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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 .
One of the finished manuscripts resulted in this book. Indeed. as an expression of the profound spirit inherent in all human beings. ‘to exist everywhere. an impressive feat of concentration and energy considering Master Wang’s teaching workload. Atsuko Noguchi January 1998. In the spirit of Taiji’s original meaning. 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. we believe that Taiji. the Japanese are coming to love Taijiquan and the great charm of Chinese culture. indubitably a result of the efforts of Taiji followers in both countries. 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. Japan 陈 氏 太 极 拳 推 手 技 法 王 西 安 vii . to consist of everything’. belongs not only to China but to the rest of the world. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life. More than ever.Preface to original edition I cannot express how excited I am on hearing the news that Chen Style Taiji Tuishou Techniques. I look forward to Master Wang’s future works with great enthusiasm. newly written by Master Wang Xian. Tokyo.
陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .
.................. The Relationship Between Three Stages of Taijiquan Practice and Tuishou ..... Misleading and Transforming Techniques ....................................40 3...............................................21 4........................................................97 8.. Tuishou: the Only Criterion to Judge the Gongfu of Taiji........................ Reeling Silk ............3 Tuishou Practice – Going Inward............35 Chapter Three: Single Form Practice 1........................25 6................... Introduction ......................................... Kao (Push) Practices...................... 3.........................................Table of Contents Chapter One: Introduction 1................ 4...................................55 4....................................................................... Fist Practice ..........................................13 Chapter Two: Interpretation on the Ten Forces of Tuishou 1....................................................................................................................................... The Origin of Taijiquan Tuishou ...... Zhan Nian Techniques...................................................... Step by Step .............16 2..............31 9...................................................................................................23 5.........................................84 7........................................................105 9........ Ti (Raising) Energy .....................................................29 8.......................................................... Feet Practice ......................................72 6....................... Na (Seizing) Practices .........................................117 陈 氏 太 极 拳 推 手 技 法 王 西 安 ix ...................... Na (Seizing) Techniques .................................... Leg Practice ............. Listening to Energy .............................................................. Elbow Practice .......................................................... 2.... Dongjin – Realization of Energy ...................34 10..........................................................10 5...............................................................63 5.................................................................4 The Core of Tuishou .................................................. Jietuo (Escape) Practices........18 3.................................................... Opening and Closing ..............................................................................38 2............................................26 7.. Palm Practice .................................................... Energy Explosion .......... Lian Sui Energies ................................................................................
.......... Solo Luan Cai Hua Tuishou ................................. Hunyuan Zhuang (Circle Posture) ......214 2......................................................... Shun Bu Tuishou ........................... Introduction ...........................................227 7............... San Ti Shi (Three Postures)............... Pair Practice in Shun Bu Tuishou....... Tuishou Handwork Techniques ..224 6................................................... Pair Practice in Luan Cai Hua Tuishou.................................................................... 157 Chapter Six: Chen Style Taiji Tuishou Categories 1................................. Tuishou Footwork Techniques.................. Chan Si Zhuang (Reeling Silk Posture) .......................................................................... 215 3....................179 5.......................... Kai He Zhuang (Opening and Closing Zhuang) ... Introduction .............................154 Chapter Five: Practice for the Buttocks and Crotch ........................................... Tuishou Steps ....................................................................................220 5......................................................................197 6............................................................................210 Chapter Eight: Pair Practice in Tuisho 1.......................................................239 9................................. Wu Ji Zhuang (Wu Ji Posture).... He Bu-Tuishou ............218 4.................................................................................... Solo Double-hand Flat Circle Wan Hua .........................................................................................193 4...........149 7................ Hand Techniques in Tuishou Reeling........................... Solo Tuishou With Static Footwork ................132 2.......... Single-hand Vertical Circle Wan Hua in Pair Practice ............................ Solo Double-hand Wan Hua in a Vertical Circle ................. Shuang Shou Li Yuan Wan Hua.... Shuang Shou Ping Yuanwan Hua ................ Solo Ping Yuanwan Hua .......171 3.......... 133 3....195 5................ Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) ..230 8....... Introduction .203 8...................... 183 Chapter Seven: Solo Practice in Tuishou 1.......142 5....................................................................................................................................................................................... 138 4.. Solo Wan Hua ..................................................187 3.......................200 7...............240 王 西 安 x .........................168 2............................... Pair Practice in Da Lü Tuishou .......................................................................................................186 2............... Classifications of Tuishou ......175 4..................................209 9.......... Solo Danren Da Lü Tuishou .....陈 氏 太 极 拳 推 手 技 法 Chapter Four: Health and Qi Enhancement Practices 1..... Single-hand Horizontal Wan Hua in Pair Practice ...........................................................................................146 6....................
CHAPTER ONE: inTRoDuCTion .
陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .
it helps maintain fitness. (also known as Zouting) was a famous martial arts master. transforming. reducing illness and prolonging a healthy life. he drew on the theories of the Yijing (I Ching. Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial arts practitioners. sword and stick routines. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. In doing so. the Huangdi Neijing (The Canon of Huangdi) and acupuncture. catching. China. Wenxian County. gender. it helps build health and defence as well as to develop a sensitivity to movement. ‘The Family Tree of Chen’. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou.1 The Origin Of Taijiquan TuishOu Tuishou originated in the Chen Village. and he was recognized as the creator of Chen Family boxing. is a practical combat technique based on grabbing. in the period between the Ming and Qing Dynasty. as well as the principles of Yin and Yang. and will continue to do so in years to come. throwing and striking. originally known as Jieshou or Dashou. agility and flexibility. 陈 氏 太 极 拳 推 手 技 法 王 西 安 3 . Chen Wangting.1. Henan Province. Chen Wangting. With the accelerated pace of modern life. According to the book. Its creator. Tuishou. As it is not stressful to the body. As a combat techniqiue. was the creator of Taijiquan and 9th generation head of the Chen Family. the ‘Book of Changes’). location or access to equipment. Taiji Tuishou practice is not restricted by a practitioner’s age.
an athletic activity based on mutual pushing. Tuishou translates as ‘push hands’. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. sTep-by-sTep To practice Tuishou.2 TuishOu pracTice – gOing inward. so much that you will be able to apply combat techniques. with greater efficacy and subtlety. Note that adepts earn their title only when they attain the ability control and use combat techniques in an appropriate manner. You will not realize inner transformation. such as grasping. Follow the circling movements with the whole body. Initially. Become familiar with the single hand horizontal and vertical practice. As you reach the level of adept. intuitive and subconscious. listen to each other’s energy flow.陈 氏 太 极 拳 推 手 技 法 1. nor will you be able to intuit your opponent’s energetic intention. you must know its significance. from the realization of Jin. to the realization of Jin. catching. With sustained practice over a period of time. that is. Relaxation is fundamental. pacing your learning step-bystep. principles. ‘From the familiarity of forms. be relaxed. Learning Tuishou will quickly expose any weaknesses in one’s internal Gongfu. followed by the double hand horizontal and vertical practice. hard/ soft. to the Deity’. and do not disconnect or oppose your partner’s energy. enabling you to throw opponents meters away without hurting them. you will be able to release explosive energy to both small and large targets. throwing. Less well known is Tuishou’s other application as a technique for internal transformation. A Taijiquan proverb pertains also to Tuishou. Literally. and striking. 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. transformation is the basis. and what it consists of. or appreciate the interplay of the slow/quick. 王 西 安 4 .
mind and spirit with determination. As long as you practice persistently and make progress. your intention and commitment must be deeply held. you will ultimately enhance your health and combat techniques.Remember that ‘inner listening’ is the one essential skill required to improve your technique. be calm and concentrated in your demeanour. Practice makes perfect. imagine a partner practicing or competing with you. To cultivate ‘inner listening’. combining your heart. but never practice just in order to practice. force and speed in your actions. Skill arises from consistent and accumulated practice. In solo practice. 陈 氏 太 极 拳 推 手 技 法 王 西 安 5 .
Tuishou practice is based on thirteen ‘forms’ or energies. Movements alternate freely between Gang (hard) and Rou (soft). When you can control these energies within yourself. adhere. attacks or retreats. while its theoretical basis builds on the philosophies of Yin and Yang. continue.陈 氏 太 极 拳 推 手 技 法 1. opening or closing. At a more advanced stage. with the lightest of touches. follow) and Chansi Jin (Reeling Silk). . which are also the essential elements of Taiji. distance and direction of energy. 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. Lian. speed. Qing (light) and Zhong (heavy).3 The cOre Of TuishOu The core of Tuishou consists of Zhan. actions to the left or right. Sui (stick. Kuai (quick) and Man (slow). you will develop the capacity to subconsciously anticipate quick or slow changes. your partner’s weight. and so on. it will enable you to feel. Nian. gathering or exploding. upward or downward movements. You will learn to follow your partner’s intention and forget your own.
‘if the opponent moves slightly. expansion. concentrate on one direction at a time. move before they do’ etc. Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. or other deformation. this energy refills automatically to its original ‘full’ state. ‘if the opponent does not move. 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’. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. stretching. Like a balloon whose air has been exhausted. Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. When releasing explosive energy. 王 西 安 7 . it is the force of friction that enables you to hold and seize their arms etc. 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’.Points to remember: Move with great flexibility Change your movements constantly using elastic yet tense Neijin (internal energy). ‘follow slow attacks unhurriedly’. ‘utilize the opponent’s energy’ and ‘conquer the strong with the weak’. don’t move’. be calm and relaxed To release bursts of energy effectively. Master the fundamentals 陈 氏 太 极 拳 推 手 技 法 Basically.
whether ascending or descending. I follow my partner. none of your opponents can defeat you. Using this. push or strike your opponent you do so without alerting them in order to capture their energy. no matter how hard they press. I can conquer a force of a thousand jin with a tiny force of four Liang.” Chen Changxing. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. Even if attacked by a monster. The canon of Taiji teachings is rich with such sayings. 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). Similarly. the 14th generation master. 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.” This technique. and is worth remembering. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. I perform strictly to the principles so as to make me unassailable. results in the shaking off of the opponent’s upper body and lifting of their lower body. when you move forward in your turn to press. 王 西 安 8 . whether they strike or twist. also states: “No one knows when I gather or stretch. push or strike. I always follow their intention. and they serve as concise and comprehensive guidelines for Taiji and Tuishou practice through the ages.
One with four Yin and six Yang is among the group of the adepts. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. As a science. One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. Only one with five Yin and five Yang is called adept. requiring us to further our exploration and improve our practice of it. Here. 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. 陈 氏 太 极 拳 推 手 技 法 王 西 安 9 . In order to inherit and develop this Chinese cultural heritage.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick.
with fuller details available in Chapter Two of my book. ‘three-yin seven-yang. Taiji Tuishou also consists of three stages with three respective practice methods: 王 西 安 10 1. Da Quan (big circle) This is the stage whereby ‘one-yin nine-yang. 2. Zhong Quan (medium circle) At this stage. 2. still regarded hard’ turns into ‘fouryin six-yang. The three stages of Taijiquan are: 1.陈 氏 太 极 拳 推 手 技 法 1. Dong Jin (realizing the inner energy) Qi drives outer form. is San Shou’. Correspondingly. . ‘Chen Style Taiji Laojia’ (Old Routine). Zhao Shu (familiarity with the forms) Outer form drives Qi. one comes into the group of the adepts’.4 The relaTiOnship beTween The Three sTages Of Taijiquan pracTice and TuishOu A brief description of the three stages of Taijiquan practice will be provided here. as stiff as a stick’ evolves to ‘two-yin eight-yang. 3. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity.
that is. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external qualities).3. and does not mean total stillness. along with the Tuishou practice of Da Quan (big circle). all parts of the body become as highly sensitized as finger tips so that when competing. at the first stage. By this stage. we practice An Jin (invisible force) through Yi Qi Cui Xing (external form driven by Qi). At the third stage of Shenming (deity). the complete fusion of external form and internal spirit. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. enjoy a feeling of lightness. Note that ‘no circle’ denotes a state of subtlety and skilfulness. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. Following a correct program of practice as outlined above. That is to say. an adept may say. Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. we practice Mingjin (apparent energy) by utilizing Yi Xing Dai Qi (external form guides internal Qi). We must pay attention to different methods during different stages of practice. medium and small circles. possess abundant internal energy. The three stages of Taijiquan practice are interrelated with the three stages of Taiji Tuishou. along with the Tuishou practice of Zhong Quan (medium circle). in addition to a diligent assimilation of knowledge. ‘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). as well as the combination of the respective techniques applied in the big. one is regarded as a Deity’. and be able to achieve constant internal changes between Xu and Shi (void and solid). that is. random alternations between states of energy gathering and releasing within a relaxed and elastic body.
those who reach this stage posess energy without imbalance and can achieve Lianshen Huanxu (cultivation of Shen spirit and return to the void). you surely go backwards.陈 氏 太 极 拳 推 手 技 法 body that is attacked by my opponent. “Taiji practice is like rowing in the river. Also known as ‘Five-Yin Five-Yang’. even though I don’t know how I do it’. This is not unattainable. as our ancestors tell us. if you don’t make efforts to go forward.” 王 西 安 12 .
Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. Remember too where your weight is placed to maintain control of your centre of gravity. This is called. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice. softness can break through hard. It simply requires practitioners to have sufficient physical force for competition. Nevertheless. nor is it just a matter of pitting one’s physical force against others.1. ‘thousands of Jin’ (i. it doesn’t imply Diu (a common defect due to failure in Zhan Nian. Hence. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. Skilled practitioners rely on a highly developed sense of touch. While appearing deceptively easy. the stronger force) also can defeat the weaker force. four Liang defeats thousands of Jin’. Tuishou develops one’s sensitivity to others. In other words. no techniques can be executed.5 TuishOu. It is this dynamic that we need to explore during practice. In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. 陈 氏 太 极 拳 推 手 技 法 王 西 安 13 . However. 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. tough energy. Without the latter. 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. it is also the key criterion against which one’s level of Taijiquan Gongfu can be measured. These reflexes are faster than thought and only come with constant practice.e. Tuishou actually requires a strong sense of balance and an ability to combine energy and force. When they reach the level of ‘a good hand with invisible four-yin six-yang energy in medium circles’. Ding meaning ‘stiff resistance’). When forces are equally matched during competition. ‘Weak side strikes strong side. 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. hence it is essentially a competitive activity. meaning ‘loss of energy’.
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 .
continue. Hence the saying. During Tuishou sparring. On receiving these signals. Similarly. position and magnitude. her changes in rotation. sensing through the skin enables reaction in any manner within the rules. What is listening with the bones? It is the ability to anticipate an attack by listening through the skin and responding swiftly to an opponent’s attempt to seize. with the skin and with the fine hairs on the body surface. when an opponent touches one’s fine body hairs. One’s skin is the key weapon. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. her body light and flexible. The level of one’s overall listening ability is determined by one’s internal energy (Gongfu). the act of ‘listening’ has profound resonances. filled with abundant internal Qi. allowing both body and mind to enter into the level of deity and transformation. squeeze and press. every single hair is so delicate and sensitive it can detect a feather just before it touches the skin. feel your partner’s movements.陈 氏 太 极 拳 推 手 技 法 2. alluding not only to listening with the ears. a rise or fall in height or changes in weight. the skin. adhere. I know others and sweep all enemies aside. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. What is listening with the skin? It means following the command of the heart and mind. but also with the eyes. and a highly-tuned awareness of sensations in the heart and nerves as well. follow) as fundamentals. At this stage. and taking Zhan Nian Lian Sui (stick. The entire body surface of a high level practioner is highly sensitive.1 lisTening TO energy In the context of Taiji and Tuishou. a practioner’s body can react instantly with great accuracy and flexibility.’ 王 西 安 16 . Listening can be divided into three areas: listening with the bones. no matter if the changes are in the opponent’s rotation. one’s force is injected into the marrow. With your skin. ‘Without being known.
leading only to failure.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. Nervously. special attention should be paid to ‘the intervals of fastness and slowness’. very few achieve the ability to listen with the skin. you fight back. How good it would be to attain this level. ‘clear manifestation of emptiness and solidness’. You will look without seeing. descending. where every knot of one’s body opens and stretches without crude force. opening and closing (快、慢、沉、稳、虚、实、 开、合). that is why it destroys the strongest of enemies”. Without this preparation. 陈 氏 太 极 拳 推 手 技 法 王 西 安 17 . This is why we recommend the practice of Zhan and Nian (stick and adhere) energies as a preparation for listening practice. Just as a deaf person is unable to comprehend a conversation as he cannot hear. “The most super-human strategy is formless and soundless. Your reactions will become slow. which is essential for constant adjustments to frequently changing circumstances. emptiness. your judgement confused. your listening untrue. While the majority of practitioners are able to listen with the bones. until it is too late to repel danger. Listening is essential to Tuishou. listen without hearing. Only through accumulated practice can one’s sensations detect the smallest changes. defending and attacking blindly. so a practioner cannot generate energy for sparring if he or she is unable to listen. calm. slow. ‘descending Qi and steady steps’. rising to the upper body. let alone the attainment of energy for combat. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. In all this. It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. Failure to do so will cause one’s energy to remain stuck in the chest. making all one’s muscles stiff. listening would be impossible. blood and breath. solidity. As Sunzi Bingfa says.
Ying (stiff ). A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). We call such shortcomings. Zhuan (cheat). Peng. Duo (escape). direction. speed. your energy too resistant (Ding) or being lost unnecessarily (Diu). you cannot note any of the above changes in the oponent. Jia (stiff ). your posture too straight (Zhi). An (press).陈 氏 太 极 拳 推 手 技 法 2. While beginners may find this difficult to achieve. Meng (sudden). Bing (defect) signifies the inability to follow principles such as maintaining one’s centre of gravity. you cannot realize it. hardness and softness. Shi (tight). Hua. Qi (insult). Zhe (hide). Bo (move with hand). Teng (jump). 发fa – explode) at the appropriate opportunity. Dang (block off ). length. vertical axis and flexibility. Fa (引yin – lead. the ability to circle and the principles of Zhan Nian Lian Sui. 王 西 安 18 . Ya (push down). Na. Hun (mix up). Ting (stick out). Gua (hang on). Even for those who achieve this skill. Cuo (rub). Tui (push). this skill may eventually be attained with diligent practice and a good teacher. It is the ability to note present or potential changes in emptiness and solidity. Pai (squeeze out). You may find yourself being too stiff (Jiang). Shan (dodge or flash). await them. It is the ability to conquer one’s opponent by using proper rhythm and techniques such as Yin. Ji (hit). Ba (seize by force). Be warned that mistakes will occur on this learning path. Qin (intrude). Failure to overcome these shortcomings would be to fail to realize energy. Gou (hook). that is. Ling (pressing). Without ‘hearing’ the energy of one’s partner. “faulty palms” or “faulty body”. Li (leave). Ba (pull out). Zhi (straight). transform. Zhan (chop). new challenges such as ‘being too fond of competing’. Realizing energy is based on listening. Di (resist) and Gun (roll). 化hua – change. Ke (knock). Lou (hold). magnitude and hitting point.2 dOngjin – realizaTiOn Of energy Realizing energy is a key concept in Taiji and Tuishou. straightness and curvature. 拿na – capture.
relaxation and health practice for the old and infirm. I always keep remembering to follow their intention. Lü. Sanda complies with basic Tuishou principles. Zhou and Kao). 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. jumping. rather than use them as disparate forces to enhance one’s attacking prowess. In effect. When attacking. they share the common practice of ‘realizing energy’.The practice for ‘realizing energy’ also tests one’s position. is misleading and does not take into account its fundamental role across the Chinese martial arts. transforming. changing one’s centre of gravity and flexibility) in synchronous movements. 陈 氏 太 极 拳 推 手 技 法 王 西 安 19 . ‘The Taijiquan Formula’: No one knows when I gather or stretch. and shares many common principles with Sanda (free sparring). the poplular stereotype of Taijiquan as a non-combat. says in a verse from his book. angle. In fact. Whilst all Chinese martial arts possess unique characteristics. dodging. form and quality of Tuishou. which is used not only in Tuishou. Cai. these eight techniques form the method for Tuishou. look around and maintain an upright axis during Tuishou practice. Lie. grasping. Sanda can simply be taken as a higher evolution of Tuishou. no matter if they use the technique of Kao or twist. hence its continuing ties with Tuishou and. developed from further transformations of Tuishou routines. Tuishou is the combat application of Zhan Nian Lian Sui. the Tuishou practitioner must aim to apply these techniques (seizing. Ji. I follow my partner. As Chen Changxing. striking. Concordant with the adage that ‘external forms are the method and the pathway’. utilizing the techniques of Kao in spiralling. falling. and also in one’s facilitiy with the eight energies or techniques (Peng. 14th generation Taiji master from the Chen family. Whilst acknowledged as a combat technique in its own right. with Taijiquan. Ultimately. ultimately. An. twisting. but also in the combat arts and and Sanda (free sparring). Hence.
only with accumulated practice can one exert energy flexibly and 王 西 安 20 . Chen Changxing exhorts practitioners to maintain a keen awareness of self and other parties. adaptable to both Tuishou and Sanshou. fourth and fifth sentences refer to the application of Taiji Sanshou. strike. and horizontal Cai are also irresistible. The author stressed the importance of ‘follow’. As mentioned. until I come to the level of Deity”. this verse confirms Taijiquan as a profoundly practical Martial Art. step by step. to act naturally and follow one’s intention. Hence. ‘listening and realizing energy’. “From the familiarity of forms. The third. the Chinese martial arts have evolved into health and fitness promoting practices. that is. Li. Again. It is through the practice of Tuishou and Sanshou that one garners the true meaning of Taijiquan. we can clearly see that in all movements. press and hold back. Indeed. The second sentence of the verse means to follow the other partner’s intention while circling them. Taijiquan and Sanshou are practiced synchronously today to enhance health and selfdefence skills. With the development of modern weapons. one must also ‘realize energy’ through diligent practice and the exchange of ideas with one’s sparring partner. Everyone knows how to hook. that is.陈 氏 太 极 拳 推 手 技 法 You need to go forward in order to chop. The attacks from me by twisting. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. In addition to applying Master Chen Changxing’s advice. ward off. to the realization of energy. push or press. Chen Xin once said. along with the Four Essentials and ‘realizing energy’ techniques in Tuishou. yet who knows the tactful way to turn one’s back and dodge suddenly? From the above verse. This ability is encapsulated in the phrase ‘Zhan Nian Lian Sui’. leading to a wider understanding of the profound benefits and applications of Taijiquan. to forget about one’s own intentions and follow the opponent’s.
3 zhan nian Techniques Zhan & Nian are forces directed forward. Whilst it is said that form practice cultivates a capacity to know oneself.effectively. the first being ‘familiarity with form’ and the last being ‘realizing deity’. Conversely. and come to realize the laws of movement and force. It is commonly used in attacking strategies. They are external manifestations of internal forces arising from prolonged ‘reeling silk’ practice. will be able to instantly sense the delicate changes in the movement. 2. At this point. the adhesive force that allows a practitioner to become strongly attached. Nian means to chase and follow one’s opponent. with Zhan as the dominant force since without a 陈 氏 太 极 拳 推 手 技 法 王 西 安 21 . ‘Realizing energy’ is the middle stage of the three major phases in Taiji development. like glue. Ultimately. in this way maintaining the upper hand at all times. this results in a deeper and more precise understanding of energy. This is why it is said. and its natural and intuitive use. to one’s opponent. while Tuishou exposes the quality of Zhan Nian techniques.” Zhan literally means ‘stickiness’. extent. “Form practice is the essence of Zhan Nian training. with which one’s opponent will find difficult to escape. direction and the position of a partner’s energy flow. Tuishou practice cultivates the capacity to know others. This ability comes through great patients and a life-long perseverance of effort through the three stages. he or she will be able to prevent their opponent from escaping with zhan energy by following his intention. Zhan Nian techniques develop one’s capacity for high precision. capturing and transforming his energy and using it to attack at the first opportunity. so that he finds it hard to escape. Through reeling-silk practice. A practitioner. that is. Only with the awareness of both oneself and others can others be conquered. magnitude. on reaching the final stage of ‘deity’. Zhan Nian energies work as a pair.
‘I win by striking after the enemy has struck (My fist starts late. these techniques will lead the opponent into faulty moves. yet arrives at the hitting point earlier than the opponent)’. one can never accomplish quality ‘chasing’ (Nian). and then through the entire body. ‘I don’t move if they don’t move’. Understandably. Not an easy task for ordinary practitioners. This is why it is said that at this relatively high level. Once the whole body is enveloped. as reflected in their stiff bodies and tense. an internal energy manifesting externally. ‘I move before them on feeling their slightest motion’. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. victory or defeat is decided in an instant. and forget my own’. beginners find Zhan Nian energy difficult to comprehend let alone detect. During Tuishou. Zhan Nian energies can be detected by sensations that start at the palms. continuous and diligent practice. flow up the arms to the shoulders and back. inflexible muscles and joints. especially those who. but certainly achievable for diligent practitioners with good teachers. ‘Fast reactions to fast attacks. despite prolonged practice. It is Zhan energy that envelops the body. 王 西 安 22 . Simultaneously. but even many long-term practitioners find total understanding or realization elusive. have failed to attain high proficiency in the art. When Zhan Nian techniques are applied. the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack.陈 氏 太 极 拳 推 手 技 法 good mastery to ‘stickiness’ (Zhan). Ultimately. 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. as indicated by these teachings: ‘Follow my partner’s intention. and so on. the practitioner can exert Zhan Nian forces towards the opponent. slow reactions to slow attacks’.
slow reactions to slow attacks.4 lian sui energies Lian Sui energies are twin companions of Zhan Nian energies. fast reactions to fast attacks. It can be summarized as ‘co-relating to the opponent’. ‘Bu Diu Bu Ding’ (no loss of energy. the opponent cannot escape because if one follows closely using Zhan Nian.2. Used in concert with Zhan Nian energies. and no chance to escape. can we execute Yin Jin Luo Kong efficiently. Once palms come in contact. Sui. there can be no Lian. Without Zhan’s adhesive force over the partner preventing escape. moving effortlessly between quick/slow and forward/ backward movements. including consistency. that is. no resistance). emerges from the application of Lian. continuity. taking any opportunity to attack. Lian Sui means to follow the partner constantly and closely thereby preventing their escape. non-pressing. Lian is dependent on one’s use of Zhan. so that ‘as one falls. adhesiveness. one observes and reacts to the opponent’s Zhan Nian techniques. and can only exist in the presence of the latter. Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. Lian has a rich amalgam of meanings. 陈 氏 太 极 拳 推 手 技 法 王 西 安 23 . Only if we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. In so doing. ‘to react while following’. another rises’. Unless one follow’s the opponent with Lian (co-relation). the act of connecting and maintaining the continuity of one’s movements with those of the opponent. follow and move in the same direction as one’s opponent. non-forcing. how can Sui be achieved? Sui technique means to react.
upper and lower coordinate any motion in the middle.陈 氏 太 极 拳 推 手 技 法 As a teaching goes. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. 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.” Here we refer to the ability to keep every part of the body functioning as an integrated whole. It is vital that beginners are able to feel the movement of internal energy inside their bodies. “The lower body automatically follows any motions of the upper body. on the other hand. the basic ability to follow the opponent’s movements. whether through form practice or Tuishou”. Adepts. following their energy flow without interruption. 王 西 安 24 . Lian and Sui can never function without the other. therefore it is advisable to practice the combined application of both. so that they can ascertain if their energy levels match the purpose and intention of their actions. without any break in flexibility or continuity. 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. As the teaching says. Beginners may attain the preliminary stage of Lian Sui.
A particularly effective combination is Luo Kong. reeling my back inward before suddenly striking outward.2. For instance. and in this way mislead and neutralize your opponent’s energy. legs and so on”. or feet to upset their centre of gravity. using Lian Sui to follow their energy flow. I use Yin Jin Luo Kong to constrain my partner’s energy while simultaneously gathering energy carefully to prepare for an explosive release of energy at any angle or position. Once neutralized. the adept draws the opponent into his or her domain. When we feel the changes in our opponent’s energy flow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 25 .5 Misleading and TransfOrMing Techniques Yin is the main force used to mislead opponents. going up or down. Hua is the transformative force. Literally meaning ‘to draw’ or ‘to lead’. palms. we then use our shoulders. Note that while applying Yin and Hua forces. neutralizing any opportunity for attack. I lower my body then stretch my right foot toward his or her crotch. As Chen Xin explains. knees. While moving. using our arms. Yin is the ability to draw the opponent’s energy into one’s control. turning left or right. if my partner presses my right arm with their palms. Using these complementary techniques. hands. When applying Yin. then gradually upwards. we should apply She Ji Cong Ren without being detected. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). hence ‘misleading’ and transforming the opponent’s energy. striking the opponent with explosive energy while applying Yin Hua (literally to mislead and transform). and cannot exist without Yin first being applied. Use these principles whether you are going backward or forward. I apply Shun reeling downwards. elbows. hips. so as to mislead my partner’s energy and upset their centre of gravity. one should avoid Diu and Ding (losing energy and resistance).
As Chen Changxing advises. hence rendering them helpless. explode energy as if releasing the arrow”. 王 西 安 26 While many martial arts schools may practice their own interpretation of the Na technique. one must cultivate the forces of Yin. Instead. they are conquered. As Chen Xin suggests. the more one stretches the bow. just as one should attack forcefully without hesitation. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. dodge.6 na (seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms.陈 氏 太 极 拳 推 手 技 法 Yin Hua can be applied in many ways. look one way and go another”. Opponents will feel as if their tendons and bones are about to break. tie up. depending on circumstances. my Taiji harmony within emerges so that even ghosts fail to predict my next move. rotate an opponent’s joint towards its unnatural direction. sweep. and their pain penetrates right to the marrow. However. Hua and Xu (gathering). that of Taijiquan is accepted as the most refined. meaning the direction which hurts the natural structure of joint. When I attack. That is to say. i. In this way. shock. touch. the further one’s arrow flies. using all these techniques to mislead my opponent. 2. elbows. I “roll over. “gather energy as if pulling on the bow. Any hard fan guanjie (joint twisting. continuous solo practice is required to absorb knowledge thoroughly before techniques can be put to effective use. wrists or hands to inhibit their rotation or movement. It is important to remember that one must gather energy well before misleading one’s opponent.e. so as to accumulate and release energy effectively. destabilizing their centre of gravity and transforming their energy in order to conquer them. In Tuishou and San Shou. and hence the harder the opponent falls. he or she can easily capture his opponent through the combined use of all . I know my partner without being known.
in order to strike well. strengthen your force so that your opponent finds it too difficult to escape or transform their energy. The seizing technique in Tuishou is very important. so that I may capture my opponent without hesitation or detection. agile. agility. To apply Na effectively. I utilize Na to prevent my partner from escaping or from transforming their energy. techniques such as Zhan Nian Lian Sui. thus reaching their goal. 陈 氏 太 极 拳 推 手 技 法 王 西 安 27 . Indeed. you still have the opportunity to move in quickly and seize them by their palms before they move away. I move using the principles of Qing Ling Huo Qiao (lightness. Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. Hua (transforming) are all preconditions for striking (Da). If he or she succeeds in escaping. a Tuishou practitioner can exert the invincible might of Taiji. flexibility and skilfulness). This is called ‘dual-utilization of seizing and gathering’. Zhua (grabbing). When utilizing Na. 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. There is a saying.’ as Sun Zi Bing Fa says. applying the energy smoothly and judiciously without over-exertion.their gathered forces. so that I can strike them cleanly and successfully. If you fail to attack lightly and skilfully and your intentions are detected. This is why it is said that Na is the pre-condition of Da. Na (seizing). Shuai (throw). To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. you need to seize first’. ‘is called the “best of the best”’. Tuishou accentuates Taijiquan’s martial power. you must react quickly and flexibly to any changes in your opponent. throwing. In Tuishou. ‘Only this. flexible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. With the combined application of seizing. transforming and striking. ‘Na (seize) always goes with Da (strike).
Next. Na is the synchronous manifestation of the internal and external. and sensing the amount of force the partner’s joints can withstand. especially amongst beginners. During practice. shoulders and crotch all gather downward in concert. he will be able to press forward. making sure your hitting points are clearly defined. In peace every part of my body moves at the time of movement’. ‘Never be rude and rash when you begin to practice Na. both palms covering his right wrist. stomach and legs. with no part tense. Na technique works together with Cai technique. twist his right arm inward with your left hand. just as it is stated. When relaxed. in which case. ‘No part of my body is not peaceful. hence it is advisable to heed the teaching. chest. Miscalculations often result in injuries. How then can you hope to seize another? Indeed. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. seize him then guide his pressing force into your territory using Lü energy.陈 氏 太 极 拳 推 手 技 法 When applying Na. Never let Qi float upward and never let your feet lose their roots. your root will become unsteady. the targets for both being the arms. If Qi ascends. and your ribs.’ 王 西 安 28 . your centre of gravity destabilized and you will find it difficult to protect yourself. every part of your body works in harmonious cooperation. Common problems. and all parts in a gathering motion. By relaxing. releasing your force like bullets rushing out of a gun. application of appropriate angles and techniques. use the Na technique carefully to avoid hurting your sparring partner. stomach and the protruding and concaved parts of the shoulders. Exert your energy first lightly then with force. If you fail to Peng (ward off ) your opponent adequately. if you want to seize your opponent. Then strike directly forward in a spiral and hit your target accurately. your chest rolls inward naturally. Using this will overcome the opponent without fail. remember to maintain a relaxed state by lowering your whole body. include controlling one’s speed and magnitude of attack. you have no option but to relax your joints. whether you exert Na by the co-ordination of your hand and chest or with your ribs.
Gather the ribs. Inhale from the stomach so that it remains solid. making sure all movements are steered by the waist. ‘How can the circulation of stillness and movement have fixed directions? No matter under conditions of movement or stillness. Indeed. are widely used in Tuishou. transform. every part of the body is engaged in the action of opening and closing. This is an important concept which bears deeper contemplation. opening and closing illustrate the subtlety of Taijiquan. 2. relax the shoulders. Even masters of Chinese philosophy – Kungfuzi. Remember – to attack your target with agility and flexibility requires long accumulated practice. opening and closing imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. OpeningClosing techniques. Mengzi. Opening (Kai) means to stretch and reach. just as Chen Xin mentioned in his works. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. As complementary opposites.Work on your technique step-by-step: develop a closed crotch. gathering versus exploding. preserve. OpeningClosing is a physical expression of Yin-Yang qualities: hardness versus softness. one cannot ‘open’ without first being ‘closed’ and vice-versa. solid stomach and slightly concave chest. Keep every joint relaxed before you exert Na. bend and gather. Listen to the tracks of your opponent’s energy while applying Na and Bi (closing). often meaning to ‘guide and attack’ in the martial arts. Laozi and Zhuangzi – have been unable to describe the subtlety 陈 氏 太 极 拳 推 手 技 法 王 西 安 29 . hence this technique epitomizes the dual nature of Taiji – the opposite yet complementary. In all Tuishou and Taiji movements. Closing (He) means to draw in.7 Opening and clOsing In the martial arts. As Chen Xin says. Sanda and form practice.
external shape (Xing) and spirit (Shen). every part of your body follows suit. As the saying attests. so that your targets become accurately defined and attacks successful. In practice. the rebounding force exerted by the ground can be used to energise any upward movement. these changing motions. Your heart acts as the guide and leader during energy explosion – when your heart opens. The quality of the effort you put in to closing determines your ability to open with power and effect. and sometimes they disappear. since Yi (intention) follows wherever Xin (heart) goes. While standing. Kai (opening) energy originates in the root of your body. crude and slow. but also to coordinate the heart (Xin). sometimes appear before our eyes. if your energy is gathered and conserved well. the louder the explosion. Likewise. this means that one needs to be closed first before one can open. Closing not only means to bend and withdraw your upper body. so that all parts of the body work together. Without closing well. your ‘opening’ explosion will be natural. you will find your opening powerless. Thus positioned. filling you with great vigor. ‘Opening-Closing. This means your root will not be disturbed and the flexibility of your reactions may even be enhanced. you will find that Qi penetrates your whole body more smoothly and powerfully. swift and powerful. grasp the floor with the toes and soles. Yi moulds changes in external shape while Jin (force) rises with Qi. from the soles of the feet. pressing the ground with your heels to empty the Yong Quan points. forceful. with the qualities of both solidity and emptiness. muscle energy (Qi).’ Only diligent practitioners have the opportunity to experience this phenomenon. The art of opening or exploding your energy is akin to setting off firecrackers – the tighter the paper is rolled.陈 氏 太 极 拳 推 手 技 法 and beauty in the opening-closing movements of Taijiquan. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. 王 西 安 30 . The Opening-Closing technique starts from the closed state. your intention (Yi). that is.
or you may find your Kai technique lacking in power and precision. keep your elbows down. and to develop high sensitivity and rapid responses to external stimuli.As you explode energy. strikes may not find their mark. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body. albeit swift and powerful. the whole body returns to a state of softness and relaxation. Practitioners also need to build-up a reasonable level of muscular strength. then to every corner of the body. flexible and compact enough to mislead and upset your opponent’s centre of gravity. lower your waist and let Qi flow along the spine. which then distributes it to the other extremities. 2. Exploding energy at close-range is best as Kai energy. land on the ground on your in-steps. To master this elastic force. The solution is to make your energy round. To gather energy of this quality. the energy released unhindered. After exploding energy.33 cm. your centre of gravity may be lost. Beyond this range. The explosion should be short. spirals up the legs to the waist control-center. you need to train your muscles in relaxation and gathering. 陈 氏 太 极 拳 推 手 技 法 王 西 安 31 . or worse still.8 energy explOsiOn Energy explosions consist of either long or short energy (Doujin or vibrating power). while being mindful of the adage. then spiral your internal energy up the legs to the waist. Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. is limited by its short duration and small coverage which extends only as far as your body. 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. presenting your partner with opportunities to attack. This energy originates from the soles of the feet. you will need to drop and relax the shoulders.
Daily cultivation of Yuan Qi (primordial Qi) and vital energy flow throughout the body are essential for decisive wins. Your performance in competition depends not only on the quality of your sensitivity. Constant diligence. skilfully. that you are unable to neutralize. your opponent is vanquished. it is necessary to distinguish clearly the respective functions of internal force and external force. abundant internal energy and intense physical and energetic concentration. The main external force that we humans experience is gravitational force from the earth. and to explore the interactive relationship between them. and with that outburst. Transforming and gathering are complementary and cannot function without each other. you must practice Changjin 王 西 安 32 . together with the abovementioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. which manifests as our weight.陈 氏 太 极 拳 推 手 技 法 “use thought and intention. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. frictional forces. flexibly and harmoniously. internal forces. utilize. in effect. and exploding energy with elastic vibrations. The force that you and your partner exert on each other in Tuishou is external force. not strength”. though random wins may happen. straight forces. When doing Tuishou exercises. Gathering. one must explode energy smoothly. Without these. but also that of your internal energy and combat strategy. To combine the power of the three. However. spiral forces. Failure to counter your partner’s force means. consistent good performances will not be achievable. all these are prerequisites to “destroy something already in a state of ruin”. not relying on rigid or crude force. counter 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. horizontal forces and so on. dissipate or absorb her external force. transforming and attacking are closely related. To do this. there are also a myriad of other forces which influence our bodies – supporting forces. The external force of both parties affects each’s internal energy flow.
As it is said. below which energy flows downward and above which energy flows upward. At this level of Gongfu. Continue developing these techniques step-by-step until the level of deity is reached. 陈 氏 太 极 拳 推 手 技 法 王 西 安 33 . there would be no striking the partner from one inch”. easy conquest of the opponent does not necessarily follow. during Tiaozhou practice (upward strike with elbow). Upward energy and downward energy exist in opposition to each other. the whole body moves as a synchronized force to follow the slightest movement of intention. beginners need to do the following: do the big circle practice. as their attacks flow naturally from their heart and intention. instantaneous. By mastering the key points of energy explosion.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. and even when elastic cunjin (hitting a target at very close range) is executed. Close-range attacks require a high-level of competence. Alternate between these three with slow. Good Hands’. leading to very smooth and swift responses. the medium circle practice. To reach this level. it is not advisable to exert Changjin (long energy). one should not attack at close target. elastic or vibrating variations. while downward flowing energy helps maintain a firm and stable root. Still Tough’ and ‘Four-Yin Six-Yang. you will find it easier to hit targets more accurately and swiftly. despite its ferocity. At the transitional stage between ‘Three-Yin Seven-Yang. quick. especially exhaling-inhaling and opening-closing motions. even with the slightest touch. This means that if one finds it difficult to attack from a distance. and the small or no circle practice. Only very high-level practitioners may achieve this. imagine a line between the navel and Mingmen. a quality leveraged for precise attacks: upward energy is used to explode energy vigorously. will find the opponent flung far and wide. For example. “Without striking the partner from a distance of three metres. An attack.
heart. combine your rising force with your elastic force. waist and arms. keeping your axis upright and combine your eyes. then your instant and precise attack can never fail”. Remember to maintain your centre of gravity with the coordination of the other leg. keep agile so that the opponent may not detect your energy flow and will thus be unprepared for escape. your opponent’s upper body will shift out of their control. never let your partner know your intention before you act. Using Zhan Nian Lian Sui. To lift your opponent up with Ti requires the combined effort of legs. Remember to maintain full concentration. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. As Qi flows up the spine. while you maintain a state of relaxation. shadow your opponent with agile steps. To conquer your opponent. Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. powered by upward spiralling energy. The arms and legs work together. To apply Ti successfully requires the whole body to work in coordination. When applying Ti. At the same time. while you keep your intentions and energy flow undetected. and intention into one entity. rotate your Dantian so that your body lifts with greater speed and accuracy.9 Ti (raising) fOrce Ti means to ‘rise spirally’. Even if not thrown completely off balance. and may lead to loss of 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.陈 氏 太 极 拳 推 手 技 法 2. The rising force is difficult to use if forced. This means that no matter what Tuishou techniques you use. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. First. 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. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them into your control. Pay attention to defending your territory – it is better to relinquish victory than to lose territory 王 西 安 34 . Instead.
transform and defeat your opponent’s attacking energy. so you feel able to “protect your descendents and kill the rebels”. You roll. Do not try to strike others before you have attained a reasonable level of competence. your force will reach its target just with intention.10 reeling silk Reeling Silk is a spiralling. and not even know from whence your power emanates. walk with such assurance as to shock evil spirits. you will find it easier to follow. until it reaches the fine hairs of the skin. follow the primary principles and develop your skills stepby-step. Adequate practice will naturally lead to success. as it emerges from the feet. reeling in big or 陈 氏 太 极 拳 推 手 技 法 王 西 安 35 . your attacks will never fail. touch or sweep in response to the circumstances and you remain always observant and alert. whether you rise or descend. For beginners. Attaining high-level skills will make you braver. on the verge of losing their centre of gravity. When this happens. you will be able to transform energy while striking. Though undiscernible initially. and manifests externally as it permeates through to the fine hairs on the skin. passes through the legs up the spine and arms. mislead. revolving energy which originates internally in the body. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. their root and they will certainly fall. go forward or backward. 2. but once attained. reeling outward. reeling to the left or reeling to the right. reeling upward. Mastering this energy requires much effort and practice. You will attack like a flying dragon. Your incredible speed allows you to gain ground easily while your opponent feels as if they are fighting perched on a ball. you will come to sense it with practice. tie.and power. you will lose awareness of your physical body and location. The Reeling Silk consists of great varieties: reeling inward.
As for posture. While reeling. misleading) always comes with Jin (approaching forward or attacking) and vice versa. and thus renders you unable to react properly and to be easily manipulated by the opponent. When being utlilized. excessive toughness makes you get too rigid. The solution lies in the middle path: keep a balance between softness and toughness. remember to keep your Zhongqi (energy to keep your axis upright). collapse the waist and establish a stable centre of gravity in the legs. Be humble and respectful during form practice. apply the principle of Dingjin (suspending force): hold the neck upright and relaxed. quiet and calm. and apply opening and closing techniques. reeling forward and backward. When using Reeling Silk energy. reeling horizontally or reeling vertically. one must avoid being too soft or too tough. Excessive softness (Ruanshou or weak hands) makes you too weak to fight. 王 西 安 36 .陈 氏 太 极 拳 推 手 技 法 small circles. and so on. Shun reeling (conforming) and Ni reeling (contrary). The principle of ‘Circulation between Yin and Yang’ clearly dominates the reeling process. focusing your energy internally and guiding the flow of your responses from Yin to Yang. all these reeling movements are always comprehensively combined together and closely connected. remain balanced. Keep a firm root. reeling to the front or reeling aside. Yin (guiding. maintain the interplay between solidness and emptiness.
CHAPTER THREE: single FoRm pRaCTiCe 陈 氏 太 极 拳 推 手 技 法 王 西 安 37 .
Zhou. Cai. Single Form practice is vital for hand-to-hand Gongfu combat. To win. This practice requires a solid foundation in preparatory exercises. you need to execute Jin (go forward). keeping your energy tracks undetected by the opponent. interlinks the Santian (the three Dantian) and reaches the Yong Quan point. Erlu explodes In this technique. Qi will flow around the body to the extremities and skin. Hua (transform) and Na. Ti. Single Form practice is essential for developing techniques which form the basis of Taiji Tuishou: Peng. Erlu and Single Form practice help to accumulate and strengthen Gang. full relaxation of the joints. Lü. medium and high-level stages. 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). where ‘Qi spreads to the whole body. Lie. and exerting energy too forcefully (Ding) while exploding energy. Da. Kao. Tui (go backward). Keep learning and eventually you will be able to use intention (Yinian) alone to execute techniques appropriate to each circumstance rather than conscious thought. as well as techniques focussing on various target areas of the body. This means that Yilu fosters Zhongqi so that. A wide variety of single movements must be practiced repeatedly. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’. Ji. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. As we know. for example. Faji (attack) effectively under any conditions. so the Single Form Practice and Erlu help to compensate for this disadvantage. An. movements gradually become agile and flexible. 王 西 安 38 .’ In this way. 3. Zhan (battle). Because Yilu lacks speed and Gang (tough) energy. who is then inevitably conquered. if practice is diligent.陈 氏 太 极 拳 推 手 技 法 3. Shan (dodge). relaxed and soft. Shuai (fall).1 Yilu cultivates Qi.1 inTrOducTiOn This is a practical lesson in combat practice.1. goes through the Sanguan (Three Gates).
Chen Zhaopi was the undisputed master of 滚Gun (rolling). neglectful practice becomes increasingly difficult to rectify. you harvest. the seizing techniques of Eagle Claw King. these masters have attained their expertise through a shared and unwavering focus in Single Form practice. sober movements and his relaxed yet vigorous energy explosions. Master Chen Zhaokui was celebrated for his sudden dodges and incredibly small rebounding circles. ‘Skills come naturally when you are familiar with forms’. Single Form practice is of vital importance. Lastly. No matter how steady his partners stood in the beginning of a fight. legs and hips using relevant principles. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). Also legendary is Master Chen Fadou’s ability to vanquish competition partners with just a touch. back. we have Master Feng Zhiqiang who is venerated for his steady. These clearly advise diligent practice of the shoulders. you don’t. each have their own unique combat style drawn from continuous tempering in their practice. 搭Da (touch) and 扫Sao (sweep). the throwing technique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. If prolonged. hands. He was known to say that he found throwing partners too easy. To do otherwise would be to ‘attend to trifles and neglect the essentials’. such as: ‘Profound principles emerge by themselves. 陈 氏 太 极 拳 推 手 技 法 王 西 安 39 . The world of Taiji is replete with pithy sayings that provide useful guidance to the attentive practitioner. 拴Shuan (tie). elbows. ‘You practice. inner meanings of the mysterious art rather than a competition. you fail’ and so on. Significant gains may be attained by practicing the single forms step-by-step. Well known examples include the foot techniques of Li Bantian. Hence. Though widely differing in style. be they exponents in internal Gongfu or external Gongfu. resulting in loss of vigor and effectiveness. more like a relaxing stretch to enjoy the subtle. they always got hit and thrown to the ground. so that the path to deeper understanding and realization may be paved.Gongfu masters. after you practice the form ten thousand times’.
upwards and sideways. 3.2 feeT pracTice Feet practice includes the following movements. pedalling forward. alternating between both legs: kicking forward.2. trampling. With one hip relaxed and the opposite foot slightly touching the ground. face to the front. bend and raise your knee slightly. chest rolled slightly inward. 3.1 . swinging up and down and so on.1 Exercise One • • Squat slightly. stomach gathered and head suspended from above.陈 氏 太 极 拳 推 手 技 法 3. horizontally. 王 西 安 40 Fig.
stepping. up and down. pedaling. bend the other leg with toes grasping the ground to maintain a firm centre of gravity. • Roll the chest inward and aggregate energy with the whole body. • Kicking smoothly. make sure your in-step is stretched moderately tightly. collecting the energy at the abdomen. a) Forward Kick The Forward Kick consists of kicking directly forward at mid-level and to the left and right. upward and downward swing. • Relax the feet so energy can reach the toes where it is required.2. Descriptions of some of these exercises are provided below. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. horizontal. feet hanging backward and so on.2 41 . sideways. 3.3.2 Exercise Two This is actually a series of exercises focusing on various kicking movements: forward.
3). edges of the foot plate and the sole (Fig. It should be practiced with both feet so that. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (intention-energy-form). . On landing with either foot. At this point. if you kick with the right leg. 3.3 • This technique is applicable to the toes. use the rebounding force of the earth to bounce up and propel your kick (Fig. your left foot prepares to kick with the toes or instep as the right foot lands. 3. they will be able to direct energy explosions to targets with precision and ferocity. 3.5). except that the Horizontal Kick is higher and targets the opponent’s pubic region and lower abdomen. 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. 3. for example.陈 氏 太 极 拳 推 手 技 法 Fig.4.
6 43 .4 Fig. 3.5 c) Upward Kick (Shang Ti Jiao) 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.Fig. 3. 3.
Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. 3. instead. a principle also applicable to the Double Kick (Er Qi Jiao). • Switch your centre of gravity to the left foot.7 The Upward Kick is used for high targets. practice kicking with each foot sequentially. flexible and quick. 王 西 安 44 d) Stepping Down (Xia Cai Jiao) Follow the sequences as follows: • Stand with the feet shoulder width apart. The Upward Kick should match the rhythm of the hands’ movements. The kick should be light.陈 氏 太 极 拳 推 手 技 法 Fig. There is no jumping in the Upward Kick. . The whole body must be kept balanced and straight when kicking upwards. usually the opponent’s chin.
but try to keep some weight in the un-weighted side as well. 3.• Bend the left knee. As your right foot explodes energy stamping downward. standing with left leg. feet firmly grasping the ground. Make sure that your centre of gravity does not switch to your right foot right after it touches the ground. exploding energy as quickly and fiercely as you can. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly rooted.8 • • • Then stamp your right foot on the ground. keeping the right foot at the same distance from the left foot as before. Then empty the Yong Quan point. grasp the ground with the left toes and. all the while rolling the chest slightly inward. 陈 氏 太 极 拳 推 手 技 法 Fig. raise the right knee gradually (Fig. cup your right fist and left wrist together in front of the chest. 王 西 安 45 . 3.8).
e) Forward Kick This consists of a straight kick forward with the sole of the foot. you can practice with the alternation of legs (after praciticing with the right leg for a while. remember to follow instantly and quickly with the other leg. 王 西 安 46 . and then withdraws elastically like a rubber band springing back into shape. 3. 3.陈 氏 太 极 拳 推 手 技 法 Fig. practice with the left leg) (Fig. The key points here are the same as those for the previous segments. In Single Form exercise. 3. The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 25o from the horizontal. including the alternating use of the legs (Fig.10). Kick as high as your opponent’s stomach and chest.9 Regardless of which leg steps forward first.9).
your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig.11). Avoid leaning backward when kicking – keep your axis upright to maintain your centre of gravity. As you reach a higher level of skill. prepare well by relaxing the chest and stomach to ensure your kick is fast. Before kicking. f) Sideways Kick The Sideways Kick consists of the Inward Kick (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. 3.11 Kick mainly with the heels.13). 3. 3. fierce and perfectly targeted. 3. 王 西 安 47 . 3.10 Fig.Fig. sometimes with the soles. with hitting points mainly on the inside of the foot (with the occasional use of the outside).
as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking).12 Fig. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. This emphasises the importance of good quality energy gathering as a precondition for fast and powerful kicking. 王 西 安 48 • . 3. explode energy like releasing the arrow”. 3.13 • The Outward Kick is executed outward and upwardly.陈 氏 太 极 拳 推 手 技 法 Fig. while the body becomes straightened when kick is streched). with the hitting points mainly on the outside of the foot (occasionally inside). Bend the kicking leg about 25o and lean slightly backwards as you kick to maintain a stable root and ensure ‘straightness exists in bending. this reflects the relationship between Yin and Yang’. the whole body gathers together then opens up with an explosion of energy. In the Sideways Kick.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. be it with the right or left foot. 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. Eye your target and prepare for the kick by gathering your internal energy and lowering it. then bring it backward (Fig.14 49 .15). Always coordinate the kick with your hands. smack the foot with your hand to ensure the integrity of the energy. while your hands are targeted at the face. then swing it outward in a natural arc. Kick upward with the back foot. which allows you to use quick and continous forward steps. toes grasping the ground and all muscles of the body relaxed.g) Upwards Swinging Kick • • • • • • Place one foot in front of the other.14). If kicking with the right foot. Before kicking. Squat slightly. 3. 3. While swinging outward to the level of the shoulder. Your swinging foot is targeted at the back of the opponent’s head.
3.15 With openings and closings.陈 氏 太 极 拳 推 手 技 法 As a Tuishou poem states: Fig. I take the back of the opponent’s head as target. I smack in the air by switching into the track of a swing arc. And smash enemies to pieces. . 王 西 安 50 Practice these kicks repeatedly so that they become smooth and continous and you may eventually hit distant targets using a combination of kicks with agility. And kick upward along with palms coordinated with Lü.
remember to balance upward Long (close) movements with downward Ti (raise). No matter which you use. • Hang one foot backward. palms facing outward. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. 陈 氏 太 极 拳 推 手 技 法 王 西 安 51 . • Hold the body in a squatting position for the next few movements. The powers of hand and foot combine together. rotating it slightly so that it slants to one side. During solo practice. Gua (hanging) and Gai (covering) in a second. You should finish Lü. • Use both hands to execute Lü on one arm of opponent behind the body. • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. depending on the distance between you. • The foot hangs to the calf suddenly to make the opponent lose his balance. keep your footwork flexible and neat. • The action must be quick and powerful. • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) to initial approaches toward the opponent. • Pay attention to that you finish this action with the guiding of the waist and back.h) Back Hanging Foot (Hou Guan Jiao) This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated. coordinating both with Tou Bu (sneaking steps). • Swing both hands backward to the side of the back hanging Foot.
16 • • • • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. Move forward with Tou Bu (Sneaking Steps).陈 氏 太 极 拳 推 手 技 法 Fig. And enemies fall to the ground with face to the air. 3. your face looking upward. Hold your position and collect yourself enough to kick upward then swing downward. And kick upward along with palms smashing downward. As a Tuishou poem states: With Yin and then Jin techniques. twisting the waist and rotating the back to exert more power (Fig. . Then lower your foot to the ground. I take the opponent’s upper body and chest as target. 王 西 安 52 The secret of Back Hanging Foot is to plot the method to seize the opponent down and to fiercly bring him under your control without detection.16). I explode my energy with the rotation of my waist. 3.
18.. 陈 氏 太 极 拳 推 手 技 法 王 西 安 53 .19).17). 3. these may not provide an accurate picture of weight changes required in practice or combat. The attacking leg must be flexible enough to swing to the left or right. 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. Practice this transfer of weight by alternating the legs. mindful that while one is in the air.g. 3. since these are in a constant state of flux depending on the circumstances.Fig. Note that while weight distribution ratios may be used as a guide (e. 30:70. Use Front Bow Steps to practice this movement (Fig. 3. 20:80).17 i) Downward Swinging Kick • • • • Take one step forward and switch your centre of gravity to the front leg (Fig 3. 40:60.
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. I explode and shock the ghosts. waist and hands.陈 氏 太 极 拳 推 手 技 法 Fig. 3. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. making your intention easily anticipated.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. 3.18 Fig. Short energy attacks are often used to ‘give a shock to the lower limbs’. shock their lower limbs and unbalance their upper body with my feet. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles.
that is. Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. 3. Use intention (Yi) rather than physical force (Li). Zhuangxi Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). a shoulder width apart from the left foot. making sure your leg is no higher than 15 cm above the ground. Change your weight to the left. repeating the movements while keeping reeling from the left to right. step your right foot 40 cm forward to the right. 王 西 安 55 . working up your speed in gradual stages. just as in form practice.3. Waibai Tui (Legs Swinging Outward). ‘Yong Yi Bu Yong Li’. Nichan Tui (Legs Reeling in Ni Circles). look in the direction of the moving leg. toward the target. Begin with slow practice. • • 陈 氏 太 极 拳 推 手 技 法 • • • Note: When stepping forward. Lower the tip of the toes of your unweighted right foot to the ground. Lihe Tui (Inward Knee Strike). When the right foot lands fully on the ground. Practice continuously alternating both legs.3. Xiacai Tui (Downward Cai energy). Move the left foot half a step to the left. change the weight to the right and step out with the left foot.1 Shunchan Tui … Legs Reeling in Shun Circles • • • Stand with the feet a shoulder-width apart.3 leg pracTice Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). As the toes touch the ground. Keep your legs reeling from left to right. then squat and step out with your right foot.
You also need to practice Nichan and Shunchan with both legs. 王 西 安 Fig. striking to both sides with each leg. then step forward 40 cm to the left. continuous practice. Note: It is best to practice Shunchan and Nichan by varying the distance between you and your partner. transferring all your weight to the left. 3.20). Step the right foot forward.3. Raise the left foot. Inner knowledge can only develop with concerted.陈 氏 太 极 拳 推 手 技 法 3. Next. 3.20 56 .2 Nichan Tui … Legs Reeling in Ni Circles • • • • • Step the left foot leftward so that the feet are a shoulder-width apart. remembering that the inner side of the heel is the striking point. transferring all your weight to the right. rotate to the left forward at an angle of 360o. step forward 40 cm with the right foot. Practice these steps in continuous alternating cycles. and then rotate 360o left stepping on the toes (Fig.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. 3.21). attack with Lihe and then move 90% of your weight to the back leg (Fig.21 Fig. • While practicing. then transfer your weight to the left before moving the right foot forward (Fig.22). • Combine Lihe Tui with the rotation of the waist and spine. In Huobu Tuishou (Tuishou while walking). whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg. practice with both legs and with change of directions. As such.3 Lihe Tui … Inward Knee Strike Lihe Tui is an inward strike using the inner side of the knee and is widely used in Qian Gong Bu (Front Bow Steps) and Ban Gong Bu (Half Bow Steps). 3.3. • Stand at attention.3. we usually attack with Lihe Tui using the right leg. 3. change your weight to the front foot.22 57 .
王 西 安 Fig. regardless of whether you practice day and night (Fig.24 58 .陈 氏 太 极 拳 推 手 技 法 3. 3. Waibai Tui is usually applied during Da Lü (Lü in large scale movement) and the best way is to seek out opportunities for attack is while moving.23 Fig.3. practitioners will come to realize the deep significance of their efforts. Through diligent solo Tuishou practice.23). 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. 3.24). and requires a sudden outward swing of the leg as weight is transferred. Practice this technique with both legs alternately once you feel your energy flowing smoothly (Fig. 3. Being content with a superficial understanding is fruitless. 3. step forward with one leg and swing the other outward and then closing inward. During practicing Waibai Tui.4 Waibai Tui … Legs Swinging Outward Waibai Tui is based on Qian Gong Bu (Front Bow Steps).
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • To do Shun Cai: Cai downwards from the outside in using Shun Chan (conforming circles). • Targets of this technique are typically the upper and middle parts of the inner side of the lower leg of the opponent.3. 3.25 Fig. 3.26 59 . Shun Cai and Ni Cai are based on Front Bow Steps. then Cai (pull down) with Ni (reverse circles) at an angle of 180o from the inside out. Cai to the right. placing your toes slightly outward. Xiacai Tui consists of Cai to the left. • To do Ni Cai: move the back leg forward. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling down in Reverse Circles). The outer side can also be targeted once your ability improves. • Start with your centre of gravity at the back leg.3.5 Xiacai Tui … Downward Cai Energy Cai means to pull down. placing your toes slightly inward.
3.陈 氏 太 极 拳 推 手 技 法 • • • While applying Cai (pulling down). you can enter the opponent’s territory (Fig.28 60 . 王 西 安 Fig. striking inward and striking outward.6 Zhuangxi Tui … Strike with the Knee Zhuangxi Tui consists of four types of strikes: striking left and right. Practice with alternating legs during Single Form practice. keep ankles relaxed and Qi descending (Fig.3.26). 3. 3. 3. striking to the front. With a spiralling move forward. Deepen your understanding of Jin Li (energy and force distribution). bending consists of stretching’. 3. Bend your knees about 40o – more than this and you will lose your centre of gravity. Train your body to understand the meaning of ‘stretching consists in bending.25).27 Fig.
• • •
All the above incorporate shifting of weight forward and back. Move the left foot forward then strike out the right knee, aiming it at the partner’s crotch (Fig. 3.27). While striking forward, roll the chest slightly inward and gather energy in the abdomen. Also, keep the hip and ankle relaxed, focusing your energy exertion on the target. Change your weight to the front, raise the knee, then strike it with an open palm (Fig. 3.28).
Li He Bu (Tuishou with Static Footwork) requires you to bend your knee, strike to the left, hit the inner side of partner’s right leg or the outer side of his left leg. (Fig. 3.29). Striking up and outward is called Waizhuang (Striking Outward). Key points are the same as in the previous striking practice (Fig. 3.30).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.29 Fig. 3.30
陈 氏 太 极 拳 推 手 技 法
3.3.7 Houbai Tui … Backward Swinging Kick
This is a wide-spanning movement and beginners are advised to imagine an opponent or target as they perform the technique during solo practice. • Lift the right foot to step forward and as you lean forward, swing the right leg backward using both the waist and spine. • As the right leg swings backward, fend off the opponent’s arm and attack with both hands. This technique of ‘attacking the upper parts and shocking the lower parts’ is often used to throw opponents to the ground (Fig. 3.31). Key points to remember are the same as in preceding techniques, all of which require whole body involvement.
王 西 安
3.4 fisT pracTice 3.4.1 Shangchong Quan … Fist Striking Upward
This technique consists of striking either fist spirally upward. • Step forward with the left leg, bending your knees slightly to transfer your centre of gravity to the left leg, then strike with the right fist using the ‘Ligou Quan’ (Fist Hooking Inward) technique, taking care not to overshoot your blow above the opponent’s head. • Simultaneously, use your bent right knee to hit at the opponent’s crotch (Fig. 3.32). • Integrate both fist and knee strikes with practice principles of rolling the chest slightly inward (Hanxiong), lowering the waist (Tayao), relaxing the stomach (Songfu), and drawing up the anus (Tigang). • Strengthen your centre of gravity to improve your accuracy by ensuring your left leg is slightly bent with toes grasping the ground (Fig. 3.33).
陈 氏 太 极 拳 推 手 技 法
王 西 安
Fig. 3.32 Fig. 3.33
陈 氏 太 极 拳 推 手 技 法
3.4.2 Xia Zai Quan … Fist Striking Downward
This technique encompasses a downward strike with either fist at any angle. For example: • If the right leg goes forward, transfer your centre of gravity from the right to the left leg. • Clench the right hand into a fist, thumb tucked inside neither too tightly nor too loosely. • Strike the opponent’s upper body with the right fist, using your left arm to balance your movement. • You can also use the Bei Kao technique or attack with the elbows as well. • Again, effectiveness of this technique requires involvement of the whole body in the movement: ‘once you move, your whole body follows’ (Fig. 3.34).
王 西 安
3.4.3 Shuang Fen Quan Splitting Fists or Double Bursting Fists
• • • •
Take a half-step to the left (or right). Bend your knees slightly and gather both fists to the chest, centres (Quanxin) facing downward (Fig. 3.35). Prepare to strike by gathering in the crotch and knees, and rolling the chest and shoulders slightly inward. To strike, transfer your weight to the right (or the opposite leg) and simultaneously split both fists explosively from the chest to either side of the torso, fists facing upward. As you strike, open the crotch, knees, chest and shoulders. Remember to keep the external and internal energy consistent, and the energy flow smooth (Fig. 3.36).
陈 氏 太 极 拳 推 手 技 法
王 西 安
王 西 安 66 Fig. However. 3.4.37). • • • • • • Take a half step to the right with the right 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. Rest the left fist beside the left leg (Fig. Rotate the body to the right then strike downward with the back of the right fist. 3. fist centre facing inward.陈 氏 太 极 拳 推 手 技 法 3.37 . Hold the right fist close to the left side of the chest. at the same time hooking the left fist upward. change your weight to the right leg and step your left foot forward.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. Rotate the right toes slightly outward as the foot lands. Next.
After striking. 陈 氏 太 极 拳 推 手 技 法 In summary.38). Practice these steps. as the left foot steps forward (weight on the right).Fig. 3. stepping the right foot forward and exploding the fists before landing. involve your whole body in the attack. 3. Likewise. the left fist rises above the right side of the chest and smashes down to the left. the right fist is raised above the left side of the chest for more power and then smashes down to the right. 3. step the left foot horizontally over the right one. For each step. alternating both sides continuously (Fig. Then repeat with the other foot. 3. when the right foot steps forward (weight on the left). the fists are raised from the sides across the chest as one foot steps horizontally in front of the other.39) 王 西 安 67 . (Fig. Return both fists to their original positions (raise the right fist from its downward strike position back to the left side of the chest.39 • • • • • Again. and lower the left fist from its upward strike position back to the left side of the body). both left and right fists rise and descend at the same time. downwards on the right and upward on the left. For example.38 Fig.
3. 3.40 Fig. stretching the left hand upward. the left arm gathers inward and strikes backward to the left with the elbow. concentrating your power in the Quanding (the front of the fist). 3. • Sink your weight into the right foot and rotate the waist to the right to gather energy. 王 西 安 Fig. • Step the left foot forward.陈 氏 太 极 拳 推 手 技 法 3.41). Practice this technique on both sides. • Gather the right fist under the right rib (Fig.41 68 . • Then fling the right fist forward in Ni reeling. • Sychronise both arms so that while the right fist flings forward.4. Make efforts to cultivate both internal and external energies (Neiwai Jianxiu) and you will develop power. This counter-balancing movement helps to accelerate the punch of the right fist.40). then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. 3.5 Dan Bi Zhi Chong Quan … Single Fling Fist Single Fling Fist is a forward punch unique to Taijiquan in that its power is generated by rotating spiral energy at the waist and back. avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig. fingers vertical.
43).42). Transfer your centre of gravity from the back to the front and hit the right fist into the centre of the left palm (Fig. bringing the left palm to the front of the body (Fig. Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). 3. the main difference being that in the former.43 69 . 3. only about 40% of the jin force generated is exerted as short rather than long energy.4. 3. energy does not manifest externally. Instead. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • • • • Step the right foot forward. Then step the left foot forward. and practice alternating both sides.3. The power of this technique depends very much on the practitioner’s physical condition. so that the strike manifests within a narrow range yet internally it contains great power and flexibility.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. simultaneously gathering the right fist beside the right ribs.42 Fig. Repeat with the other side.
• Clench your fist so the middle joint of the middle finger protrudes.7 Dianxue Quan … Nail-Shaped Fist Dianxue refers to the internal injury caused by hitting a specific acupuncture point with a sharp force.44 .4. This makes the fist ‘peak’ stable and solid. 王 西 安 70 Fig. • Strike with force and ferocity with this fist using short energy. This forms the ‘peak’ of the fist. using small agile steps (Fig. like hammering a nail.陈 氏 太 极 拳 推 手 技 法 3. 3. • Attack to the left or right. up or down. 3.44). and press the tip of the thumb against the middle fingernail. • Brace the middle finger with the index and ring fingers.
hence creating a dual attack with both fists and knee (Fig.45 Fig. gather the ribs and lower your energy to the Dantian (Fig.46 71 . Place your weight on one leg. 3. 3.46).3. Guanyang means to hit the temples with two nails.45).4. 3. Form two nail-shaped fists and strike from both sides using short energy. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Bring the fists together in the middle about 25 cm apart. 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’. 3. Bend the other leg then strike both fists upward together. Roll the chest and shoulders slightly inward. Method 1 • • Method 2 • • • Step forward with either leg.
3. 王 西 安 Fig. the ribs gathered. the chest rolled slightly inward and the spine slightly lifted. • Prepare for the strike by ensuring your axis is upright. and lower the energy to the abdomen (Fig. 3.48). thrusting them forward with explosive force. • Place your hands in front of the chest. fingers pointing up (Fig. • Strike forward with both palms. practice using long energy first.47). 3.5 palM pracTice 3.陈 氏 太 极 拳 推 手 技 法 3. though in the initial stages. transferring your weight to the front. 3.48 72 . • Step forward with the other leg. palms facing forward. • Step forward with either leg.1 Shuang Zhen Zhang … Double Shaking Palms This technique includes shaking palms with both short and long energy.5. while making sure the chest is relaxed.47 Fig.
Fig. while the Single Palm Push requires the rotation of waist and back to exert a frontal or inclining push. 3. The power. 王 西 安 73 .49). • At the same time step forward with the left leg. using long or short energy (Fig. thrust your arms out about 50% (Fig. gather the chest and stomach like a cat stalking a rat. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal energy. • Repeat using the left palm.52). elbows and wrists are lowered.50.51. lower your energy abruptly and push forward with short energy using small steps. 3. a Double Palm Push needs to be sudden and exerted directly forward.2 Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walking forward and back). • Thrust the right palm forward or diagonally to the side. 陈 氏 太 极 拳 推 手 技 法 3. As the energy reaches the wrists. Just before the explosive strike.49 When practicing with short energy. speed. 3. To be effective. Make sure your shoulder.5. 3. 3.
52 . 3. With continuous practice. Fig. 3.51 Fig.50 王 西 安 74 Fig. you will be able to explode energy with natural ease by combining both external form and internal spirit. 3.陈 氏 太 极 拳 推 手 技 法 Start this practice slowly. abruptness and power of the push. and hence conquer your opponents without effort. gradually increasing the speed.
54).53). 3.5. 3.54 王 西 安 75 .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. enabling you to hit your target with more precision and power (Fig. whilst using the other palm to push at the opponent’s chest or strike at their stomach. while gathering the other hand beside the ribs (Fig. This creates an energy balance that stabilizes your centre of gravity.53 Fig. 3. 3. • • Step one foot forward and ward off an arm attack with one hand.3. 陈 氏 太 极 拳 推 手 技 法 Fig.
• As you push upward. 3. and then straighten it while pushing the right palm upward.55 76 . first at an angle then vertically upward. 王 西 安 Fig. Explode this energy through the right side of body out through the right palm.5.4 Danshou Tuo Zhang … Single Palm Upward Push This technique uses the inner side of the root of the palm (Zhanggen) to push upward. • At the same time. while gathering energy on the left side. open the right side of the chest and stomach. • Keep the hips relaxed. the stomach gathered and the chest rolled inward (Fig.陈 氏 太 极 拳 推 手 技 法 3.55). 3. • 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).
56). stepping forward with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’. 3.3. 3. Shun means ‘sequence’) (Fig.57). 3.57 77 .56 Fig.58).5 Zuoyou Lianhuan Shuangji Zhang Attack with Both Palms This is also called the ‘Attack with One Palm Guiding and Other Hand Pushing. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Step the right foot forward and extend the right hand outward to ward off the opponent’s attack (Fig. Keep your body and energy lowered while doing this.5. • Then swiftly draw the opponent into your domain by touching their back with your left hand. • At the same time. 3. then quickly striking their chest with your right palm (Fig. rotate your body to the right. 3.’ Apply this technique during Single Palm practice.
58 • • Also apply the usual principles: roll the chest inward.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.陈 氏 太 极 拳 推 手 技 法 Fig. apply the following steps: • Step your right foot forward and lower your body and centre of gravity to the right. lower the shoulders. 3. 3. if the opponent seizes your right hand and twists it outwards with Shun reeling. • As you lower the body. Coordinate the movements of your body with those of the palms. and gather the ribs and dantian. left and right. For example. This helps to concentrate energy in the palms.5. moving the body quickly forward. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. 王 西 安 78 .
Fig. lower your body then extend it forward with Shun reeling. respond in this way: • Step forward with the left foot. inclining outward and exploding with the left palm (Fig. 3.59). this time at the left side with your right hand. 3. 3. 3.59 Fig. 王 西 安 79 .60 • • • As you do this. 陈 氏 太 极 拳 推 手 技 法 If the opponent seizes your left hand and twists it with Ni reeling. • Again. thrust forcefully at the opponent’s ribs. extending the thumb and fingers (Fig. • Key points are the same as with the left hand push above. Unify the three actions of stepping forward. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward. Next.60). thrust forcefully at the opponent’s right ribs by exploding energy with your left hand.
especially when stepping forward and exploding energy (Fig. goes through legs.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. • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles. 3. 3. Relax your joints to enhance energy application.61). so that energy flows to the very tips of the body.陈 氏 太 极 拳 推 手 技 法 Fig. change your centre of gravity from the left to the right. as advised in an essay. dominates the waist and penetrates to every part of body.” 3.5. roll your chest slightly inward and bend your right arm inward.61 Increase the effective of solo practice by sparring with an imaginary enemy in mind. . Also. coordinate the waist and legs when exploding energy. • As you seize. regardless of the technique or force used.
Thus.62). 3. 陈 氏 太 极 拳 推 手 技 法 3. To speed up your response.62 Fig.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. 王 西 安 81  ‘Dai’ means to lead. you are able to use both palms to seize the opponent (Fig. • At the same time. change sides so that your right hand seizes the opponent by Ni reeling and the left by Shun reeling (Fig.Fig. guide or bring along . If the opponent escapes.63). reach under your opponent’s front arm.63 • • • With your right arm. 3. reach out with your left palm and guide your opponent to the left by reeling in Shun circles with thumb extended. 3. practice alternating the seizing between right and left hands. 3. Change your right hand to Shun reeling and your left to Ni reeling. palm open.5. listening closely to your partner as you do so.
3. Clench the left hand into a loose fist and push it forward. 3. face the left palm outward.65 • • • • • Extend your right arm forward. moving your arms to stabilize this rotation. fingers up.5. Practice on both sides. 3. . Then hit the opponent with the right arm (Fig. As your step forward. fingers pointing to the front (Fig.64 Fig. Bend your right arm 90o inward and form a fist with your right hand. fingers to the front (Fig.陈 氏 太 极 拳 推 手 技 法 Fig. Transfer your centre of gravity to the front. palm up. 3. 王 西 安 82 3. 3.64). gather the right hand beside the ribs.66).9 Qianchuan Zhang Forward Piercing Palms Single Form Practice • • Step the left foot forward. Change your weight to the back and turn to the right.65).
place the left thumb and little finger in opposition while the remaining fingers face forward. Return the hands to their original positions before the next energy explosion. move the left hand and foot quickly forward together. As the right foot lands on the ground. 陈 氏 太 极 拳 推 手 技 法 Practice alternating the position of both palms. Next. coordinate the waist and spine when shaking the right palm forward in Shun reeling. 3. and then explode both palms forward with a piercing thrust.66 Fig. 3. to increase the speed and power of the explosion.67 • • • • • • Lift the left palm over the right. 3. reel the right hand in Shun reeling to the right and step the right foot forward. Also. To increase the precision and power of the fingers. left under right and right under left (Fig.67).Fig. 王 西 安 83 .
In this case. the left arm counter-balances the movement of the right. 3. Practice striking with both elbows with corresponding weight changes to either side. strike forward with the right elbow while hitting backward with the left elbow. 3. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. palms facing in (Fig. Remember to apply long energy before you apply short energy (Fig. As you change your weight to the front. 3. 王 西 安 Fig.6.6 elbOw pracTice 3.1 Li Zhou … Standing Elbows • • • • • Step forward with the left foot.陈 氏 太 极 拳 推 手 技 法 3. At the same time.69).69).69 84 .68 Fig. 3.
2 Qian Zai Zhou … Falling Front Elbows • • • • • • • • • Change your weight to the left and turn the body to the right. At the same time. As the right elbow descends. take a small step forward with the left foot. bend the right elbow inward.70). gather it close to the right ribs.71 85 .3.6. return the elbow to the right side. At the same. Step the right foot forward and strike the right elbow down forcefully as the foot lands. slap the right shoulder with the left palm. 3. Lift the left hand when the right elbow completes 90o of its descent. palm up. After the strike. 3. 3. wrist turned inward and the palm facing backward. Alternatively. and clench the right hand into a fist.71).70 Fig. step the right foot forward again and extend the left arm forward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. Then strike the right elbow down for the second time (Fig.
73 Fig.陈 氏 太 极 拳 推 手 技 法 3.72 王 西 安 Fig.3 Yao Lan Zhou … Elbow Block at Waist • • Step the right foot forward. Fig. then turn right with the right toes facing slightly out. 3.6. Rotate slightly to the left. 3.74 86 . 3.
3.72). As you do this. Remember that the right leg moves forward with the right arm and vice-versa.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. so that both feet are approximately 50 cm apart. as if warding off (Fig. Focus on ‘hitting upward’ with your right elbow so as to destabilize the opponent’s centre of gravity and lift them off from the ground (Fig. 3. Gather the body by bending it slightly. gather the ribs and lower your Qi. toe tips slightly touching the ground. transferring your centre of gravity to the left. Step the right foot to the left and bend the right arm.73).74). raise the right hand across the front of the chest to the left in an upward arc.6. Step the left foot forward. Move the body to the left and transfer your centre of gravity to the right and back. Turn to the left and strike out explosively with the right elbow.• At the same time. clasping the right forearm with the left palm. clasping the right forearm with the left palm.75). 3. clench the right hand into a fist. 3. 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. 王 西 安 87 . 3. palm facing in. Gather the body to prepare for attack by lowering the body slightly (Fig. • • • Practice with the other arm. then step forward with the right foot.
strike the right elbow to the right. with the following differences: . 3. • In the initial stages.76). gathering it horizontally in front of the chest.76 • Spiral the right arm forward with Ni reeling.75 Fig. Footwork and hand movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). practice with long and slow energy. Once familiar with the practice. balancing this movement with the left hand. Simultaneously. the right fist lowered to front of the left armpit. use short and fast energy.陈 氏 太 极 拳 推 手 技 法 Fig. 3.6. turning the body to the right.5 Xin Zhou Technique … Heart Piercing Elbow This technique consists of an elbow strike at the heart. 3. step right with the right foot. palm down. 王 西 安 88 3. Next. Practice with both sides (Fig.
6.6 Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. 3. fingers pointing up. landing approximately 50 cm apart from the left foot.78 3. 3. extend your left palm forward. toe tips on the ground. jump slightly with the right foot. In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. • Simultaneously. • Stand at attention with the arms relaxed at the sides. Touch the right knee with the right palm.77). palm facing right. 王 西 安 89 .• • Shun Lan Zhou is aimed slightly to the back. 陈 氏 太 极 拳 推 手 技 法 Fig. • Jump the left foot half a step to the left. 3.78). • Turn the body to the right and reel the right palm across the chest to the right. while Xin Zhou is targeted to the front (Fig. Before the foot lands. palm down.77 Fig. 3.
gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity).80 Fig. Instead.80).81 • • • • • 王 西 安 90 • • Prepare to explode energy by looking to the right and gathering the body (Fig. 3. 3. 3.陈 氏 太 极 拳 推 手 技 法 Fig. bending the wrist before striking upward quickly with the back of the right fist. Move the right fist toward the right shoulder using Shun reeling. placing the left fist below the right. followed by the right foot. starting with slow movements initially until the steps become familiar. then transfer your centre of gravity to the right. step the right foot forward. .79 Fig. toe tips touching the ground (Fig. then gradually using short and fast energy. As you change weight. avoid letting all your energy flow upward as this will destabilize your root. toe-tips on the ground. Next. While striking on the right. 3. balance the energy between the upper and lower body. After the strike. 3.81). clench both palms into fists. step the left foot to the left. Return the left fist beside the right ribs (Fig. Practice on both sides. 3. Look to the right side of body while striking upward.79). Also. taking the waist as the dividing line.
3. • • • • Step to one side with either leg.82 Fig. place the left arm inside the right. then strike with the right elbow. Practice alternating both sides. 3. 陈 氏 太 极 拳 推 手 技 法 Fig.83 王 西 安 91 . In this position.7 Shuang Kai Zhou … Double Open Elbows This technique consists of striking simultaneously with both elbows by holding the arms in front of the chest. Gather the fists close to the chest (Fig. Change your weight to the left. 3. If you stepped to the left.83).82).6. the right elbow executes the dominant attack. then exploding both elbows horizontally. 3.3. looking to the left and concentrating energy in the elbow tips (Fig. while the left the supplementary strike.
3. As your weight transfers to the front. 3.陈 氏 太 极 拳 推 手 技 法 3. Try to feel the effect of this preparation during practice (Fig. 3. • • Step one foot forward.84 Fig. prepare for the stike by gathering the wrists inward.84). 王 西 安 92 Fig.85). looking to the front and rolling the chest and shoulders inward.6. holding fists on either side of the ribs (Fig.85 .8 Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows This technique consists of a center strike with both elbows. 3. This increases the force of your attack.
3. take a big step forward with the right foot in front of the left.9 Gua Zhou … Hanging Elbow • • • • • Step the left foot forward and extend your left hand forward simultaneouly. palm to the front.86). As your centre of gravity shifts to the left.86 Fig. 3. As the weight shifts to the left. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. You can begin a new round by stepping forward with the other foot and repeating the movements on the other side. 3. rotate the body to the right.87). clench the left palm into a half fist and place it beside the left leg. then lift it so that the right elbow is positioned over the right knee (Fig. clench the right hand into a fist.6. extend the left hand forward and simultaneously strike the right elbow downward past the back (Fig. 3. At the same time.87 93 . Simultaneously. Practice alternating both sides. palm facing inward and inclining backward.
88 94 . Make sure both hands move and arrive at their destinations simultaneously. you apply Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. strike forward explosively with the right forearm using a short-energy (Fig. 王 西 安 Fig. 3. • Shift your weight abruptly to the right and form a half fist with the left palm. the legs should be parallel to each other. palm up. In this way.6.陈 氏 太 极 拳 推 手 技 法 3. • Change your weight to the left.88). then lower it over the right knee. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. • At the same time. • Extend the right hand outward. • Step the right foot forward.10 Pie Zhou Technique … Pushing Aside with Elbow Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). the aim of Pie Zhou is to convert conforming force into transverse force (Shun Zhong Qiu Heng). moving it beside the left ribs. As one of the Eight Forces. shifting your centre of gravity to the front. • After exerting Pie force. • All movements are guided by the rotation of the waist and spine. 3.
ring and middle fingers. 3. closing it slightly. The thumb and index finger form the character Ba ‘八’.3. use Cai technique to strike out explosively with the outside of the right forearm and elbow. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • Keep the left hand open so the thumb is separated from the fingers. Shift your weight more to the left as you do this (Fig. bending the elbow. • Step backward with the left foot shifting your weight to the left. • Raise the right hand from the right side.89).11 Cai Zhou … Snatching Elbow This is a capturing and immobilising technique using the elbow. using downward Ni reeling. • While lowering the left hand. using guiding energy from the little finger. In this way. Form a hook (Diao Shou) with the right hand with the little.6. coordinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine.89 95 . • Then. and extend the left hand forward to the right. 3. both internal and external movements are integrated with the movements of the body and limbs. palm up. lower the left hand from the front of the chest to the left ribs.
make sure power is gathered properly through the whole body and that your timing is correct before you strike. and extend the right leg backward. 3.陈 氏 太 极 拳 推 手 技 法 3.91 . the right thumb guides energy flow.91). 3. and then. strike the right elbow backward at an upward angle (Shang Chuan Zhou). toes grasping the ground.90). 王 西 安 96 Fig. While transferring weight.12 Xie Chuan Zhou … Slanted Piercing Elbow This technique consists of using the elbow to strike backward.6. Note: For maximum effectiveness. Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. you raise the right hand in Ni reeling to descend the elbow (Fig. 3.90 Fig. • • • • Bend the left knee. moving your weight to the right (Fig. 3. At the same time. especially useful as a defensive move when being attacked while in a passive situation.
3. 3. Ying Men Kao. The right foot and right arm should reach their positions at the same time (Fig. Xiong Kao.92).7 kaO (push) pracTices Kao practices can be divided into seven techniques: Qian Zai Kao. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao.1 Qian Zai Kao … Front Shoulder Push • • Step the right foot forward. As you shift your weight to the right. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of the right arm. 3. 3.93 97 . Ce Jian Kao.92 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.3.7. Shuang Bei Kao and Qi Cun Kao.
take care to maintain your centre of gravity by not stretching too far forward (Fig.93). use the outside of the right shoulder to execute Qian Zai Kao. if you find you get into an appropriate space for attacking.陈 氏 太 极 拳 推 手 技 法 • • • Then. Repeat these steps for both sides. As the body inclines forward significantly during this move.2 Ce Jian Kao … Side Shoulder Push This technique consists of pushing the shoulder at the opponent’s ribs. 3. 3. quickly pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. • • 王 西 安 98 • • Step forward with the right foot (Shang Bu). The left hand follows the right hand in support and comes to a rest in front of the right shoulder. After executing the above. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. 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.7. pushing it forward and down. Do not make the mistake of weakening your defences by being too eager to attack and moving beyond your territory.94). step forward with the left foot and place it next to the right foot. Note: Only push when you are in the correct position. . As the heel touches the ground. Then step the right foot forward again to execute Zai Kao for a second time. Then take another big step forward with the right foot. On completion of the shoulder push.
94 Notes: • 陈 氏 太 极 拳 推 手 技 法 • Finding the right rhythmic flow to your movements is key to effective attacks.7. Dai (lead and pull) and Ji (attack) energies together. Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. then techniques such as Ying Men Kao can be used to penetrate defences and attack. conversely if one is able to ‘open’ the doors of the opponent. 3. lowering down but not stiff. light but not floating” . 3.3 Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to two iron doors. arms are a defense against attacks. 王 西 安 99 . This only comes with closely combining the Yin (guide).Fig. When firmly closed.
• 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. Next. move both arms to each side of the body and push the right shoulder forward in attack (Fig. 3. 3. Separate the hands of the opponent to expose his chest (Fig. .陈 氏 太 极 拳 推 手 技 法 Fig. the right hand above the left. fingers pointing up and palms facing the sides of the body. At the same time. Once the attack is completed. cross the hands in front of the chest. 3. It is easier to hurt the partner using a narrower attacking surface. Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power.95 Fig. 3. The success of this technique depends on the extent of coherency and how quickly and smoothly the steps can be executed.96). Note: There are two ways your can attack with Ying Men Kao: • You can lower your power slightly so that the tip of the shoulder protrudes more.95).96 • • • • • • 王 西 安 100 Take a large step forward with the right foot.
97 Fig. move the left foot parallel to the right. using this shift to deliver a sudden push with the chest (Fig. 3. • Change your weight to the left while pulling the opponent toward your chest using your palms (Fig. 3. A good sense of timing is essential for defeating the opponent.7.4 Xiong Kao … Chest Push This technique uses the chest to push at the opponent. Note: Focus on sharpening your sense of timing during practice.3. • To begin. 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 ). • Practice this technique in rounds by stepping the right foot forward again and repeating the sequence above. • Extend both arms from the sides to the front in an embracing gesture. the chest and waist are in a collapsed position. 3.98 101 .98). shifting your weight to the front. • Step the right foot forward. • Then roll the chest inward and shift your weight quickly from left to right. • After this move is completed. Only with a thorough mastery of this technique.97).
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.陈 氏 太 极 拳 推 手 技 法 3. Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. 3. rebounding and shaking power).7. 3. • Stand with feet parallel. This technique also uses Duan Jing (short power). • Gently rotate backwards with both palms facing backwards.99). • When the whole body holds and collects to a moderate extent. a capability that comes only with extended Quan practice.5 Shuang Bei Kao … Push with Both Shoulders This technique consists of a simultaneous attack from both shoulders. Note: As mentioned in previous techniques. and the shoulders execute Bei Kao to the right . shoulders slightly concave and with power guided by the thumbs (Fig. • When the weight moves forward the chest rolls inwards. as the shoulders deliver Bei Kao backwards (Fig.100 102 .99 Fig. 王 西 安 Fig. 3.100). 3.
101). • Turn the body slightly to the left as the right hand rises. • Extend the right foot and arm forward. 3.6 Bei Zhe Kao … Lean with back To attack by moving backwards is called Bei Zhe Kao. fingers pointing down.7. use short power in your push. continue to transfer your weight to the right. • Once your root is stabilized. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. This technique consists of drawing your partner into your territory (Yin Jin) while you move backwards to attack. • Practice pushing from both the right and left sides. 3. and at the same time deliver a forceful backward push (Hou Bei Kao Jing) with the right arm and shoulder (Fig.3. extend the distance of your Kao slightly. Note: If the opponent is at close-range. • Start doing Shun reeling with your right hand as you move your weight slightly to the front.101 103 . if further away. Find a stable centre of gravity with the body and gather your body in this position. • Gradually move the right arm downward toward to the inside of the right leg.
Place the elbow below the knee (Fig. 3.102 104 . Incline the body forward in the same direction.陈 氏 太 极 拳 推 手 技 法 3. • • • • Take a large step diagonally forward with the left or right leg. 3. Note: Power applied in the initial stages should be slow rather than quick. This technique uses largescale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). 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. Practice this sequence in rounds from left to right.102).7. 王 西 安 Fig.
1 Shun Ni Na … Seizing in Shun and Ni reeling This seizing technique employs both Shun and Ni reeling. • Relax the left side of the crotch and shift your weight forward to the left. Shuang He Fu Cai Na.103).3. 3. • Rest the right hand near the right ribs.104 105 .103 Fig. palm up (Fig. Xiong Na.8. • At same time. 3.8 na (seizing) pracTices Na practices can be divided into eight techniques: Shun Ni Na. palm facing in. Fu Na. 3. 3. Diao gai Na.104). draw the right hand inward in Shun reeling toward the left hand and seize forcefully (Fig. • Extend the left foot and left hand forward. Tui Na. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. Chan Rao Na. • Take the left thumb as the guidance of energy flow and reel the left hand in Ni direction from outside in. and Shuang He Na.
Observe your opponent’s changes and respond accordingly: if the opponent uses long power. and lower your waist and Qi.陈 氏 太 极 拳 推 手 技 法 • • • While seizing with both hands. you will be able to execute these changes quickly and smoothly. even though you deliver the power later than the partner. then you must respond promptly by swapping the reelings to the opposite hands. Repeat the above sequence. Your moves will become more effective as your internal Qi integrates more closely with the external movements. After seizing. changing the weight from left to right. . If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. but she evades your attack by ducking down. 王 西 安 106 Closing with the left while seizing with the right and vice versa. tighten the ribs. Note: Shun and Ni reeling are interdependent and cannot be separated. Try to relax at every step while applying the seizing action firmly. drop the elbow. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. spread the energy up and down the length of your body like a bow so that power is distributed everywhere. roll the chest in. lower the shoulders. you should use short power so that with one closing and one opening you can quickly reach the right position before the partner. in order to block the opponent’s energy path. Seizing techniques are quite difficult to practice. With practice. move the weight slightly backward then move forward again.e. When seizing. Shun reel with the right hand and Ni reel with the left. this time reeling in Shun direction with the left hand and Ni direction with the right. i. if you practice each side diligently.
As you do this. 3. 陈 氏 太 极 拳 推 手 技 法 Fig. Then lower the right hand to the right ribs. 3. extend the left hand forward to rest in front of the body (Fig. • • • • • Step forward with the left foot and move the right hand in front of chest to fend the opponent off upwards to the right at head level (Fig. placing it in front of the chest. 3. 3. 3.106). At the same time.3. Relax the left side of the crotch. The shift to the left enables you to hit the target clearly (Fig.107 王 西 安 107 . and shift your weight to the right side. lower the Qi.107).105). tighten the ribs. Again. palm out. and clench the right hand into a fist. 3.8.2 Xiong Na … Seize with Chest This seizing technique uses the Cai power of the chest with the help of the hands. Then rotate the right hand and body to the right.105 Fig.106 Fig. roll the chest in. relax the left side of the crotch and shift your weight to the left.
• Close the crotch. reel with both hands in a Shun direction. while the two hands serve as supports. • At the same time. Move quickly and follow your partner but do not lose power. 王 西 安 108 . and gather energy in the ribs. Draw the arc with the intention of meeting the opponent’s hand. lower Qi to the abdomen in preparation for the inward roll and seizing. the force of upward suspension maintains the axis. • Step the right foot forward and pass the right hand across the left side of the body.108). • Step the left foot forward and extend the left hand to the front.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. As it states in the poem: “Raise the left hand and extend the right hand upward to draw a circle. Match the speed of your movements to that of your partner. The strike is actually applied by the left side of the chest. The left hand leads by closing the power causing the right hand to follow. palm facing left (Fig. Make sure to keep your own axis when seizing the opponent. 3. the palm forming a “八” (Ba) shape. Relax the crotch. rotate the body. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen.3 Fu Nang … Seize with the Abdomen This technique consists of seizing with the abdomen filled with descending Qi with the assistance of the hands. 3. • Relax the left side of the crotch and shift your weight to the left by stepping the right foot on the ground.8. • As the weight shifts to the left.109). roll the chest slightly inward and gather the ribs. Move the whole body in a natural and relaxed state.” 3. palm facing right (Fig. Shift your weight forward and accumulate power well.
whose movement is heavier (Fig. 3. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 3. The eyes look forward and to the left. 3. 3.109 Fig. seize with the right and roll the abdomen – these three actions combine to become one power.Fig.108 • • As the Qi descends. the left hand moves lightly and assists the right. The abdomen provides the main supporting element.110). clench the left hand.110 109 .
immobilizes their wrists by bending them outwards. At the same time. 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.4 Shuang He Fu Cai Na Seize from Both Sides with Abdomen This seizing technique uses the combined efforts of the abdomen and hands. . facing in so that the fingers are directed towards each other. move the palms up to chest level and seize the opponent’s elbows using Na power. capture and immobilize the opponent. push the abdomen out suddenly (Fig. extend both arms to the front. do not be kind to the foe for the opportunity to attack comes just once.8. and commence shifting your weight forward. palms about 10 cm from the lower abdomen. the right hand moving down while the left moves up. and both feet standing steadily as the hands move. the right foot steps forward. 3. Move swiftly without hesitation. and gather them towards you (Fig. bending them at the elbows. Concentrate your energies then pounce on your opponent like an agile cat. roll the chest slightly inward. while the hands use Na (seizing) power to collect inward. Both hands extend forward in sequence. 3. keep your intention firm for victory or failure will be decided in a second. followed by the left.111). 3.112). Continue to shift your weight forward. • • • • 王 西 安 110 • • Take a half step forward with the right foot. whereby the abdomen gathers power to support the hands. As you seize.陈 氏 太 极 拳 推 手 技 法 In summary. As your weight shifts. Direct the eyes to the front.
陈 氏 太 极 拳 推 手 技 法 3. Reel the left hand forward. 3. so that you respond by moving your weight forward.Fig. 王 西 安 111 . Step the left foot forward and shift your weight to the left. Lower the right hand then cover it with the left.5 Chan Rao Na … Seize by Reeling This technique uses the gathering power of one hand to seize while the other reels from the inner side of the opponent. • • • • Step the right foot forward and pass the right hand across the chest. 3.113). 3. and lower Qi in your abdomen before protruding it forward.112 Note: It pays to practice as if sparring with a partner who is pushing forward with his or her hands on your abdomen.111 Fig.8. fending the opponent off upward to the right (Fig. supported by the warding right hand.
王 西 安 112 Note: If Qi descends smoothly.陈 氏 太 极 拳 推 手 技 法 Fig. . But remember: practice like an adept.113 Fig. Alternate practice on both right and left sides. Collect the hands inward to about 15 cm in front of the chest. tendons and veins. 3. 3. Collect the body by rolling the chest slightly inward. gathering the ribs and lowering the waist and Qi. this technique can be used effectively to break wrists.114 • • • • Put your body in a squatting position by bending the knees slightly. bones. 3.114). not like a thug. Step the right foot forward again and repeat the above steps. by taking a step forward (Shang Bu) each time. Combine them with the power of chest to become one power (Fig.
swing the left knee inward to gather the left leg so that it serves as a supporting point during the seizing.115). In this way. • Bend the left arm inward to gather both palms. shift your weight forward and bend the knees slightly so that the body squats like a bent bow.8. relax the crotch. • Step forward with the left foot and extend the left arm to the front.115 Fig. • As the knee swings inward. • As soon as the right hand reaches the level of the left leg. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. roll the chest in and gather the ribs (Fig.116 113 .3. The powers of the left arm and right hand unify as one. the Three Powers (Jing Qi Shen) combine to seize the opponent. fingers pointing forward. lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni reeling to seize downward from the right side. 3. 3. Lower your Qi. • As you step. • As the weight moves forward. 3. and move both hands to assist the left leg.6 Tui Na … Seize with the Leg This technique uses the combined power of both hands and one leg.
8.118 114 . • Then lower the right arm by executing Lü downward in Ni reeling. 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. 3. shift your weight quickly to the left and step forward with the right foot. 3. Then step forward with the left foot. gradually guiding it inward to rest in front of the right ribs. • Step forward with the right foot.116). spiral the right hand up from the right side into an arc. • At the same time.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. As you step forward.117).陈 氏 太 极 拳 推 手 技 法 • • • After seizing. shift your weight to the front and extend the left arm again to repeat the steps and seize once more. The changing of the legs happens quickly.117 Fig. 王 西 安 Fig. 3. guiding it to the right ribs for support (Fig. 3.
As the hands move.118).Fig. Continue to move the right hand and foot forward. When the right hand moves up. lower the shoulders.119). Then extend the right hand forward to cover and seize with both hands with Gai power (Fig. The intention is to have the whole body collecting and seizing together with the hands. 陈 氏 太 极 拳 推 手 技 法 王 西 安 115 .119 • • • • • • As soon as the right foot touches on the ground. 3. 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. shift your weight to the right and step forward with the left foot. Then move the right hand forward in Shun reeling until it reaches the same level as the nose. 3. roll the chest slightly inward and bend the knees slightly into a squatting position. shift your weight to the right and move the left foot and hand forward (Fig. As the right foot touches the ground. 3.
rolling the chest inward and tightening the ribs. 3. then gather both hands and grasp the opponent’s wrist firmly downwards. step forward with the left foot and shift your weight to the front. Prepare for the seizing by lowering Qi to the Dantian. This step marks the transformation of Peng (ward off ) to Na (seizing).8. 3.120 Fig. Combine this with the power gathered in both hands and seize with one force. 王 西 安 Fig.121 116 . strengthed by whole body coordination. 3.120). Make sure you have a clear line to your target by lowering the shoulders and elbows before seizing downward (Fig. 3.8 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. Bend your knees so your body squats like a bending bow.121). At the same time.
‘Wars Among Three Countries’ by Guan Yu.122).3. shoulder-width apart. Shan Jing Zhen Zhang Jie 8.9. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. • Hang the hands naturally at the sides. such as a waist grasp from the rear to throw you down. • Next. Guan Gong. • Stand with both feet in parallel. then exhale as you bend the knees slightly to put the body in a squatting position (Fig.9 jie TuO (escape) pracTices The practice of Jie Tuo is divided into nine techniques: 1. Diao Wan Qu Zhi Jie Tuo 3. • Move Qi in from the outside and lower it to the Dantian. • Inhale. and finally the index finger. 3. Guan Gong Jie Dai 2. eyes looking forward. Shuang Wan Zhi Jie 4. the Guan Gong Jie Dai technique is said to be named after its creator. This technique enables a practitioner to avoid capture or break a hold.1 Guan Gong Jie Dai … Guan Gong Style Escape According to the book. Qu Wan Fan Na Jie 6. Shan Jing Ce Jian Jie 7. Shuang Shou Wai Fen Jie 陈 氏 太 极 拳 推 手 技 法 3. middle finger. then the ring finger. Chuan Zhang Jie 5. 王 西 安 117 . Fan Na Cu Bu Jie 9.
In this way. If the fingers are being held. 王 西 安 118 3.123). the gathering of the ribs and the hooking of fingers should combine to become one unit. This technique becomes effective only after extended practice. 3.9. otherwise it is not easy to unfold (Fig. This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip). 3.122 Fig. the squatting of the body. .123 • Synchronise the speed of this movement with that of the body. hook the wrist and bend the fingers to escape. 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. and also with the speed of Qi descending.陈 氏 太 极 拳 推 手 技 法 Fig.
By the end of your movement. and lowering your Qi as you do so. 3.124 Fig. so that Tuo (escaping) power can reach the fingers effectively. 陈 氏 太 极 拳 推 手 技 法 This technique is only to be used if you have become proficient in it after extended solo practice. 3. 3.125). relaxing the shoulders. rolling the chest inward. Practice these steps with both hands in turn. lowering the elbows. join the fingers of your hand together and point them diagonally upward to the right (Fig. Move your body to transform the attacking power. As you move. slowly bend the wrist and fingers. 王 西 安 119 . your conjoined fingertips and knuckles should be able to escape with ease (Fig. By doing this. 3. unblocking the arm area being attacked.Fig. you relax and elongate your encaptured arm.125 • • • • • If the fingers of one hand are seized by the opponent.124).
3. While doing this. 3. tighten the ribs. • • • Step one foot forward and shift your weight to the other leg (Fig. 3. then move your arms forward and upward as your weight shifts forward (Fig. bend the arms. 王 西 安 Fig. and lower the Qi so that power can flow smoothly to the inner side of the wrists.126 Fig.陈 氏 太 极 拳 推 手 技 法 3. lower the shoulders and elbows.127). It consists of spiralling the inner sides of both wrists upward to force the opponent to open his hand.3 Shuang Wan Zhi Jie Escape by Spiralling Wrists Upward This technique is used to escape a double wrist-hold.127 120 . closing your hands while opening the opponent’s. Just focus on relaxing and lower the Qi. clench both hands into fists. 3.9. roll the chest inward. At the same time.126). It is not necessary to use large movements in this technique.
• Two feet stand flatly and the body stands straight. and roll the chest inward. It is most often used in the transition between the Jin Gang Dao Zhui posture (Buddha’s Warrior Attendant Pounds Mortar) and the Lan Zha Yi posture (Lazily Tying Coat). placing the right hand on the left (Fig. 3. • Bend the knees slightly to place the body in a squatting position. 3.3.9. two eyes look forward horizontally. and lower the shoulders. elbows.128). 3.129 121 . and Qi. tighten the ribs. • Bend both arms 90o inward and cross them in front of the chest.128 Fig.4 Chuan Zhang Jie Tuo Escape by Crossing the Hands before the Chest This technique consists of crossing both hands before the chest when you move to the left or right to transform power. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.
3. 3.5 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. and move the right hand in Shun reeling while the left does Ni reeling. and lock the palms of the opponent. then to follow your opponent by bending your wrist in Ni reeling while you rotate to the right position so as to extend the left hand and seize with the right.131 122 . then rotate forward again. 3.129).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.130 Fig. 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. swapping the Shun and Ni reeling to the opposite hands.9. 3. It requires you to twist the captured fingers outward in Shun reeling.
raise the elbows. As the right toes touch the ground. If you practice diligently. 3.133). As you do this. step the right foot forward (Fig.132 Fig. then bend it about 450. 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. Apply the principle of constant change and flexibility in Taiji circles.133 • • • • • Extend your right arm forward. relax the shoulders. 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. extend the left hand forward to support the right hand as it seizes downward (Fig. 3. 3. Rotate the arm about 1800 outward in Ni reeling. wrist bent inward in readiness to seize and fend off danger (Fig. 3.130). palm facing left (Fig.132). it will be difficult for opponents to overcome your attacks.131). Your movements should be relaxed and executed with power at all times. 3. While rotating the arm. 3.Fig. 王 西 安 123 .
move the left hand rightward to the front of the chest.9.陈 氏 太 极 拳 推 手 技 法 3. • The right wrist bends inward with the arm to rotate the hand in Ni reeling. • Extend the right arm horizontally and bend it 900 inward.134 Fig. Together. • As the right palm reels outward. the palm gradually guided by Ni reeling to slant externally to the right. so that the power of the left hand combines with the right to become one. • Simultaneously. In response. you should rotate externally and upward in Ni reeling.135 124 . 3. roll the chest inward. this sequence of movements make up the Shan Jing Ce Shen Jie technique. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). Next. 3.6 Shan Jing Ce Jian Jie … Escape by Flashing Back This technique is applied when the opponent seizes your wrist in Shun reeling. coordinating it with the lifting of the back and the descending Qi. palm facing right. right fingertips initially pointing downward. 王 西 安 Fig. then move swiftly to the right to destabilize the opponent.
and thus enabling one to evade capture. All the above movements of the hands. If the opponent seizes your forearms: • Retreat half-a-step with the left foot. 王 西 安 125 . shift your weight to the left . then bend your knees slightly to place your body in a squatting position so that you can collect and hold energy. make a big step forward with the right foot. giving him a sense of losing of Qi. then project the right shoulder forward to push at the opponent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. Almost at the same time.134). Note: Move in Ni reeling while the opponent moves in Shun reeling.7 Shan jing Zhen Zhang Jie Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. The above movements of both arms and the right foot should occur in one very smooth and swift motion. then quickly step the right foot forward (Shang Bu). So Shan and Jing serve as the pre-condition of escaping. 3.• • • As your left hand moves. because with these. 3. The force of this attack can help wrest you free from the opponent’s grip and dislodge your wrist from his or her grasp.135). feet and shoulder should integrate into one resolute force and terminate at the same moment (Fig. 陈 氏 太 极 拳 推 手 技 法 3. touching the ground with the toe tips (Fig.9. 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.
slowly raise both hands and bend them inward about 1800. and the extending palm reaches the right position at the same time. and both palms draw inward. Next.138 126 .136).137). This power should be quick and strong. Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. step forward quickly and attack with the palm (Fig. palms facing up and the two little fingers placed on the middle of each arm. As soon as you surprise and destabilize them with your moves. 3. then the whole body sends a Dou in a circle in Shun reeling (short power).陈 氏 太 极 拳 推 手 技 法 • • • • • • At the same time.138). 3. 3. palms facing up and eyes looking forward. Simultaneously.136 Fig. 3. 王 西 安 Fig. 3. clench the hands into fists and place them at the sides of the body (Fig. When the body and two hands send the Dou power. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity. open both fists and shift them away from the sides of the body. then Shang Bu (take a step forward). 3. the body squats. At the same time.137 Fig.
and attacking by the Cu Bu or Dun Bu technique (stomping). 3. holding and collecting a quicker speed.139). 3. Then push the left palm to the right. At the same time. fingertips slanting up (Fig. then shift your weight to the left and inclining the body to the right to hold and collect. which is against principle. Step diagonally right with the right foot. 3. • 陈 氏 太 极 拳 推 手 技 法 • • • • Step forward with the right foot and commence Shun reeling with the right arm. extend the right hand diagonally forward to the side. you find escaping easy. palm facing out.9.It is just like the poem reads: ‘It is not a failure if you retreat your pace. With Shan and Jing.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. the partner cannot reach you though his attacking power is strong. As the right foot steps on the ground. since he or she can easily twist your fingers and get you caught’. It is not wise to grasp the opponent’s elbow with your fingers. first bending it inward then moving it outward to the right. 王 西 安 127 . Two elbows draw inward and hands move outwards. Bend the knees slightly to place the body in a squatting position. extend the left hand from left to right.140). because sometimes appropriate retreating gives one a closing power. thumb separated from the fingers (Fig.
only by this will you increase in strength.139 Fig. from long power to short power. 3. Even if you sense the opponent’s intention to move. During the practice. paying attention to the upper and lower body and your surroundings. from slow to quick. 王 西 安 128 .陈 氏 太 极 拳 推 手 技 法 Fig. 3. Stand rooted like a big tree. Be patient and diligent with practice. the body should move from high to low.140 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. do not react or become anxious but remain confident in your prowess. Then you will free yourself from capture. side pushing with the left palm and exhaling at one time. Incline your body and explode the energy with great unity by stomping with the right foot. This power can only be gathered with greatly unified power.
陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.141).142). roll the chest in. bending inward about 90o. • Next. palms facing in (Fig. 3. the hands wrest free of the opponent’s wrist grip. tighten the ribs and lower Qi to the Dantian. eyes looking forward (Fig. lower the shoulders and elbows. 3. 3. • Step the right foot forward. the left hand in Ni reeling and the right in Shun reeling.142 129 . exhale.9.9 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. • Then bend both wrists inward.3. separate the hands to the sides of the body. palms facing each other. • Extend both arms forward.141 Fig. 3. • In this way. As you do this. breathing in as you do this.
3. Palm Inserting Down) (Fig. 3. You can escape from seizing by one closing and one opening. 3. keeping both arms tightly together like pincers. then separate them to each side. get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling.144 Notes The extent to which you separate your hands depends on the opponent’s grip. During practice.144).陈 氏 太 极 拳 推 手 技 法 Fig. then raise your hands. 3. 王 西 安 130 . insert both palms downward (Xia Cha Zhang.143 Fig. If you still can’t free your wrists with this technique. If you cannot push the opponent’s hands away. finally returning them to the front of the chest to repeat the cycle (Fig.143). then you transform and eliminate the seizing on your wrists.
CHAPTER FOUR healTh anD qi enhanCemenT pRaCTiCes 陈 氏 太 极 拳 推 手 技 法 王 西 安 131 .
its leaves and branches must flourish. states: “If a tree has deep and strong roots. Peng.” Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). Chen Xin. Ji and An. Wu Ji Zhuang (Wu Ji Posture) 2.1 inTrOducTiOn Taiji Yangsheng Zengqi Gong is a collection of health and Qi enhancement practices essential for the formation of robust Taiji and Tuishou techniques. opening and closing. Hunyuan Zhuang (Circle Posture) 王 西 安 132 3. Kai He Zhuang (Opening and Closing Posture) 4. Chan Si Zhuang (Reeling Silk Posture) 6. incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. 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). . rising and falling. each of which can be practiced individually or in sequence: 1. This group of practices is used to strengthen the Prenatal and Postnatal systems of the body. It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong. 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. Taiji Yangsheng Zengqi Gong can be divided into six postures. Lü.陈 氏 太 极 拳 推 手 技 法 4. These movements are applied throughout the whole system of Taiji and Tuishou practices. As Qing Dynasty Taiji Master. San Ti Shi (Three Postures) 5.
Concentrate your intention (Yi) in the Dantian. keeping your mind relaxed. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.2 wu ji zhuang (wu ji pOsTure) 4.4. Hang both arms at the side of the body and relax. Open your eyes gradually. feet parallel and shoulder width apart. breathing gently and slowly.2.1 Postures a) Posture 1 • • • • Stand upright. 4. eyes closed.1 133 .
Maintain the hands at shoulder height. Take care of these points and you will not lose power (Diu Jin) unnecessarily.2). when it should actually be solid.3 134 . c) Posture 3 • • Curl the little fingers towards the thumb and slowly draw the arms down to the middle of the body. 4. palms facing downward and slanted diagonally (Fig. the reverse for females (Fig. 王 西 安 Fig. Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabilizes your feet. Lower the hands onto the abdomen. 4. the right hand rotating in Shun reeling and the left in Ni reeling. 4. do not do it so gently that Qi becomes too soft and weak to reach every part of the body. the right over the left for male practitioners.2 Fig. Try to expand your arms moderately.陈 氏 太 极 拳 推 手 技 法 b) Posture 2 • • Raise the arms to the sides. On the other hand.3). 4.
Lift the buttocks and anus up a little. so that the waist descends naturally. Pay attention to the following points when practicing the Zhuang posture: 1.2. 陈 氏 太 极 拳 推 手 技 法 王 西 安 135 . guiding the Qi and saliva through to the middle Dantian. bend the knees slightly and grasp the ground gently with the toes. until they reach the lower Dantian. The neck should be firm and straight. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. 4. the mind and facial muscles naturally relaxed. 4.2. 3. lower it when exhaling. The whole body will be steady if you gather the internal organs consistently. 2.3 Breathing Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). The Yong Quan point should be kept empty and relaxed so that any stagnant Qi can flow through smoothly when it descends. Let the Ren Mai and Du Mai meet during breathing: then lower the tip of tongue.2 The requirements for every part of the body 1. 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. Your shoulders should be loose and slightly lowered. Your elbow joints should be lowered. Gather the chest and ribs inward.4. inhale and then swallow saliva down into the stomach. Relax the crotch so that the inner and middle parts of the lower limbs are also relaxed.
you will enlarge your vital capacity and exercise the diaphragm muscles. Do not lift the back too much while the Qi rises as this causes both the Qi and blood to rise even further. lower the waist and gather the Qi in the Dantian. Maintain your vertical axis. Raise your Yi (intention) from the Hui Yin point (perineum). By practising the above key points. including the internal organs. 3. through the Wei Lü Guan point. 王 西 安 136 . While inhaling Gather your chest and abdomen inward while breathing in Qi. which will help with the distribution of Qi around the body. so that they all have the same rhythm. Practice also enhances your ability to guide Qi with Yi (intention).陈 氏 太 极 拳 推 手 技 法 2. roll the chest slightly inward. across the Yu Zhen point. While lowering the internal Qi. leading to Qi filling and blocking the chest. until it reaches the Bai Hui point. skin and fine hairs opening as the Qi rises. keeping your body upright and lifting your back slightly. Feel the sensation of all the body joints. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). While exhaling Lower every part of the body. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. up along the spine.
quietude and concentration. can the mind obtain full rest and be adjusted so that every organ system may be well promoted. you need to concentrate your intention on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). Qi follows Yi. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. external movements) follows Qi.2. During Wu Ji Zhuang.4 Additional Notes • In Taiji Yangsheng Zeng Qigong. and achieve the smooth Zhoutian circulation and help with body combat. Only these can guarantee normal and healthy internal Qi circulation. However. The key requirements for practice are relaxation. Practitioners should modify the scope of their practice according to their level and progress. Only through mastering your mental activities such as intention. thinking. • • • 陈 氏 太 极 拳 推 手 技 法 王 西 安 137 . consciousness. these can be accomplished only by hard learning. patients and the correct mastery of key points. Qi cannot be separated from Yi (intention). just as Xing (posture.4. Beginners generally find it difficult to remember the postures and key points. and emotions.
people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill.” Hence. 4.3. is an important basic skill in Chinese Martial Arts.5 138 .3 hunyuan zhuang (circle pOsTure) Zhuang skill.” and “Practicing Martial Art routines without practicing Zhuang skill is like a house without pillars.1 Postures 王 西 安 Fig. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation.4 Fig. 4. 4. as reflected in the following sayings: “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.陈 氏 太 极 拳 推 手 技 法 4.
the neck. 4. waist and crotch. Leave your eyes naturally open or close them. Keep the head naturally erect. focus your attention on the Dantian (Fig. The upper body should be kept upright. 4. mid-level and low. shift your weight to the right and lift the left foot and take half a step to the left. then move them back to the middle.2 Body requirements a) Zhuang Skill Adjustment Hunyuan Zhuang can be practiced at three levels of body stance: high. if closed. 王 西 安 139 . Execute the posture as if embracing a big tree. fingers pointing at their counterparts about 30 cm apart. then lower the waist (Fig.a) Posture 1 • • • • • Start with the same initial posture as the previous posture. focus on a static object at the same level as your eyes.4). with practice duration increasing gradually from short to long. Next. If your eyes are open. The old and weak may practice using a high body stance. b) Posture 2 • • • Separate the hands when the left foot reaches ground. Lower the elbows and shoulders slightly. waist and back straight. The palms face each other. Keep the fingers evenly open and slightly bent as if half grasping a sphere.5). Stand with your feet parallel.3. a little more than shoulder-width apart. Relax the shoulders. 陈 氏 太 极 拳 推 手 技 法 4. Bend the knees so that the body is squatting a little.
Practice duration can last just a few minutes in the initial stages. the thigh muscles and even the whole body may tremble rhythmically. Inhale again as the body rises. increasing to thirty or forty minutes at later stages. up the spine. inhale slowly first. Du Mai. then bend the knees to lower the body until the buttocks are at the same level as the knees. through the Ren Mai. you should raise your stance slightly to rest. then a low stance. intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). The trembling may only be detected by touch or by close observation of the leg muscles. then lower your body again. Should this happen. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. This relieves or may even stop the trembling for a period. Wei Lü Guan. Beginners will find that the thighs may ache after two weeks of practice. becoming gradually longer. graduating to midlevel. although this may become more obvious with prolonged practicing at mid or low stances. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. 王 西 安 140 . touch the palate with the tip of the tongue. For example. Que Qiao. At the same time. raise Qi from the heels up the legs. b) Rising and Falling Method This method refers to the subtle rise and fall of the body during Standing Zhuang following the rhythm of the breath. until it reaches the Baihui point. swallowing your breath with saliva. In this case. Now lower the tongue and inhale. At this point.陈 氏 太 极 拳 推 手 技 法 The young and strong should start with a high stance. and guide the saliva down to the middle and lower Dantian. and slight trembling may occur. when doing Standing Zhuang at a high stance. past the Yu Zhen point.
The body weight is always subtly moving in various directions.3 Breathing Breathing is an important element of Zhuang skill. 4.As you exhale slowly. It rises and falls like a boat in the ocean. breathing motions and digesting processes. but the apparent non-activity is misleading. 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. Practice this process repeatedly. as it responds to the circulating blood. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs. the body quivers in a relaxed and peaceful state of mind. Zhuang skill is actually a practice using static strength and tension. 陈 氏 太 极 拳 推 手 技 法 王 西 安 141 .3. The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. Standing on the ground steadily like a mountain.
6 Fig. 4.1 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. 王 西 安 Fig. the breath is usually short.4.陈 氏 太 极 拳 推 手 技 法 4. relax and open the internal organs.7 142 . 4. The distance between both arms starts short then grows longer. the middle fingers connect. the body rises slightly with the inhalation. The navel and Ming Men are in the same rhythm. In the initial stages of practice. the palms face inward and the eyes are slightly closed (see Fig. The only difference is that in this posture.8). as are the requirements and key points for the body parts. 4. At the same time. 4. Gather the chest and abdomen. extend your breath slowly through the practice process.
Roll the chest slightly inward. Qi appears between finger tips of both hands like a magnetic force.Note: when you inhale and open up. At the same time. use your intention to guide the current outward. crouch down and lower the elbows. Focusing on your intention (Yi). All internal organs are filled with strength. the navel and the Ming Men Mai swell out. using your intention (Yi). 4. Acting slowly. Guide this Qi from the fingertips and palms into the ‘sphere’ in front of your abdomen. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. b) Posture 2 • • • • • • Exhale and gather the organs. Drop the wrists and hold the palms facing inwards in a concave shape. lower the waist and gather the rib muscles.8 143 . Do this practice slowly. Relax the body. you will detect a current of energy released from both palms which seems to be difficult to gather at this point.
as well as the internal Qi moving in the body with the guidance of your intention. In this way. as well as breath control. 4. 王 西 安 144 Qi combines with strength when Qi descends – the whole body and internal organs relax. and also helps the practitioner build skills in relaxation and quietness. it also helps increase internal strength and distributes Qi around the whole body. gentle and even.4. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques. Intention and Qi Kai He Zhuang is directly related to the Three Internal Combinations: thought and intention. This practice also strengthens the practitioner’s ‘root’. and when Qi rises – the body and internal organs gather slightly.2 The relationship between Thought. if you require the breath to be slow. For example. 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. Qi and strength. the ebb and flow of Qi and strength (or power) are in synch with each other. intention and Qi. For example. 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. then your strength must be soft. Qi here refers to the fresh air exchanged between the lungs and the outside. one’s thoughts need to implement intention consistently. “the internal Qi moves inside”. when extending the hands. only when you can mentally trust that you feel the Qi in your hands can you apply the practice techniques to good effect. Lastly. .
In particular. this movement becomes a conditioned reflex and helps move muscles which are normally static. and are one of the main requirements in Zhuang skill. Guided by intention. With practice. the chest. abdomen and back.The relaxing and gathering of the internal organs mentioned here refers to the activities of the internal organs and the muscles around the midriff area – under the ribs. the regular up-down movement of the midriff muscles are very important in Kai He Zhuang. you will reach the point where internal Qi may be guided by intention to move freely in your body along desired routes. Its purpose is to stimulate the nerve system by muscle movement. 陈 氏 太 极 拳 推 手 技 法 王 西 安 145 .
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. When inhaling. The length of inhalation should match the speed of the weight shift. Next.10). a) Posture 1 • • • • • • • • 王 西 安 146 • Stand with feet parallel and take a step forward with the right foot.9). Expand the crotch like a circle. This posture could also be called a sideways Bow Step (Fig. make sure your eyes are drawn inward to looking internally. . 4. then open your eyes and look into the distance. inhale and move your weight backward. the right hand in front of the left. raise both hands above the right leg.陈 氏 太 极 拳 推 手 技 法 4. 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. fill the body with strength and withdraw the limbs to prepare for the next pushing posture. then breathe it out slowly as you move forward (Fig. At the same time. then shift your weight forward from the left foot to the right knee. 4. The fingers are poised as if grasping the air. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. Swallow the fresh air inhaled. When the weight shifts completely to the left leg. Gather the Lao Gong points of both hands inward. Purify this saliva with your intention.
lower the waist. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.10 Fig. 4. close and fold your strength into your chest and waist. Repeat this process alternating the left and right sides.11 147 . You need to have the feeling of closing before opening. 4.Fig. 4.9 b) Posture 2 • • As Qi is lowered into the Dantian. 4. then push both hands forward slowly (Fig.11). As you exhale and shift your weight forward.
Confidence in Zhuang skills grows with practice as difficulties are overcome. then your progress will be poor. practitioners are required to cultivate their Three Spirits when they begin practice. If. and persistence. your practice hesitant and inconsistent. So where does confidence come from? From practice. Only after prolonged practice can confidence be nurtured. With confidence comes determination. persistence may be engendered. on the contrary. confident and diligent practice. your belief is half-hearted. practioners will make the expected progress. confidence is a critical prerequisite. leading to progress and experience of the benefits. 王 西 安 148 . Beginners tend not to have much confidence or belief in Zhuang skills because their practice has only just begun. You can persevere only if you firmly believe in the benefits of Zhuang skills. Through serious dedication. with confidence and determination. Indeed. and hold firm to these attributes throughout path of practice and study. In sum. determination. and great determination.陈 氏 太 极 拳 推 手 技 法 Notes: Remember to cultivate and apply the Three Spirits: confidence. Practitioners who apply the Three Spirits can develop good Zhuang skills and attain the expected results.
王 西 安 149 .1 The practice method of Chan Si Zhuang a) Posture 1 • • Step forward with the right foot and shift your weight forward. • At the same time. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line).4.6 chan si zhuang (reeling silk pOsTure) Chan Si power generated by practising Chan Si Zhuang is the core content of Chen Style Taijiquan. In this way. 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.6. As you step forward. Peng force is maintained while the foundation of the body is reinforced as well. 4.12). Chan Si Zhuang refers to practices using silkreeling power built on the foundation of Zhuang skill. 4. extend both hands forward with the right hand before the left. • The fingers of the both hands point to each other. inhaling all the while (Fig. both palms facing forward.
4.12 王 西 安 150 Fig.13 Fig. 4.陈 氏 太 极 拳 推 手 技 法 Fig. 4.14 .
relax the right crotch and shift your weight gradually to the right. Both hands make a half fist when reeling. Inhale and swallow saliva. When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. drop the elbows. lower the shoulders. As you shift your weight. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale (Fig. open both fists into palms facing inward. keeping the left hand inside and the right outside (Fig. you will lose your weight and axis). gather and close the whole body so it forms a posture prepared for opening activities. rotate the left hand in Shun reeling in front of the lowered abdomen. At the same time.b) Posture 2 • • • • • • • Next. the right hand in front of the left. otherwize. As the weight shifts. turn the waist and twist the crotch. 4. relax both arms. suffusing it with Qi before lowering it down to the middle and then lower Dantian.14).13). 王 西 安 151 . withdraw the right hand so it intersects the left. inhale and crouch the body slightly. relax the left crotch and shift your weight to the left Move the left hand down in Ni (contrary) reeling and the right hand down in Shun (conforming) reeling. When this happens. you start to repeat the sequence. When the left hand executes Lü (roll back) to the middle of the body. step the right foot on the ground. 陈 氏 太 极 拳 推 手 技 法 c) Posture 3 • • • Next. 4. As this happens.
This helps in the exchange of carbon dioxide and promotes metabolism in the body. you should focus on increasing the duration and depth of your breath. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. 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”). This is a primary sign of beneficial Zhuang practice. decreasing to seven or ten breaths per minute. inhalation/exhalation being one breath. and comes only after accumulated practice. your breath should be natural and of the proper duration so that it enhances body combat and health. After mastering the key principle of natural breath. This phenomena of “connected arteries.陈 氏 太 极 拳 推 手 技 法 4. The normal breath frequency of adults is six to twenty times per minute. Dual practice with Yi (intention) and Qi connects the whole body. you will feel your key joints and your arteries and veins become unblocked and re-connected. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology. Inhalations and exhalations should be of proper length. Only by this can you avoid errors and side effects. Therefore.2 Breathing and its Purpose in Chan Si Zhuang When practicing Zhuang skill. When you practise Zhuang skills to a certain level. Ren Mai starts 王 西 安 152 . and even to one or two times per minute. then to five times per minute. The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. the breath can become slower and longer. 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.6.
and Yi and Qi should move in the required routes. For both. then rises through the backs of the legs before joining the routes of Xiao Zhou Tian.from the tip of the tongue. In Da Zhou Tian. deeper. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. except that the breathing in the former is longer. the body should be relaxed. Qi descends to the Yong Quan point through the inner sides of both legs after which it returns to the Dantian. the five sense organs internally gathered. The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. The Qi of Da Zhou Tian originates from the Yong Quan point. 陈 氏 太 极 拳 推 手 技 法 王 西 安 153 . Du Mai starts at the perineum. The whole process of moving Qi through Ren Mai and Du Mai. reaches the Bai Hui point through Wei Lü Guan. Jia Gu Guan. reaches the perineum through the Dantian and then connects to Du Mai. then infusing Qi into the Dantian. is called Xiao Zhou Tian (Minor Zhoutian) of Yin Yang circulation. all channels extended and unfolded. the difference being that Da Zhou Tian extends Qi to the lower limbs. and Yu Zhen Guan. then reaches the maxilla through the ears and cheeks to finally connect to the tip of the tongue. more gentle. even and quiet.
4.15 Fig. then bring in the right foot so that both feet are a shoulder-width apart. Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly.陈 氏 太 极 拳 推 手 技 法 4. Swallow Qi down with saliva and guide it down to the middle Dantian. At the same time. 王 西 安 Fig. 4.16 154 .15). then infuse it into the lower Dantian. close your eyes and inhale. bring in the arms and place both palms in front of the abdomen (Fig. Its practicing method can be summarized thus: when you finish Peng and Ji outwards with both arms in Chan Si Zhuang.7 wu zhuang huan yuan (reTurning TO wu ji zhuang) Wu Zhuang Huan Yuan is also called “Closing Practice”. 4. a) Posture 1 • • • Shift your weight gradually to the left leg.
finally placing them in front of the shoulders. 4. fingertips pointing obliquely down.b) Posture 2 • • • • • Inhale and with thumbs guiding the energy flow. 4.18 155 . Then using the little fingers to guide the energy.16). separate the arms to the sides. 4. palms facing in (Fig.18). pointing the fingertips upward. swallow Qi and saliva and infuse them into the lower Dantian (Fig. 4. 4.17 Fig. palms facing each other. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. lift both arms upright. Relax the whole body and raise it up slightly to open the joints throughout the body (Fig.17). Clench both hands into fists and lower them to ear level as the body lowers. As the body lowers.
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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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advocating contraction of the anus during physical exercise as a remedy. anus contraction should only be slight and done in a natural way. Doing so over an extended period can have a positive effect in curing hemorrhoids. womb and so on. To help you master correct Dang postures in routine and Tuishou practice. womb prolapse and so on.2. it was realized that the anus and perineum were two of the most vulnerable parts of the human body. A brief introduction is provided below. are described below: 陈 氏 太 极 拳 推 手 技 法 5. Ding Dang. the left knee and ankle vertically aligned to each other and the ground. For example. the positioning of the anus also needs careful attention. rectocele. 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. Yuan Dang. and it became difficult for vena blood to flow to heart. In ancient times.The Anus In the same way that the positioning of Dang is very precise. After humans evolved to the upright posture and started to walk. This realization caused the ancients to suggest that “the ground door should be always closed”. the weight distribution is 3:7. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. This requires the left leg to be solid with the lower leg standing upright. In Taiji practice. the perineum and it’s soft tissue started to bear greater pressure from such internal organs as the liver. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine.2 Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. a short introduction of key Dang movements. 王 西 安 161 . which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. Jian Dang and Tang Dang.
Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. when the right leg moves to the side. Hence. 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. These traditional teaching methods should be changed as implied by the adage. If a practitioner is advised to relax. which means there will not be opening-closing power if he or she crouches in the Horse Stance. the right knee should incline outward. As for practitioners. For example. That is.陈 氏 太 极 拳 推 手 技 法 In this way. there are many opportunities and responsibilities. “It is easy to teach but hard to change what is learnt. This should be corrected at the earliest stages of learning. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction. 5. Some perform better than others due to learning abilities.2.” Indeed. “closing in opening” and that “Dang should open in a full circle”. and at this moment Dang should open in a circle so that both legs can support all parts of the body. it is very difficult to correct bad practice habits solidified with prolonged practice. the body crouches as the right knee moves outward. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. innate talents. the root of Dang should be relaxed. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5. 王 西 安 162 . This positioning of Dang also means that it fulfils the Taiji principle of “opening in closing”. energy in the legs is strengthened and the body is well supported. at the end of the Dan Bian (Single Whip) posture. In traditional teaching methods.3 Ding Dang … Tight Crotch Ding Dang refers to a common mistake made by novice practitioners whereby one leg supports the body without relaxing.
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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1 Overview Within the Chen style Taiji routine. Tuishou is commonly divided into eight categories. In this chapter. with attackers changing to defensive roles in an instant and back again without warning. Indeed. if you advance using Ying Men Kao (Kao diagonally to the front). if the opponent attacks using Jian Kao (Kao with shoulder). then strike back with Jian Kao. since both the attacking and defensive movements are interrelated and cannot be separated. 王 西 安 168 . you can defend using An (pressing). While the combinations of Tuishou moves are infinite. For example. For example. the attack-defense stances change dynamically. we will describe how to apply these eight Tuishou techniques in sparring practice. your opponent may respond defensively with Xiong Kao (Kao by chest). practitioners may master its secrets and principles with serious study.陈 氏 太 极 拳 推 手 技 法 6.
Da Lü (larger scale movements) 7. He Bu Tuishou with static footwork. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 5. i. while Tuishou) 8.1 Chen Style Taiji Tuishou Categories The Chen style Taiji Tuishou Routines can be divided into: 1. Shun Bu Tuishou (Tuishou with movable footwork.e.6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 169 .1. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 4. normally a forward step then a backward step) 6. and any movements can be exerted by intention. silk reeling in the shape of a flower) 2. which is regarded as the highest level of Tuishou. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. Luan Cai Hua (Picking Flower. where the the practitioners are no longer oblidged to the sequences or fixed routines. Dan Wan Hua (Coiling Flower with Single Hand. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 3. Jin San Tui San (both parities advance and then retreat for 3 steps.
During sparring. Dian Bu (stepping on toe-tips) . including: 1. In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. Cha Bu (inserting steps) 6. Ji. Bie. Si Zheng Shou (Peng. Duli Bu (standing on a single foot) 8. Qie Zhang (palm chop) In static footwork. Shuang Tuishou (Tuishou with double hands) 3. Zou. Ding Bu (static footwork) 2.e. novices should start by learning one set at a time. and not be limited to one or the other. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou techniques as circumstances require. or Kao hand techniques. these consist of the Cai. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4. Bing Bu (step touch. as follows: 1.2 Types of Tuishou Handwork and Footwork Tuishou handwork is commonly divided into four classifications. i. An) is usually applied. There are many categories of footwork techniques. Dan Tuishou (Tuishou with single hand) 2. Si Yu Shou hand techniques are always used. Huo Bu (moving footwork) 3. However. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 西 安 170 5. Lü. feet placed together ) 7. Xuan Wan (rotating wrists) 4.陈 氏 太 极 拳 推 手 技 法 6.1.
1 Li Zhang … Palm vertical to the ground Li Zhang is used at the initial stages of a sparring bout. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Da (meet) and Sao (sweep) movements. it is also applied to Gun (roll). with the forearm bent toward the upper arm at an angle of 450. 6.6. when both players retreat after being mutually warded off. The elbow must be dropped. In single practice. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling.2). one arm is extended horizontally sideways.2 TuishOu handwOrk Techniques 6.2 171 . 6.1). palm facing in. 6. you need to place the body in a crouching position.2.2. In this posture. 6. roll the chest slightly inward and lower the waist and shoulders. The roots of the fingers are relaxed. When cutting downward. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (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. Shuan (bind). 6.1 Fig.
4 172 .3). 6. 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.2. As you rotate the hand downward or outward. 6. For example. During sparring. 6. 王 西 安 Fig.2.3 Fig. the little finger is used to guide energy and draw inward toward the thumb.4). the power lies in the root of the palm. Xie Tuo Zhang is also applied in the process of Big Lü. 6. 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. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory).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. the hand is stretched upward to the sides (Fig. The remaing three fingers turn slightly outward so that the palm becomes concave (Fig. The palm posture during this direction change is called Xie Tuo Zhang. 6.4 Xie Tuo Zhan In this technique. where the raised hand lies above the middle of the upper arm. when hands are rotating horizontally in a circle.陈 氏 太 极 拳 推 手 技 法 6. In this instance.
6.5 Cha Zhang … Slanting Palm In this technique. and gradually press your hands toward the opponent. Cha Zhang is widely used in Tuishou. as the hands insert downward.6. • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. see above). see above). then lower your shoulders and drop the elbows. This technique is called Diagonally Upward Cha. Cha Zhang can be applied via the same application methods as with the Si Zheng Shou (stated above). 6. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. • In Luan Cai Hua (palms reel in non-predictable angles. insert your hand downward and rotate it in the Shun direction. the hand is inserted upward or vertically/diagonally downward. separate them and switch to Cha Zhang.2. • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork.5). fingers slightly parted (Fig. for example: • When you rotate both hands in vertical circles.5 173 .
6. 6. This way. When you guide your partner via Shun reeling to the front of your chest.6 王 西 安 174 . and the little finger bending inward.2. you can rotate your arm with the middle finger.陈 氏 太 极 拳 推 手 技 法 6. 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. the ring finger. while the thumb and the index finger form a “ 八” shape.6). Fig. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation.6 Ba Zi Shou Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape. it is called Ba Zi hand because “八” is pronounced ‘ba’ in Chinese (Fig.
3. following the principle of ‘straightening in bending’. the Yong Quan point should be empty while the Dang is open with the intention to close. the sole fully touching the ground. The other leg bends with the intention to straighten. toe tips bent slightly inward.1 Qian Gong Bu … Forward Bow Step This technique requires the soles of the feet to touch the ground. One knee is bent so that the body is in a half crouch. the knee positioned approximately above the tip of the foot (Fig. following the principle of ‘closing in opening’. 陈 氏 太 极 拳 推 手 技 法 Fig. 6. This knee is turned slightly outward to provide a frame for all parts of the body. The toe tips point slightly inward.6.3 TuishOu fOOTwOrk Techniques 6. In this posture. the thigh nearly parallel to the ground.7). 6.7 王 西 安 175 .
6.8 6. When the weight is completely transferred. Position both feet fully on the ground. It is applied widely in Tuishou. if the opponent presses on any part of your body with his or her hands or arms. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. you can move your the weight back to transform their power by raising your toe tip and hence causing the heel to touch the ground naturally.3.陈 氏 太 极 拳 推 手 技 法 6. 王 西 安 176 . • This step is always used in Shun step.3 Qian Dian Bu … Forward Tipping Step In this step.3. knee bent slightly over the toe tips. the heel touches the ground with the toes pointing up at about 450 (Fig. big Lü and Luan Cai Hua. Fig. 6. 6.9). for example: • In Ping Yuan Tuishou (Tuishou in horizontal circles).2 Hou Zuo Bu … Back Seat Step In this posture. toes grasping the ground.8). straighten the front leg so that the back leg becomes the Bow leg. Keep the Yong Quan point empty so the straightened leg can be lifted later if the body weight is kept on the Bow leg (Fig.
6.9 6. 6.10 177 . move your weight back and withdraw the front leg backward by stepping the toe tip back first.Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. 6. and Luan Cai Hua For example.3.10). followed by the sole then heel (Fig. if an opponent applies Lü on you.4 Hou Dian Bu … Back Tipping Step This step is applied in three Tuishou techniques: a) Shun Bu –Tuishou big Lü.
quickly ‘fall’ to the ground with a large-scale ground sweep of the Bow leg.11). c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. Lü applied through large-scale movements) (Fig. This posture is applied to Shun step. Big Lü and Luan Cai Hua. For example. 6.陈 氏 太 极 拳 推 手 技 法 Fig. 6.11 b) Pu Bu (Falling Step) Pu Bu is only applied to Big Lü (i. which now lies close to the ground. 6. Hence the name ‘Falling Step’. When the opponent applies Big Lü on you. in the ‘Dragon sweeps ground’ form.12 .e. 12). 王 西 安 178 Fig. and is widely used in forward or backward movements (Fig. 6.
enters the bone marrow through gaps in the scapula and travels down the arms.e. The principle of Shun Chan is that with the elbows guiding the hands. 6. the term ‘reeling’ means to spiral energy. In Silk Reeling technique. in Bei Zhe Kao (Lean with back).1 Shun Chan … Conforming reeling In Taijiquan. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the fingers. power rises from the heels up the legs. where it returns to its original position of circulation. you draw the opponent inward into your territory. exerting Ji and Na in confronting reelings). This move is called Shun Ji Shun Fa (i. In addition. For example. you can use Shun Chan to gather energy and edge into the opponent’s territory. with the little finger guiding energy as it points to the thumb when it is drawn inward. Shun Chan means to spiral energy from the outside to the inside. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory.4.13 179 . while simultaneously executing Kao on the opponent.6.4 hand Techniques in TuishOu reeling 6. with the other fingers slightly turned outward. the shoulders guiding the elbows and the waist guiding the shoulders. when the opponent executes Lü on you. spirals around the waist and shoulders.
extend your right hand and guide the opponent to rotate in Shun reelings towards your leftside. while the other fingers turn out slightly (Fig.14 Fig. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your opponent.15 180 . 6.3 Shun Ni Zuo Wan Wrist descending in Shun and Ni directions This technique consists of lowering the wrist gradually during the transition from Shun to Ni Chan. Ni Chan is used to open outward. by using the waist to urge the shoulder. In Ni Chan. 6. 王 西 安 Fig. 6. shoulders and elbows.2 Ni Chan … Reverse reeling Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. Zuo Wan (descending wrist) technique is adopted (Fig. roll your chest slightly inward and lower your waist. Note: to apply this technique precisely.陈 氏 太 极 拳 推 手 技 法 6. 6.4.15).14). Here. the thumb gathers inward and guides the little finger. concentrate you energy in the wrist. 6.4. In horizontal circle rotations with single hand. the shoulders to urge on the elbows and the elbows guiding the hands.
your right hand rotates at 90o towards the right side of body in Ni reeling. Cai. by holding on to the opponent by the hand. and adhere to him or her. Diao Wan is also widely applied in response to a Lü attack. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Ji.16). Kao). 6.6. The wrist is drawn inward to form a Diao Wan (Hooked Wrist). Lü. 6. while trying to ‘listen’. Lie. the Shun hand changes to Diao Shou (Hooked Hand).4. in case of single hand rotation in the horizontal circle. An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. then quickly switches to Shun reeling and you easily seize the wrist of your partner by hooking hand. Diao Wan has two functions: • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). At this point.4 Diao Wan … Hooked Wrist This technique is often used when the Ni Chan changes to Shun Chan. Zhou. which is formed by pointing the little.16 181 . • For example. through any of the four front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. to provide a closing and opposing force with the three fingers (Fig. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi).
陈 氏 太 极 拳 推 手 技 法
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
in preparation for the right leg step forward lightly. As your weight shifts. Relax the arms and hang them at the sides. empty the Yong Quan point. 陈 氏 太 极 拳 推 手 技 法 7. 7. then slowly roll down the rest of the foot to the ground. stepping without thought) (Fig.2.2. 7. Your step should be light. heel first with toes pointed up.1 Part 1 • • • Stand at attention with toe tips pointing slightly outward to form a “八” shape.e. Shift your weight slowly to the left leg. the left toes grasping the ground. relax the crotch and lift the right knee. 7.2 Part 2 • • • • Relax the crotch and bend the knees slightly to place the body in a squatting position. so as to avoid empty stepping (i. eyes looking forward (Fig.3 Part 3 • • • Maintain the vertical axis and lift the top of the head slightly.2.3). straightening the neck and lifting the top of the head.7. palms lightly touching the sides of the legs.2 sOlO ping yuanwan hua (sOlO hOrizOnTal cOiling flOwer) 7.1). Step the right foot forward. Maintain the vertical axis. 王 西 安 187 . bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. 7. precise and full of intention of listening. Continue relaxing the crotch.2).
7. While the right arm moves. 王 西 安 188 Note: in later movements. 7. the left elbow and the right hand should move coherently in collaboration with each other. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders. As the weight shifts.2 Fig. Complete the movement by raising the right fingers to form the Li (erect) palm. . 7.4). 7.4 Part 4 • • • Shift your weight slowly to the right leg to form a right Bow step.1 Fig.陈 氏 太 极 拳 推 手 技 法 Fig. right elbow and wrist. thumb behind the fingers (Fig. relax the left arm so that the left hand hangs down.2.3 7.
5 7. As you reel.4 Fig. 7.5). 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.2. 7. The right knee follows the movement of the right hand and rotates inward at the same speed (Fig.Fig. 王 西 安 189 . 7.5 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.
The right forearm now moves transversely in front of the abdomen.7). When the right arm moves downward. .陈 氏 太 极 拳 推 手 技 法 Fig.7 7.2. This gesture enhances the movement by making the downward movement of the arm more precise and structured (Fig. The other fingers reel outwards in coordination with the elbow (Fig. 7. At this point.6 Part 6 • • 王 西 安 190 • • As the right hand completes its reel to the left. the elbow in a slightly warding off (Peng) position in coordination with the little finger.6 Fig. right palm facing down and wrist bending 450 inward using the little finger as a guide. 7. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. 7. 7. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs. the weight shifts completely to the left.6). Step the right foot either flatly on the ground or with toe tips pointing up.
bend the knees slightly to place the body in a squatting position.2. 7. 王 西 安 191 . shift your weight to the right. 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. While the right arm reels. 7. three Shun reelings and two Ni reelings.2.2.7. Ni. As the arm changes to Ni reeling. using it as a pivot to rotate the right shoulder rightward. Rotate the waist to the right. draw the chest slightly inward and relax the right side of the crotch. pointing the right knee slightly outward and moving it in a helix. that is. continue reeling the right arm outward until the palm faces upward and the thumb and the first finger form a “八” shape.9 Part 9 • • Now using Ni reeling. The 3600 rotation of the arm follows this sequence of changes: Shun.8 Part 8 • • 陈 氏 太 极 拳 推 手 技 法 With the right hand. changing into Ni reeling.8). extend the right hand slightly forward. At this point. until it reaches the front of the right ribs.7 Part 7 • • • • Using the little finger to guide the energy. a 900 arc to the right side of body. power is most concentrated and exerted on the external side of the thumb and index finger. Ni. 7. Then place the palm downward (Fig. then draw an arc to the left where you met yourtpartner at the beginning the posture of palms. Shun. followed by the hand.9). 7. Shun. Return the bent arm and the bow leg to their original positions (Fig.
Shun. 王 西 安 192 . the lower body follows. practice on the left by switching to the left leg and the left hand. The middle body moves in coordination with the upper and lower bodies. three Ni reelings and two Shun reelings.9 • The left arm rotates from the left. that is. The movement of every part of the body should be continuous and synchronised – when the upper body moves. Relax the waist and shoulders. 7. Practice alternating rotations with both arms so that there is a feeling of balance. the upper body guides the lower body’s movement. Notes In these horizontal-circle rotations. the arms rotate with the waist and the axis while the hand guides the energy. all parts moving together collectively.陈 氏 太 极 拳 推 手 技 法 Fig. and ensure your body weight moves back and forth in synch with the body movements. the reeling sequence being Ni. When you feel tired practicing on the right. that is. rotate the wrist. when one body part moves then all other body part follow. 7. Shun. Practice until you reach a level where when one body part keeps still then all other body parts keep still. Ni. Ni.8 Fig.
with the rest of the foot gradually fully touching the ground. These shifts are not immediately apparent as they occur mainly between the front and back sides of the legs and feet. drawing an arc of about 90o to the left. with eyes looking forward (Fig. then switching to 90o Shun reeling. 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 range and intensity in the arm rotations may be increased gradually depending of the level of the practitioner. The whole movement is mainly guided by the rotating waist and relaxed shoulders.12). Bend the left leg so that you squat slightly.11). 7. This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. drawing an arc of about 180o which goes downward and then up to the right. • • • • • Keep your body weight on the left leg and step forward. Focus the eyes on the right palm (Fig. lower your Qi. 7.7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 193 . palm slanting upward with intention to gently guide and draw in. It only requires vertial hand revolution and very small shifts in weight. then turn the body to the left and raise the right hand in Shun reeling. Next. 7. relax the left side of the crotch. Next.3 sOlO wan hua (flOwer cOiling) in verTical circle This is a single hand practice involving movements of a smaller range. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. switch to Ni reeling. Finally. heel first with the right foot.10).
Practice rotating both arms in turn.11 Fig. return to the Da Shou position (meeting the opponent with your hand) by a 90o upward arc in Ni reeling. 王 西 安 194 .12 • • When rotating in the opposite direction.10 Fig. then reel in Shun. reel in Ni to the right at 90o. 7. 7. 7. Vertical arm rotation is guided by spiraling movements of the waist and back. Finally.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. 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.
7.14 Fig. toes relaxed and pointing downward (Fig. the forward shift of the body should stop once the palms reach their natural end position. Also. pushing both palms forward (Tui Palm) at the same time. 7.14). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Note: when applying Tui Palm.15 195 . in preparation for action (Fig. Relax the left crotch and while focussing on the right crotch. the palms should move forward at an inclined angle (see picture). 7.13 Fig.15). Shift your weight gradually to the left leg. Raise the forearms 90o upward. shift your the weight gradually forward. This body posture is now one of holding and collecting. then raise the right foot. otherwise the shape of the posture will be lost (Fig. 7.13). 7. 7. 7.4 dOuble-hand flaT circle wan hua • • • • Stand at attention with the body upright and relaxed. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen. eyes facing the front (Fig.16). palms facing to each other. 7. Bend the left knee to put the body in a crouching stance.
Repeat the Tui Palm movement again. then lowering to the front of the abdomen. 7.17 • • • Next.陈 氏 太 极 拳 推 手 技 法 Fig.17). 7.15) by drawing a circle by the sides of the body. shift your weight backward and separate both hands to the sides of the body.16 Fig. this time relaxing the right crotch and focussing on the left crotch. 7. 7. Practice this cycle. 王 西 安 196 . then pushing both hands forward. imagining the hands seizing the opponent’s wrists by Diao (Fig. palms vertical. Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig.
7. eyes facing the front. toes relaxed and pointing downward (see Fig.14). in preparation for action (Fig. 7. drop the elbows and sink the Qi downward. Bend the left knee to put the body in a crouching stance. palms facing to each other. 7.19 197 . Grasp the ground lightly with the toes and face the eyes forward (Fig. lower the waist and shoulders.7.18 Fig. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then raise the right foot. This body posture is now one of holding and collecting.19). 7. 7. While raising the hands. • • • • Preparation postures are the same as those of Double Hand Horizontal Wan Hua. Raise the forearms 90o upward. stated as follows: Stand at attention with the body upright and relaxed.5 sOlO dOuble-hand wan hua in a verTical circle One cycle consists of one Shun reeling plus one Ni reeling of each hand. Shift your weight gradually to the left leg. draw the chest inward. then step the right foot forward while simultaneously extending both hands vertically in front of abdomen.18).
extending the hands forward so that the left hand crosses over the inner side of the right wrist. 7. As both hands separate upwards. the palms descend to the sides. stopping at shoulder level (Fig. Extend both hands forward in an ‘offering’ stance. 7. At the same time. cross both hands slowly in Shun reeling. after another small Ni reeling upward. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands.20). 7.21 • • • • 王 西 安 198 • Next. finish the weight shift to your right leg. Then. Next. push the crossed palms over the head in Ni reeling. step the left foot on the ground and shift your weight forward (Fig.20 Fig. . palms facing forward.陈 氏 太 极 拳 推 手 技 法 Fig. with the intention of supporting something upward. continue to draw your chest inward.21). both palms facing inward. 7. During this process.
forearm.Note: as both hands separate outward. that is. 陈 氏 太 极 拳 推 手 技 法 王 西 安 199 . while weight totally switches to the left. Note: Hand techniques are of the same as that of Solo Ping Yuan Wan Hua. then hands. upper arm. • • Now the left hand reels in Ni while the right hand reels in Shun. finger-tips pointing down. With body gathering. the chest. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. Both hands then draw a downward arc to fall to each side of the abdomen. palms facing each other. palms cross together. Closing form: palms continue to Shun reel. You will feel the power after long practice. shoulders. strike out in succession to the sides so that the arms become a pulled bow. only that palms in the latter move horizontally. so as to start a new cycle.
Open every body part to make your rotations natural and flexible. body and steps. and An. When practicing. Coordinate the movements of your hands. palm facing in. eyes. thumb pointing down and the little finger pointing upward. 7. The key points are the same as those of solo Tuishou. Lü. with the foot gradually stepping fully on the ground.6 sOlO TuishOu wiTh sTaTic fOOTwOrk Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. 7. • Shift your weight to the left leg and lift the right foot to step forward. act as if sparring with a partner.23 200 . Note that one should practice with intention rather than by force. Ji. 王 西 安 Fig. heel first. palm facing forward.陈 氏 太 极 拳 推 手 技 法 7. then bend it inward 45o.22 Fig. Extend the left hand transversely and place it on the middle of the right upper arm. • As the weight shifts. • Stand at attention. extend the right hand diagonally forward to the right.
the wrist bent slightly inward and palm facing inward. Shift your weight to the left slightly then to right. the left hand ahead of the right.25 201 .23). lower the right shoulder and drop the right elbow. 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. focus your intention on meeting and holding the opponent’s hand.22). 7. raise both hands in Ni reeling. 7. Meanwhile. Next. coordinate and execution of Ji forward to the right with the right hand acting as a joint force (Fig. 7. Relax the right crotch and turn the body to the right. 7. relax the left crotch. Move the right hand in Shun reeling. As the left hand rises. During this process.24). 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. and the eyes look forward to the right (Fig. 7.24 Fig. shift your weight left and focus your eyes on the front of the right hand (Fig. as the left hand moves inward in Ni reelings. and so continue to Peng upward before executing Lü.• • • • • The left arm intends to Peng outward. the arm opens like a circle. At the same time.
7. If the left leg is in the front. 7. Note: In this movement. alternating left and right sides. the right hand executes Peng. At this point. Peng and An are transitional actions executed in 王 西 安 202 .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. Execute An forward with both hands the palms facing each other about 33 cm apart. Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig. and the left hand helps the right to execute Lü. The edges of the hands become power-exerting points. You will also need to use your left shoulder to push and use the right hand to help press forward. shift your weight forward to the right leg.22). an instant. This is the same as the starting posture of Da Shou posture. Repeat the process. As this happens. visualize your left hand pressing down on the hand of the opponent. The right hand reels in Ni direction also with the intention to push outward (Fig. pushing it outward.25). eyes looking forward.
sink the shoulder downward and drop the elbows. 7. where the pushing power is exerted. As the weight moves forward. Step the left foot on the ground with the inner side of the foot touching the ground. 7.26 Fig.27 203 . Keep the eyes looking to the front right (Fig.26). Hand movements consist of four Zheng hands: Peng. These actions drive two the hands forward.7. Lower the waist. moving forward is combined with Ji and An hand movements. draw the chest inward. Lü. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. outward. raise both hands to attack by pushing them to the front right of the body. 7. • • • • Step forward with the right foot then shift your weight forward. Face the outer hand edges. moving backward uses Peng and Lü hand movements.7 shun bu TuishOu (sOlO TuishOu wiTh a fOrward and backward sTep) Shun Bu Tuishou consists of two basic steps – one moving forward and one moving backward. In practice. Ji and An.
7. 7. tiptoe first. 7. Push the shoulder forward. At the same time.27).29). Raise the right hand in Shun reeling. As the arm moves. At the same time. Eyes look to the front right (Fig. Note that Qi should not be allowed to float upward. 7. with the intention to close before opening. and in preparation for moving. 7.28).陈 氏 太 极 拳 推 手 技 法 Fig.28 Fig. toes pointing down (Fig. thumb pointing down and palm facing down.29 • • • • • 王 西 安 204 • • • After the pushing attack. rotate the right hand slightly downward in Ni reeling. Bend the left leg to squat further and extend the right foot forward. turning the right elbow out and upward. . shift your weight to the left and lift the right foot. As this happens. The body moves forward following the shift in weight. withdraw the left hand gradually and place it on the middle of the right upper arm. the right hand moves upward in Ni reeling while the right foot takes a step backward without turning the body. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. followed by the arm and the hand (Fig. Relax the left crotch after pushing and shift the weight to the left.
Reel the left hand first in Ni direction.31 • • • • • • Relax the left crotch and shift your weight to the left. 7.31). gradually squat the body. Next.30). As the weight shifts. 7. raise the left hand in a spiral to form a Lü movement with the right hand.30 Fig.33). Raise the right foot and take a step backwards to the right. While the right hand switches to Lü. The front push of the right hand provides an instant defense. Eyes look to the front left (Fig.which takes place in an instant. raise the right hand quickly to push forward together with the left hand toward the left side of the body.32). then shift your weight to the right. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. Next. Visualize sending the opponent’s right hand out to the left side of your body. The outer edges of the hands are power-exerting points. the upper and lower body form a balanced block of strength with the waist as the boundary. 7. Eyes look to the left (Fig. 7.Fig. then in Shun direction downward to the left. thumb pointing down and palm facing forward. Both hands are about 33 cm apart (Fig. Eyes look to the front left (Fig. Then the right hand switches to Lü. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 205 . then draw a circle downward. 7.
extend the right hand to the right front of the body following the right foot. 7.33 • • • Both hands execute Lü from left to right following the body.34 Fig. take a step forward with the right foot. 7. Eyes look to the front left (Fig. As the weight shifts. the right arm then bends to 450 inward. until the left hand reaches the middle line of the body.34).35 206 . 7. Raise the body gradually and slowly shift your weight to the left leg. 王 西 安 Fig. 7.陈 氏 太 极 拳 推 手 技 法 Fig. At the same time.32 Fig. 7.
7. Note that the waist power descends to the left first then the right. 7. thumb pointing down.37 • • Simultaneously.36). 7. Eyes look to the front right (Fig. 7.36 Fig.Fig. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig.39 207 . place the left hand on the right upper arm.38 Fig. 7. Eyes look to the front right (Fig. Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. Then shift your weight slightly rightward.35).
Eyes look to the right (Fig. Next. visualizing that you are pushing the opponent’s hand outward to the right. 7. then move it out to the right.37). 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.39). 7. execute Lü downward with the left hand. 7. As soon as both arms finish pressing forward.陈 氏 太 极 拳 推 手 技 法 • • • • Relax the left crotch and shift your weight to the left. At the same time. Start a new cycle (Fig. Eyes look to the front right (Fig. Relax the right crotch and shift your weight to the right. move the right hand in front of the left hand quickly. 王 西 安 208 .38). raise the right hand quickly and exert An forward with power.
Lie. and Kao. It uses the combat techniques of the four hand techniques in corner directions – Cai. Furthermore.7. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. 7. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. the only difference being that the extent of the steps in Da Lü is bigger. beginners should first practise the routines. Kao with large-scaled body movements. As such. Lü Ji and An.8 sOlO danren da lü TuishOu Da Lü is based on four hand techniques in the main directions – Peng.40 Fig.41 209 . The other movements are the same as the movements in Shun Step (forward or backward step). whereby Player B executes Lü on Player A. then the fives methods of solo Tuishou practice. One is Da Pu Bu. Zou. Bie. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. Zhou. The other picture demonstrates the big Frontward Bow Step. In this chapter. and Kao. The circulating of steps in Da Lü when practicing Peng. literally meaning “big falling step”. a major weakness with which you cannot even hope to attack the opponent. 7. If not. the whole body will become stiff when you try to squat down in the big body movements. Bie Zou. Ji and An is the same to those in Shun Step (forward or backwards Step). Lü. we will only refer to two main Da Lü postures as shown in the pictures which follow. It is not easy to practice Cai.
This way you will not lose energy unnecessarily nor become stiff. you should pay attention to the following points. Luan Cai Hua is also built on the foundation of Peng. You need to rotate neatly when executing a step forward as the partner changes his or her direction.陈 氏 太 极 拳 推 手 技 法 7. and also uses the Si Zheng Shou. The body movement and gait should be neat and swift. precise rotation. See how to execute Dian step in Figure 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 adjust your direction and position by applying small Gen steps so that you can stick to the partner tightly and prevent their escape.42. 7. Lü. In the Luan Cai Hua Tuishou practice. and An. Ji. It’s features include free movement with no fixed direction. and flexible. 王 西 安 Fig.42 210 .
looking for the attacking opportunity. light but not empty and floating. Ji. Your movements should be quick but not chaotic. Do not just practice at fast speeds or you will lose your energy or get stiff. and entice the partner to advance and show his or her weak points. heavy but not stiff. getting close to their upper body while causing them to raise their lower body or slant it. It is not easy to apply Die Fa. When circulating the four Zheng hand techniques (Peng. You try to sense the partner’s intention by through pressing and pushing precisely and lightly. Lü. The steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. When you apply Luan Cai Hua in Tuishou sparring. You should practice listening repeatedly. the extent of the arm rotations should be small to match the changes in gestures and the revolving steps. the steps are small but the speed is fast. you feel the partner’s energy as you rotate. the only difference being in the stances of the body.In this technique. An). If you are able to put the partner in a passive position you can fullfil your intention without being noticed. and thus impede any progress in Tuishou. 陈 氏 太 极 拳 推 手 技 法 王 西 安 211 .
陈 氏 太 极 拳 推 手 技 法 王 西 安 212 .
CHAPTER 8 paiR pRaCTiCe in Tuishou 陈 氏 太 极 拳 推 手 技 法 王 西 安 213 .
pair practice should start slowly. Faster progress may be made if your partner is proficient in Taiji. 王 西 安 214 . so you must strive to concentrate. Pair practice Tuishou improves combat skills. movements in pair practice should start simply before gaining in complexity. flexible and without weaknesses. whereby your actions should be precise.陈 氏 太 极 拳 推 手 技 法 8. gathering speed in the later stages. An introduction to Tuishou pair practices has been provided in the following pages. pair practice becomes beautiful to watch. flexible and rapid. moving as the partner moves. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. Partners should pay attention to co-operating with each other and using different practice methods at different stages in pair practice. lowering to mid-height then low stance. If possible. agile. Lastly. similarly.1 inTrOducTiOn Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. try to choose a partner of similar level for pair practice. the practice stance should start high. I hope that the reader will use this to practice diligently and master the key points. In addition. then pair Tuishou may be described as “acting as if there is no partner although you have one”. Like solo practice. Pair Tuishou embodies the essence of Taiji Tuishou. development should follow the stages of San Shou to Zhan (coherence). Nian (sticking). Lian (connecting) and finally Sui (following). If both partners have Taiji proficiency. like a flowing river: smooth.
8.2.2 single-hand hOrizOnTal wan hua in pair pracTice Player A refers to the male practitioner dressed in a dark blue.1 Posture 1 Both players stand at attention facing each other. These may be shortened to ‘A’ and ‘B’. The distance between both right feet should be about 10 cm. Their bodies are upright. gradually forming a front Bow Step.1 Both players take a step forward with their right feet. toes pointing slightly outward to form a 八 shape. Player B refers to the female practitioner dressed in red. arms hanging relaxed by the sides. 8. 陈 氏 太 极 拳 推 手 技 法 Fig. an arms length from each other so that their fists touch when arms are outstretched.8. 王 西 安 215 .
both players raise their right palm and extend it forward. B’s weight continues to move forward to form a single-hand An (pushing) power. Fig.2. Alternatively. using the middle line of the nose as the boundary. As both players draw this arc.陈 氏 太 极 拳 推 手 技 法 While the right feet step forward. 8. the left hand can also be placed naturally along side the body. The right hand extends forward with the left hand akimbo. Both players watch their hands throughout this step. with the middle fingers at nose level. . eyes focussed on the right hands. A’s weight shifts backward. and his body crouches slightly to form a closing 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. The back of the palms touch each other.2 8. corresponding with the rotation of the waist. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen.
B shifts her weight gradually backward while her hand draws an arc following Player A. 8. 8. At the same time.2.4 217 . Repeat this cycle. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. then she guides A’s hand to the front of his abdomen.Fig.3 Posture 4 Player A relaxes his right crotch and Shun reels 90o to the right.3 8. then Ni reels 90o to the front of Player B’s abdomen.
8. then then draws a 90o arc to the left. before crouching again as they Ni reel downward 90o until their hands reach the front of the lower abdomen. . Player A guides Player B to move first in Shun reeling.1 Posture 1 The preparation postures are the same as that of single-hand horizontal circle rotation.3.3 single-hand verTical circle wan hua in pair pracTice 8. both hands perpendicular to each other and eyes looking forward.2 Posture 2 王 西 安 218 After both players complete a Da Shou (meet partner with hand).3. Fig.陈 氏 太 极 拳 推 手 技 法 8. Both players then rise.5 8. the only difference being that here the Da Shou (meet partner with hand) position is higher.
3 Posture 3 Player A relaxes his right crotch and turns his body to the right. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. turning to the right (B’s left side). with eyes looking at the same direction.7 219 . B always adheres to A. guiding Player B to Ni reel 900 to his right side. For example. A continues to Shun reel a 900 arc upward until he returns to the original Da Shou position. During the above process.3. Partner B relaxes the left crotch. when A draws an arc to the right side.Fig. 8.6 8. 8.
Both players step forward simultaneously with their right foot. ready to move and attack if hands touch.陈 氏 太 极 拳 推 手 技 法 8. toes turned up (optional). with aim to form a front Bow Step. Player A raises two hands in front of his chest. having first shifted their weight onto the left leg.4. draw their chests inward and gather their ribs. Now both players wait in a defensive mode. eyes looking forward. they lower their waists. Then Player B extends her hands forward. 王 西 安 Fig. lower the shoulders and drop the elbows. Both right feet start to uncurl to the ground.8 220 . While waiting. 8.1 Posture 1 Both players stand at attention facing each other. heel first.4 shuang shOu ping yuanwan hua (hOrizOnTal cOiling flOwer wiTh dOuble hands) 8. placing them outside A’s hands.
In other words. her hands reel in Shun. with her little finger lightly hanging on A’s wrists to guard against any sudden attacks. He stops pushing when his hands are 20 cm away from Player B’s chest. 8. A’s weight shift to the right foot has been fully completed. 陈 氏 太 极 拳 推 手 技 法 Fig. As B’s weight moves backward.9 王 西 安 221 . B’s little fingers “stick” to A throughout the process.2 Posture 2 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling. Here.4. As Player A pushes his hands forward. Player B “listens” to A’s power and shifts her weight backward to force A to increase his pushing distance.8.
Then both players return to the original position. his little fingers catching Player B’s wrists to the sides of the body as the two hands draw arcs.10 8. 王 西 安 222 . While A draws arcs.3 Posture 3 Player A pushes first and then separates his hands by reeling in a Ni direction.4. 8. B moves her weight forward to form a Bow Step. 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. Fig.陈 氏 太 极 拳 推 手 技 法 8. using the outer edges of his palms.4. He shifts his weight backward. then separates Player B’s hands to the sides of her body at shoulderlevel. She relaxes her chest as her hands separate. While Player A separates.4 Posture 4 Player A switches to Shun reeling and draws an arc inward.
11 陈 氏 太 极 拳 推 手 技 法 王 西 安 223 .Fig. 8.
the weight for both parties starts to shift to the right.1 Posture 1 Player A and B stand facing each other. and separate hands to the sides of the body at shoulder level. draw a vertical circle outward. The positions of all hands are higher than the eyes. with the inner sides of both feet facing each other and 10 cm apart. . The two parties’ eyes always follow their movements.5 shuang shOu li yuan wan hua (verTical cOiling flOwer wiTh dOuble hands) 8. B has been shifting her weight to the left.2 Posture 2 Player A reels in the Ni directon and contitues to shift his weight forward. 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. Now. Fig. all eyes look forward.5. then step their right feet forward simultaneously.5.陈 氏 太 极 拳 推 手 技 法 8. A’s weight is all at the right foot. guiding Partner B to raise her hands.12 王 西 安 224 8. 8.
and draw arcs to the lower abdomen. his little fingers slightly catching Player B’s wrists. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. Player A draws outwards while Partner B draws inwards.Fig. 8. Both players’ eyes face forward.14 225 . while he shifts his weight backward.13 8.5. she shifts her weight forward to form a front Bow Step. 8. While Player B rotates her arms downward following Player A.3 Posture 3 Player A switches to Shun reeling.
Then Player A returns to the original position by Ni reeling and separating his arms outward. and continues to move her weight forward.4 Posture 4 Player A continues Shun reeling. Both players can practice this in turn. his hands crossing before the chest with both palms facing in. whether Player A separates B or vice versa.5. Repeat this cycle. the body squats to prepare for openning. Both players face forward. Note: The steps are the same. Player B follows Player A closely and feels his change. 王 西 安 226 .陈 氏 太 极 拳 推 手 技 法 8.
Both players then shift a little more weight to the right. and then extend their right hands forward so they cross each other. 8. with the inner sides of both feet facing each other and 10 cm apart. then step their right feet forward simultaneously. yet start to shift to the right.15 王 西 安 227 . 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.6.8. backs of the hands touching. the weight for both parties are both in the left. Player A and B stand facing each other. 陈 氏 太 极 拳 推 手 技 法 Fig. Now.6 he bu TuishOu (TuishOu wiTh cOiling hands and sTaTic fOOTwOrk) 8.
Player A relaxes his left crotch and moves his weight slightly leftward. Player B places her left hand on the right upper arm of Player A as he moves. he places his right hand on the middle of B’s left upper arm. both of B’s arms form an An (Pushing) power. In this way.2 Posture 2 Player A shifts his weight forward. then extends forward to press against A’s left forearm. . he places his left hand on the middle of the right upper arm.3 Posture 3 王 西 安 228 Player A holds the left hand of Player B to ward it off outward. then turns his right hand left in Shun reeling following the turn of his body.6. palm facing out and thumb pointing down so that both arms form an outward Peng (ward off ) power posture.16 8. Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm.陈 氏 太 极 拳 推 手 技 法 8.6. During this process. 8. gradually switching from Peng (ward off ) to Lü leftward. Her right hand presses Player A’s right hand slightly downward. At the same time. Fig. While the right arm turns.
In response. shifting his weight forward to add more pressure. In response.6. and executes Lü (roll back) again. Then Player B wards off Player A’s left hand upward. 8. Repeat this cycle.4 Posture 4 Player B executes Ji (press) on Player A.Fig. 8. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand.17 8. Player A executes Lü on B’s hand and presses it downward. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. thus returning to the original position.18 229 . Partner A withdraws his pressing hand and places it on his own right upper arm. Player B switches from An (push) to Peng (ward off ).
Player B’s right hand crosses the outside of A’s right hand. Player A raises his right arm as his right leg moves.7. placing it on the outside of A’s right leg.7 pair pracTice in shun bu TuishOu (TuishOu wiTh MOveable fOOTwOrk) 8. 8. so that both knees touch (A’s inner knee and B’s outer knee). Both players look at each other from the side. then places his left hand on the middle of his right upper arm.19 230 . A’s left hand then crosses with B’s left hand. Player B steps her right foot forward at the same time. bending it 450 inward. palm facing outward. Player A steps his right foot forward to form a front Bow Step. 王 西 安 Fig.陈 氏 太 极 拳 推 手 技 法 8.1 Posture 1 Both players stand at attention. and places her left hand on the middle of A’s right upper arm.
王 西 安 231 . Both players look to the front and gather themselves to prepare for futher movements.2 Posture 2 Player A then relaxes his right crotch. 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. and switches both hands to double-hand Shun reeling to ward off outward gradually.7. Simultaneously. turns his body to the right. This switch from Peng to Lü happens in an instant. shifts his weight slightly to the right. Player B shifts her weight forward to double her pressing power. 陈 氏 太 极 拳 推 手 技 法 Fig. and moves his weight leftward.3 Posture 3 Player A relaxes his left crotch first. he places his right hand on the middle of B’s left upper arm. and then wards off Player B’s left hand upwards. As Player A’s body turns right. 8. raises his left hand.8. At the same time. Both players look to the front. executing Lü (roll back) with his right hand.20 8. Player B continues to move her weight forward when Player A applies Lü. he lowers his left shoulder and left elbow.7.
When Player A presses downward. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. he presses Player B’s left hand downward to the front of her lower abdomen. 王 西 安 Fig.7. with the coordination of his right hand.21 8. A then extends his left hand up and forward and presses the middle of Partner B’s right hand. 8. then pushes her left hand rightward.22 232 . forming an An force.陈 氏 太 极 拳 推 手 技 法 Fig. with the aim of getting her to fall to his right side. At the same time. 8.4 Posture 4 Player A relaxes his right crotch and turns his body slightly to the right.
7. then her foot gradually steps on the ground fully.8.23 8. 陈 氏 太 极 拳 推 手 技 法 Fig. As Player B executes Lü.7. Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. 王 西 安 233 . her right crotch relaxes and she shifts her weight to the right. At the same time. tiptoe first. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. 8. Player A moves his weight first to the left and lifts his right foot quickly to step forward. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü.5 Posture 5 Player B’s left foot steps on the ground.6 Posture 6 Player A shifts his weight back to the left leg after pushing. At the same time. In this move. 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. A’s upper and lower body move as one. his right hand switches to Ni reeling to force Player B to step backward.
Player B relaxes her left crotch. so as to form Peng and Lü with both of his hands.7. palm out. to form Ji (press) power with her right arm. In response. shifting her weight gradually rightward. shifts her weight leftward. . turns his body slightly left and shifts his weight slightly leftward.24 8. then takes a step forward with her right foot. B also places her left hand on the middle of her right upper arm. then pushes Player B’s right hand first down then left using the pressing power of his left hand. and steps within A’s left leg so that their two knees connect. Player A places his left hand on B’s right upper arm.7 Posture 7 王 西 安 234 Player A relaxes his left crotch. Player B wards off slowly outwards with both hands in Shun reeling. Both players look diagonally to the front. Both players look to the side at each other. While this happens.陈 氏 太 极 拳 推 手 技 法 At the same time. Fig. B steps forward in synch with A’s guiding hand. Simultaneously. 8.
At the same time.7. then switches her left hand instantly from Peng to Lü.8 Posture 8 Player A relaxes his left crotch then shifts his weight to the left.25 8. then raises her left hand in an upward Peng on A’s left hand. Simultaneously. 陈 氏 太 极 拳 推 手 技 法 王 西 安 Fig. B also places her right hand on the middle of A’s right upper arm. 8. Player B lowers her left shoulder and left elbow.Fig.26 235 . 8.
Both players look to the sides. then quickly forms a pushing power towards B. As Player B pushes A’s left hand downward. 8. both A’s arms form an outward Peng power. Both players look diagonally to the front.27 236 . Both B’s hands work together to form an upward pressure pose. 王 西 安 Fig. Player A continues to shift his weight forward. In this instance.陈 氏 太 极 拳 推 手 技 法 As this happens. 8. Then with her left hand. she presses forward on the middle of A’s right lower arm. then to her left.7. then raising his left hand upward onto B’s right upper arm to warding off (Peng). then withdraws his right hand to place it on the middle of his left upper arm. A responds first by flowing downward. she presses Player A’s left hand first down to the front of his lower abdomen. At the same time.9 Posture 9 Player B relaxes her right crotch and turns her body slightly to the right. His right hand then comes into contact with B’s right hand.
In response to A’s Lü. and the speed and extent of her forward push should be dependent on the speed and hardness or softness of Partner A’s Lü. following A’s Lü power.7. 8.8. 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. relaxes his left crotch. Player B shifts her weight first to the left. shifts his weight to the right and rotates both hands to the right following the body to execute Lü on the right side of Player B’s right arm.28 Notes: Player B’s upper and lower body should follow each other when pushing forward. He moves in Lü until his left hand reaches the mid-line of his body. Both players should defend and stick to defend their own territory. Player A steps his left foot on the ground.10 Posture 10 Both players keep moving and rotating. 陈 氏 太 极 拳 推 手 技 法 Fig. leading to increased exposure to attacks. then steps forward quickly with her right foot and pushes her shoulder and upper arm forward toward A’s chest. 王 西 安 237 .
shifts his weight leftward. her right hand changes to Ni reeling to force Player A to step back. As B shifts her weight backward. A relaxes his left crotch. Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. Both playesr look diagonally to the front. her two hands forming a Lü posture. Simultaneously. 8. B places her left hand on the middle of A’s right upper arm. The rotating methods are the same as those on Figures 8.25. and are ready to start a new cycle. foot gradually steps fully on the ground. as well as an accomplishment of one cycle of Peng. You may have found that. At the same time.28. Ji and An. and 8. 8. for both of the two players. palm out. one full cycle consists of one step forward and one step backward. Player B shifts her weight backward to her left leg. At the same time. 王 西 安 238 .27. to form a Ji power with his right arm. Lü. Finally. both players return to their original positions.26.陈 氏 太 极 拳 推 手 技 法 8. tiptoe first. Both their knees connect.7.11 Posture 11 After pushing forward. then takes a step forward (Shang Bu) with his right foot to step on the inside of B’s leg. Player A places his left hand on the middle of his right upper arm.
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 . requiring both players to crouch on one leg while extending the other fully forward with calf touching the ground.8 pair pracTice in da lü TuishOu (large scale lü TuishOu) Da Lü Tuishou pair practice is the fourth technique of of Chen-style Taiji Tuishou. which is Cai. 8. which is aimed at reinforcing your lower body stance and leg power in this technique. Zhou and Kao.8. and is based on Shun Bu Tuishou. This technique consists of larger scale body movement. you should combine Si Zheng Shou practice with Si Yu Shou. In this low body movement. Bie. 陈 氏 太 极 拳 推 手 技 法 Fig.
reel them in Shun and Ni directions. The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. Sao means to sweep or clear away. If you choose not to attack under some circumstances. so as to transform the opponent’s power.9 pair pracTice in luan cai hua TuishOu (cOiling flOwer TuishOu) Luan Cai Hua is also known as Hua Jiao Bu.陈 氏 太 极 拳 推 手 技 法 8. 王 西 安 240 . hence sweeping your arm horinzontally left and right after meeting your opponent in Da Shou (meet partner with hand). Da means to put your hand on the hand of the opponent with the intention of using it as a touchpoint and support. From this position. depending on the circumstances. up and down. Gun Shuan (roll and seize). This Tuishou technique combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees. In Da Sao. use your elbow or Kao (shoulder strike) to attack when you find a weak point. Shuan means to put an arm across the chest like a locked door bolt to protect against attack. Only this way. or power direction. nor the location of your body weight. Other handwork techniques used to render opponents passive are: Da Sao (support and sweep). With this method. Gun Shuan is an extension of Da Sao. Instead of sweeping the arms horizontally. push and press against the opponent to force them into a defensive mode. can you win consistently. try to feel the Gongfu level gap between you and your opponent by listening. left and right. During combat. the opponent cannot discern your target. Bi Ya (push and press) and so on. to place the opponent in a passive position unawares by holding close to the upper part of their body while lifting their lower body).
8.32 Fig. which you think harmful to your opponent.Your footwork should be coordinated with your handwork. coordinated with Shang Long Xia Ti. Place yourself in a strong and active position by applying Dian Bu (adding half paces) continuously when executing Shang Bu (stepping forward). 8. flexible. agile and swift. you can advance two or three steps to gain a territorial advantage. Actually. Fig. transforming the power of your opponent so that he or she becomes trapped in a passive position unawares. Apply Ti (lift) and Long (holding close) unpredictably and precisely. if the opponent retreats one step. direction and angle of changes. Combine the power of both your hands so that they become one indivisible power. This is an example of the Die Fa. there are no restrictions in the application during practical body combat. For example.30 陈 氏 太 极 拳 推 手 技 法 Fig. These are the main methods and purpose of Luan Cai Hua pair practice.31 王 西 安 241 . Your Dian Bu should be light. 8. Your footwork should be based on the speed.
Sun and Wu Styles. each action or form occurs as a result of a certain combination of forces which are generated by Heaven. and offered new ways of understanding humans as a microcosmic blueprint of the Universe.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. Earth or Human realms. According to this philosophy. through Taiji forms and postures. much of the theory in this book is based on the guidelines written by Yang Chengfu. that is. At its foundation. of two fundamental forces: Yin and Yang. our world and the human body through the interactions. opposing and complementary. For this reason. culminating in the modern-day Chen. . the philosophy of Taiji attempts to explain the workings of the universe. we shall focus on the Yang Style for the purposes of this book as because this style best illustrates the Yin and Yang principles of Taiji philosophy. Taiji Philosophy is most easily expressed and understood through the use of body language. While the Taiji form has undergone many changes through the ages. 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. one of the pre-eminent representatives of Yang Taiji family.
including his meticulous inscriptions for over 400 illustrations. and a referential resource for Taiji instructors and practitioners for generations to follow.com . A work of intense scholarship which took over fourteen years to complete.inbiworld.CHEN XIN The illustrated Canon of Chen Family Taijiquan “The Illustrated Canon of Chen Family Taijiquan” is universally acknowledged by the Taoist community and Taiji practitioners as the seminal sourcebook of Taiji philosophy and techniques. www. The English translation of this canon marks the first ever attempt to translate into English Chen Xin’s highly esoteric and detailed technical explanations of Chen-style Taijiquan techniques. this tome was intended by its author to be both the first ever written repository of Taiji lore.
China. Q. www. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. Wenxian. Q. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions.chenxiaowang. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan.Chen Village Restoration Project • Q. An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. 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. What is the Chen Changxing - Chen Village Restoration Project? A. Who was Chen Changxing? A. Henan Province. Q. How do I purchase calligraphy or make a contribution A. How is the project being funded? A. founder of the Yang style.com .
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