer knee).19 230 . 8.
and then wards off Player B’s left hand upwards.3 Posture 3 Player A relaxes his left crotch first.2 Posture 2 Player A then relaxes his right crotch.7. raises his left hand. he places his right hand on the middle of B’s left upper arm. he lowers his left shoulder and left elbow. This switch from Peng to Lü happens in an instant. turns his body to the right. 8.20 8. Player B continues to move her weight forward when Player A applies Lü. then withdraws her right hand and puts it on the middle of her right upper arm to form a Ji (press) power to counter Partner A quickly.8. 陈 氏 太 极 拳 推 手 技 法 Fig. At the same time. Simultaneously. As Player A’s body turns right. 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. 王 西 安 231 . and switches both hands to double-hand Shun reeling to ward off outward gradually. Both players look to the front. and moves his weight leftward.7. executing Lü (roll back) with his right hand. shifts his weight slightly to the right.
then pushes her left hand rightward. 王 西 安 Fig.21 8. At the same time. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. with the coordination of his right hand.22 232 .7. 8.陈 氏 太 极 拳 推 手 技 法 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. forming an An force. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. 8.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right. When Player A presses downward.
陈 氏 太 极 拳 推 手 技 法 Fig.23 8.6 Posture 6 Player A shifts his weight back to the left leg after pushing. At the same time.8. A’s upper and lower body move as one. As Player B executes Lü.5 Posture 5 Player B’s left foot steps on the ground. At the same time. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü. both her hands follow the body and turn right to execute Lü (roll back) on the right side of Player A’s right arm until her left hand reaches the mid-line of her body. 8. In this move. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. 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. her right crotch relaxes and she shifts her weight to the right. and his forward push corresponds to the hardness or softness and speed of B’s Lü power.7. 王 西 安 233 . tiptoe first. then her foot gradually steps on the ground fully.
Both players look to the side at each other. then takes a step forward with her right foot. While this happens.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. to form Ji (press) power with her right arm.24 8. shifting her weight gradually rightward.7. Simultaneously. Player A places his left hand on B’s right upper arm. Fig. palm out. then pushes Player B’s right hand first down then left using the pressing power of his left hand. so as to form Peng and Lü with both of his hands. In response. . B steps forward in synch with A’s guiding hand. shifts her weight leftward. and steps within A’s left leg so that their two knees connect. 8. B also places her left hand on the middle of her right upper arm. Player B relaxes her left crotch. turns his body slightly left and shifts his weight slightly leftward.陈 氏 太 极 拳 推 手 技 法 At the same time. Player B wards off slowly outwards with both hands in Shun reeling. Both players look diagonally to the front.
Simultaneously. then switches her left hand instantly from Peng to Lü.7. 8. 8. At the same time. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then raises her left hand in an upward Peng on A’s left hand.26 235 .25 8. Player B lowers her left shoulder and left elbow.Fig.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left. B also places her right hand on the middle of A’s right upper arm.
27 236 . then quickly forms a pushing power towards B. she presses forward on the middle of A’s right lower arm. His right hand then comes into contact with B’s right hand. then withdraws his right hand to place it on the middle of his left upper arm. both A’s arms form an outward Peng power. A responds first by flowing downward. Both B’s hands work together to form an upward pressure pose. 王 西 安 Fig. she presses Player A’s left hand first down to the front of his lower abdomen.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right.7. At the same time. In this instance. As Player B pushes A’s left hand downward.陈 氏 太 极 拳 推 手 技 法 As this happens. Both players look diagonally to the front. then to her left. 8. Player A continues to shift his weight forward. 8. Both players look to the sides. Then with her left hand. then raising his left hand upward onto B’s right upper arm to warding off (Peng).
8. 王 西 安 237 . leading to increased exposure to attacks.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. following A’s Lü power.7. 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. 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. Both players should defend and stick to defend their own territory.8. relaxes his left crotch. taking care not to go beyond their territory as this would mean that the transferring and changing of movements would not be as quick and flexible. Player A steps his left foot on the ground. Player B shifts her weight first to the left.10 Posture 10 Both players keep moving and rotating. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. 陈 氏 太 极 拳 推 手 技 法 Fig. In response to A’s Lü.
Ji and An. Simultaneously. as well as an accomplishment of one cycle of Peng. Player B shifts her weight backward to her left leg. The rotating methods are the same as those on Figures 8.25. to form a Ji power with his right arm. Player A places his left hand on the middle of his right upper arm. one full cycle consists of one step forward and one step backward. for both of the two players. You may have found that. 8. A relaxes his left crotch. tiptoe first. shifts his weight leftward.11 Posture 11 After pushing forward.陈 氏 太 极 拳 推 手 技 法 8. B places her left hand on the middle of A’s right upper arm.7. her right hand changes to Ni reeling to force Player A to step back. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. At the same time. and are ready to start a new cycle. both players return to their original positions. her two hands forming a Lü posture. Finally. foot gradually steps fully on the ground. and 8. Both playesr look diagonally to the front. Lü.27. palm out.26.28. 王 西 安 238 . Both their knees connect. At the same time. 8. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. As B shifts her weight backward.
Zhou and Kao. 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.29 王 西 安 239 . which is aimed at reinforcing your lower body stance and leg power in this technique. In this low body movement. This technique consists of larger scale body movement. you should combine Si Zheng Shou practice with Si Yu Shou. requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground. 8.8. Bie. and is based on Shun Bu Tuishou.8 pair pracTice in da lü TuishOu (large scale lü TuishOu) Da Lü Tuishou pair practice is the fourth technique of of Chen-style Taiji Tuishou. 陈 氏 太 极 拳 推 手 技 法 Fig. which is Cai.
try to feel the Gongfu level gap between you and your opponent by listening. Only this way. Sao means to sweep or clear away. Bi Ya (push and press) and so on. nor the location of your body weight. left and right. This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. With this method. use your elbow or Kao (shoulder strike) to attack when you find a weak point. From this position. depending on the circumstances. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. Gun Shuan is an extension of Da Sao. the opponent cannot discern your target. Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body). or power direction. During combat. 王 西 安 240 .9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu. hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand).陈 氏 太 极 拳 推 手 技 法 8. so as to transform the opponent’s power. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). Gun Shuan (roll and seize). reel them in Shun and Ni directions. If you choose not to attack under some circumstances. Instead of sweeping the arms horizontally. In Da Sao. up and down. can you win consistently. push and press against the opponent to force them into a defensive mode.
Your Dian Bu should be light. Apply Ti (lift) and Long (holding close) unpredictably and precisely. Fig. Combine the power of both your hands so that they become one indivisible power. flexible. you can advance two or three steps to gain a territorial advantage.30 陈 氏 太 极 拳 推 手 技 法 Fig. coordinated with Shang Long Xia Ti. which you think harmful to your opponent. 8. agile and swift. 8. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares.Your footwork should be coordinated with your handwork. if the opponent retreats one step. 8. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward).32 Fig. This is an example of the Die Fa. Actually.31 王 西 安 241 . For example. These are the main methods and purpose of Luan Cai Hua pair practice. Your footwork should be based on the speed. there are no restrictions in the application during practical body combat. direction and angle of changes.
According to this philosophy. . through Taiji forms and postures. one of the pre-eminent representatives of Yang Taiji family. the philosophy of Taiji attempts to explain the workings of the universe. and offered new ways of understanding humans as a microcosmic blueprint of the Universe.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. much of the theory in this book is based on the guidelines written by Yang Chengfu. we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. Earth or Human realms. that is. opposing and complementary. For this reason. At its foundation. While the Taiji form has undergone many changes through the ages. culminating in the modern-day Chen. of two fundamental forces: Yin and Yang. Taiji Philosophy is most easily expressed and understood through the use of body language. Sun and Wu Styles. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. Yang. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. our world and the human body through the interactions.
com . www. including his meticulous inscriptions for over 400 illustrations. The English translation of this canon marks the first ever attempt to translate into English Chen Xin’s highly esoteric and detailed technical explanations of Chen-style Taijiquan techniques.inbiworld.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. and a referential resource for Taiji instructors and practitioners for generations to follow. A work of intense scholarship which took over fourteen years to complete. this tome was intended by its author to be both the first ever written repository of Taiji lore.
Q. Q.Chen Village Restoration Project • Q. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan. founder of the Yang style. Who was Chen Changxing? A. China. 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. Wenxian.com . How do I purchase calligraphy or make a contribution A. What is the Chen Changxing - Chen Village Restoration Project? A. www. How is the project being funded? A. Q.chenxiaowang. Henan Province.
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