1.

  Opening Posture of Taijiquan

Variations of names for this movement include: WuJi, Standing Quietly, Reconnecting with Oneness and Emptiness, Quiet Standing Mediation
Beginning, Commencement, Starting Posture, Commencing (Qishi), Taijiquan Opening Movement, and 预 备 : Yu Bei : Preparation Form.  



Face N 12 (1a) . For an explanation of the directional scheme used in Cloud Hands webpages, please see below.
Stand at attention for awhile. In Taiji and Qigong, standing quietly in a meditative posture for awhile is the first phase.  Relax (Sung).  Shoulders are down, 
hands relaxed and gently touching the side of leg, and head is erect.  This is the phase of WuJi (empty state), or standing like a tree (Zhan Zhuang), and
Reconnecting with Oneness and Emptiness. Breathe easily and comfortably.
Sink weight into right leg, and then step out to the left to shoulder width (1b).
Gently raise both arms up (1c), palms facing down, to about shoulder height (1d).
Lower both arms, palms down, to Dan Tien height, and lower knees (1e). The lower Dan Tien is a sphere of energy located a few inches behind and below
the level of the navel or belly button; the middle Dan Tien is located in the heart area, and the upper Dan Tien is located behind the eyes in the brain. The
most important for Taijiquan is the lower Dan Tien.   Practitioners of Kundalini Yoga might consider correspondences of the 3rd Chakra (Manipurna)
[Power, Will] with the Lower Dan Tien, the 4th Chakra (Anahata) [Compassion, Love] with the Middle Dan Tien, and the 6th Chakra (Aina) [Intuition,
Vision, 6th Sense] with the Upper Dan Tien.  The Chinese energetic system is quite different from the Indian energetic system, so correspondences are weak 
in this case.
This is movement often called "Raising Hands and Lowering Hands."
Breathe normally as you stand, relax, and center in position 1a. Breathe in through nose, and out through the nose. Slow the respiration rate to inhaling for
4-5 seconds, holding the full in-breath for 1-2 seconds, exhaling slowly for 4 to 5 seconds, pausing 1-2 seconds before beginning the yin/yang cycle of
breathing again. Breathe in at 1a, breathe out as you step to 1b.
Breathe in as arms float up 1b-1c, and breathe out as arms float down (1d-1e).   

      
      (1a)                            (1c-1d)

 
Here is a description of the beginning of the Opening Posture of Taijiquan (#1, 1b) from the book Traditional Chen Style Taijiquan by Fan Chun-Lei and A.
Frank Shiery, p.37:
    "1.  Preliminary Stance:  Stand naturally upright with the feet placed shoulder-width apart, toes pointed slightly inward, and arms hanging naturally at the
side.  The body should be kept upright with the shoulders relaxed, eyes slightly closed and breathing naturally.  The body should face north.  The mind 
should remain empty, calmand clear. This is the state of WuJi, (Negative Terminus in Taoist Teaching).
    2.  Commencing Form:  The body should exhibit being relaxed externally while solid within.  The head is held naturally erect as if pulled upward by an 
invisible string. Close the lips slightly with the tongue touching the upper palate. The toes firmly grasp the ground with Yongquan point pulled upward.
The eyes are looking straight ahead with the chin drawn slightly inward. The hip is turned up and the coccyx turned back and upward with the waist directed
downwards.  The whole body should remain relaxed.  A mind state of intent is maintained while the vital energy flows upward from the Dantian to the
Baihui point, while the turbid energy flows downward fromthe Dantian to the Yongquan point. During this time, the body exhibits no external movement.
Yin/Yang, for example, closing/opening, supple-firmand fast-slow are manifested internally, portraying the image of the Taiji, (Grand Terminus) (1b).
    Key Points to Remember:  For the beginner, the primary concern should be to cleanse the mind and spirit of tension and anxiety, removing all negative
thoughts.  This develops even-temperedness and an alert mind for quick movement and response. Once this technique has been mastered, the practitioner can
begin to understand and practice Taijiquan more effectively."
-   Fan Chun-Lei and A. Frank Shiery, Traditional Chen Style Taijiquan
 
 
2.  Wild Horse Shakes Its Mane
           
Variations of names for this movement include: Parting the Wild Horse's Mane, Wild Horse Waves His Mane, and 野马分鬃  : Ye Ma Fen Zong  :  Parting 
the Wild Horse's Mane.
The general direction of movement is in a straight line from E3 towards W9 in Movement #2. Part the Wild Mustang's Mane Three Times: 1. To the left side
(2e), 2. To the right side (2j), and 3. To the left side (2o). Please study the recommended online videos to see how the series of postures in this particular
movement are performed.
When performing the short form, players should: move slowly, move continuously, keep the movements rounded, move without great effort, relax, keep the
head up, let the mind direct the movements, don't bounce, and maintain an upright posture.  Breathein through the nose and out through the mouth, breathe 
deeply and regularly, breathe in when pulling back or reaching up, and breathe out when going forward or reaching down. All the basic principles found in
the T'ai Chi Ch'uan Classics should be followed when doing the Beijing simplified Taijiquan form.




Gently rise up to normal height (2a). Circle right armcounter-clockwise up to chest height, with the palm facing down. Draw left armto waist, with the
palmfacing up (2a). Imagine holding a ball between the two hands. Turn the waist to NE1 (2b). Draw the left foot to the side of the right foot (2b). Hold
Tai Chi "energy ball" with right hand, palmdown, at chest height; and left hand below, palmup, at Dan Tien height (2b). Relax and gently inhale.
"Part Wild Horse's Mane to the Left" by stepping diagonally with the left leg (2d), bring left hand out, palmup, to about chest height (2e). Exhale as the left
armextends. Left elbow is slightly bent. Right hand moves down to right hip (2e), with the right palmdown. End with chest facing W9, left hand to SW7.
Left bow stance with 60% of weight in forward left leg (2e), left knee bent; and, 40% of weight in rear right leg, with leg bend. Head upright. Shoulders
down.  
"Part Wild Horse's Mane to the Right" by first drawing the weight back into the right leg, pivot on left heel (2f), drawing the left hand back as the torso turns
to face SW7 (2g). Step forward with the right foot to side of left foot (2g). Step out the right leg to the diagonal (2i). Exhale as the right armextends (2i).
Right elbow is slightly bent. Left hand moves down to left hip (2j), with the left palmdown. End with chest facing W9, left hand to NW11. Right bow
stance with 60% of weight in forward right leg (2j), right knee bent; and, 40% of weight in rear left leg, with leg bend. Head upright. Shoulders down.
"Part Wild Horse's Mane to the Left" by first drawing the weight back into the left leg, pivot on left heel (2k), drawing the right hand back as the torso turns
to face SW7 (2k). Step forward with the left foot to side of right foot (2l). Step out the left leg to the diagonal (2m). Exhale as the left armextends (2n).
Left elbow is slightly bent. Right hand moves down to right hip (2o), with the right palmdown. End with chest facing W9, right hand to SW7(2o). Left
bow stance with 60% of weight in forward left leg (2o), left knee bent; and, 40% of weight in rear right leg, with right leg bend (2o). Head
upright.  Shoulders down.  Look towards W9.  
                  
           (2j)                                       (2f)                                        (2f)                                          (2f)
 
   
3.  White Crane Spreads Its Wings
           
Variations of names for this movement include: White Stork Spreading Its Wings, White Crane Lifts Its Wings, White Stork Cools Its Wings;
白鵝亮翅 : Bai E Liang Chi.  
The general direction of movement is in a straight line from E3 towards W9 in Movement #3.



2o =3a. From3a draw the right foot forward a half step (3b). The right hand moves upward (3b) as the left hand moves downward (3b). Draw the left foot
backward (3c) as the right hand moves up and left hand moves down (3c). Finish (3d) with the right hand above the head and palmforward, in a left toe
stance with 90% of the body weight in the back right leg, and the left hand rests along left leg with palmdown. End with chest facing W9. Face to W9.
Relax and exhale as the weight settles down in the back right leg.
Notice how the body turns at the waist slightly to left SW7 (3b) and then to the right NW11 (3c) before it settles to face W9. This represents the subtle
internal rotation of the Dan Tien, a "silk reeling" movement, more pronounced in the Chen Style of Taijiquan than in Yang Style Taijiquan, but still present
in all styles of Taijiquan. Many movements in the 24 Form include this turning of the waist from side to side, and rotation of the Dan Tien.       
              
           (3d)                                 (3d)                              (3d)   
 
 
4.  Brush Knee
         
Variations of names for this movement include: Twist Step, Brush Knee, Palm Strike; Brushing Your Knees and Stepping; Brush Knee and Twist Step; and
左搂膝拗步 : Lou Xi Ao Bu : Brush Knee and Twist Step.
The general direction of movement is in a straight line from E3 towards W9 in Movement #4. Please study the recommended online videos to see how the
series of postures in this particular movement are performed.





3d =4a. Brush left knee and right palmstrike (4a-4h).  Left Knee and palm Twist Step (4b), turn body clockwise (4c-43), Brush Left Knee (4f), Right Palm
Forward Strike (4h). End with chest and face facing W9, look to W9 (4h). 4h =4i.
Brush right knee and left palmstrike (4i-4o).  Twist Step (4j), turn body counter-clockwise (4k-4l), Brush Right Knee (4m), Left Palm Forward Strike(4o).
End with chest and face facing W9, look to W9 (4o). 4o =4p.
Twist Step, Brush Left Knee, Right Palm Forward Strike. End with chest facing W9.

                        
            (4n)                                 (4o)                                (4u)                                         (4u)  
 
 
5.  Playing the Lute

Variations of names for this movement include: Play the Guitar, Strumming the Lute, Hand-hold the Lute, Playing the Pipa, and 手挥琵琶 : Shou Hui Pi
Pa : Hand Strums the Lute.
The general direction of movement is in a straight line from E3 towards W9 in Movement #5.



4u =5a. End with chest facing W9, and look to W9.
Here is a description of Playing the Lute "Hand-hold the Lute" (#5, 5a-5d) fromthe book 'Tai Chi for Health: The 24 Simplified Forms" by Cheng Zhao and
Don Zhao, p.88:
    "Form 5 resembles a person playing a lute, a common music instrument in old China's time.  It is more accurate to describe it as hands holding the lute, 
which is also a literal translation fromits counterpart in Chinese.
    1.  Shift the body weight onto the left leg (5a).  Life the right foot and move it a half step forward, placing it behind the left foot (5b).
    2.  Lightly shift the body center back to sit on the right leg (5c).  Extend the left heel a little forward touching the floor in an empty stance (5c-5d).  At the 
same time, rotate the waist slightly to the right (5b-5c), lift the left arm and hand upward to the nose level (5b-5c), lower the right hand to guard the inside of
the left elbow (5d)."
-  Dr. Cheng Zhao    
 
                  
            (5d)                                    (5d)                                        (5d)  
 
Return to Index for Sections or  Proceed to Second Section (Movements 6 - 9)

 
 
Second Section of Standard Simplified 24 Form Taijiquan (Yang Style)
Movements 6 - 9
 
6.  Step Back and Repulse Monkey

Variations of names for this movement include: Fending Off the Monkey; Step Back to Drive the Monkey Away; Repulse Monkey and Step Back;
Step Back and Swirl Your Arms; Reverse Reeling Forearm(Daojuan Gong), Step Back and Drive Monkey Away, Repulse Monkey, 倒撵猴 : Dao Nian
Hou.     
The Direction of Movement is reversed.  Move backward in a straight line from W9 in the direction of E3.  Please study the recommended online videos to
see how the series of postures in this particular movement are performed.   





6a =5d. Right leg and right twisting (reverse reeling forearm) armback, left armforward, step back with left leg (6d), exchange arms and move right palm
forward (6d-6e).
Left leg and leg twisting armback, right armforward, step back with right leg (6g), exchange arms and move left palm forward (6g-6h).  6h = 6i.  
Right leg and right twisting arm back, left armforward, step back with left leg (6k), exchange arms and move right palm forward (6k-6l).  
Left leg and leg twisting armback, right armforward, step back with right leg (6n), exchange arms and move left palm forward (6n-6o).  

Here is a detailed description of how to performRepulse Monkey (#6, 6a-60) taken from the very useful narrative document by David Hann:
    "Repulse Monkey (1):  Turn your right hand palm up and let it drop so that your arm moves in an arc (6a-6b).  Continue bringing your right arm back until 
your hand is level with your right shoulder (6c). Turn your left hand palmup and flat, parallel with the earth (6c). Notice that your torso is facing (6c) to the
side (N12) (the same direction as you face when you first begin, Raising the Chi (1a). Step back with the left foot (6d-6e),  taking care to maintain your 
stance about a two fist width from your right foot, or about shoulder width. Now turn your torso to the left, bringing your right arm forward in a palmstrike
and your left armbackward as if grabbing an opponent's armand pulling (6d-63).  Your right palm will now be the most advanced hand (6e).    
    Repulse Monkey (2):  Turn your left hand palm up and let it drop so that your arm moves in an arc (6e-6f).  Continue bringing your left arm back until 
your hand is level with your left shoulder (6g). Turn your right hand palm up and flat, parallel with the earth (6f). Notice that your torso is facing to the
opposite side (S6). Step back with the right foot, taking care to maintain your stance about a two fist width fromyour left foot, or about shoulder width (6g-
6h).  Now turn your torso to the right, bringing your left arm forward in a palm strike and your right arm backward as if grabbing an opponent's arm and 
pulling (6h). Your left palmwill now be the most advanced hand (6h).
    Repulse Monkey (3):  Turn your right hand palm up and let it drop so that your arm moves in an arc (6i).  Continue bringing your right arm back until your 
hand is level with your right shoulder (6j). Turn your left hand palm up and flat, parallel with the earth (6j). Notice that your torso is facing (N12) to the side
(the same direction as you face when you first begin, Raising the Chi. Step back with the left foot, taking care to maintain your stance about a two fist width
from your right foot, or about shoulder width (6k-6l).  Now turn your torso to the left, bringing your right arm forward in a palm strike and your left arm 
backward as if grabbing an opponent's armand pulling (6l). Your right palmwill now be the most advanced hand (6l).
    Repulse Monkey (4):  Turn your left hand palm up and let it drop so that your arm moves in an arc (6l-6m).  Continue bringing your left arm back until 
your hand is level with your left shoulder (6m). Turn your right hand palmup and flat, parallel with the earth(6m). Notice that your torso is facing to the
opposite side (S6). Step back with the left foot, taking care to maintain your stance about a two fist width fromyour right foot, or about shoulder width (6n-
6o).  Now turn your torso to the right, bringing your left arm forward in a palm strike and your right arm backward as if grabbing an opponent's arm and 
pulling (6n-6o).  Your left palm will now be the most advanced hand (6o)."
-  David Hann,  Yang Style Short Form Tai Chi
 
 
7.  Grasping the Sparrow's Tail - Left

Variations of names for this movement include: Grasp the Sparrow's Tail, Grasping the Peacock's Tail, Grasp the Bird's Tail, Four Gates, Grasp the Sparrow's
Tail to the Left Side, Hold the Peacock's Tail, 拦雀尾左 : Lan Que Wei Zou : Grasp the Bird's Tail Left.
"Grasping the Bird's Tail" is the most frequently occurring movement in the Yang Style Long 108 Form.  This movement consists of four parts: Ward Off, 
Roll Back, Press and Push.
The general direction of movement is in a straight line from E3 towards W9 in Movement #7. Please study the recommended online videos to see how the
series of postures in this particular movement are performed.




7a =6o. Generally, one is moving in the direction of W9, to your left side, in Movement 7.
Here is a detailed description of how to performGrasping the Bird's Tail, Left Mode (#7, 7a-7m) taken fromthe book "Illustrations of Tai Chi Chuan
Simplified" by Y. W. Chong, pp. 27-31:
    "1.  Raise the left hand arch-wise to the right (7a-7b) and stop it before the right side of the waist (7c). At the same time bend the right hand horizontally
before the chest as if grasping a ball with both hands (7c). Concurrently draw the left foot back and put it close to the right one (7b-7c), with the left toes
touching the ground (7c).
    2.  Lift the left hand outward in a bent manner to the left as if to ward off a blow (7c-7e) and bow it horizontally at the level of the shoulders (7e). At the
same time swing the right hand downward to the right (7d-7e) and put it beside the right thigh (7e). At the same time stretch the left foot out and bow it
forward (7d-7e).  The eyes are looking at the left forearm (7e).    [Ward Off Left (Peng Zuo) I]
    3.  Stretch the left hand forward, turning its palm downward (7f).  Concurrently turn the right palm upward and stretch it forward until it comes below the 
left wrist (7f). Then pull the two hands downward past the abdomen and swing themup backward to the right until the right hand comes to the height of the
shoulders with its palm upward (7f-7g) and the left hand comes before the chest with its palm facing inward and the elbow bend horizontally (7g). At the
same time shift the centre of gravity to the right foot (7g). The eyes are looking at the right hand (7g). [Roll Back (Lu) II]
    4.  Draw the right hand back and put it at the inside of the left wrist (7g).  Push both hands forward with the left palm inward and the right one outward 
(7h-7i).  At the same time bow the left leg forward (7h-7i).  The eyes are looking at the left wrist (7i).   [Press (Ji) III]
    5.  Separate both hands at the distance of the breadth across the shoulders with both palms facing downward (7j-7k).   Then lower the upper body slightly 
backwards (7k), shifting the centre of gravity to the right foot (7k). At the same time draw both hands back to the two sides of the waist with both palms
facing forward slightly to the ground (7k-7l).  The eyes are looking forward horizontally (7l).  
    6.  Push both hands forward and upward (7l-7m).  At the same time bow the left leg forward (7m).  The eyes are looking forward.    [Push (An) IV]"
-   Y. W. Chong  

I.    Ward Off Left (Peng Zuo)  (7b-7e)   Inhale 7b-7c, and exhale 7d-7e.  Turn torso to the left towards W9 (7e).  
II.   Roll Back (Lu)  (7f-7g)  Inhale 7e-7g.  Turn torso to right towards N12 (7g).  The hand movements for Roll Back are not shown clearly in the the above 
illustrations (7f-7g).   Look at right hand in the direction of NE2.  
III.  Press (Ji)  (7h-7i)  Inhale 7g-7h, and exhale 7h-7i.  Torso facing W9 (7i).  Turn torso to the left towards W9 (7i).  The right palm presses against the left 
forearm.  The left palm faces the body.  
IV.  Push (An)  (7j-7m)  Face W9.  Push both hands, palms forward, towards W9 (7m).  Inhale 7j-7l, and exhale 7l-7m.  Torso faces W9 (7m).  

                        
           (7e)                                      (7i)                                 (7m)                                   (7m)
 
 
8.  Grasping the Sparrow's Tail - Right

Variations of names for this movement include: Grasp the Sparrow's Tail, Grasp the Bird's Tail, Four Gates, Grasp the Sparrow's Tail to the Right Side, Hold
the Peacock's Tail, 拦雀尾右: Lan Que Wei You : Grasp the Bird's Tail Right.
The general direction of movement is in a straight line from W9 towards E3 in Movement #8. Please study the recommended online videos to see how the
series of postures in this particular movement are performed.
"Grasping the Bird's Tail" is the most frequently occurring movement in the Yang Style Long 108 Form.  This movement consists of four parts: Ward Off, 
Roll Back, Press and Push.




8a =7m. Generally, one is moving in the direction of E3, to your right side, in Movement 8.
Here is a detailed description of how to performGrasping the Sparrow's Tail - Right (#8, 8a-8o) taken from the book "Tai Chi Ch'uan and Qigong:
Techniques and Training" by Wolfgang Metzger and Peifang Zhou, pp. 106-109:
    "Assume starting position (8a = 7m): Arch steps to the left.  Left foot load about 70 percent; right foot about 30 percent (8a).  Shift weight to the right foot; 
left foot rotates on the heel by 90° to 120° to the inside (8b). At the same time - with gently held, slightly rounded arms - the hands move with the upper
body to the right (8b). Slowly bend arms, with right hand moving in an upward arc (8b-8c), and assume the ball-holding position in front of the right side of
the body (8c-8d).  While in the ball-holding position, the right foot is pulled towards the left without the toes touching the ground (8d).
    1.  Peng Movement: With an arched step to the right, pull the left hand as in Form 2 ("Parting Horse's Mane") in an arc down to hip level (8e-8f), while
the right forearm - different from Form2 -   moves at a left angle in an arc forward and up (8e-8f)  until level with the chest (8f), harmoniously coordinating 
it with the rotation of the body (8d-8f) and the shifting of the weight (8e-8f).  Position (8f) is the starting point for the second part of this form.   [Ward Off
Right (Peng You) I]
    2.  Lu Movement: This starts with a slight rotation of the body to the right SE4 (8g), not shown in the illustration. While the body rotates to the right,
hands are rotating to face each other, the right hand moving towards the right. Both hands - while shifting the weight to the left leg (8f-8g) and rotating the
body to NW11 - move in an arc down to the right hip level (8g). [Roll Back (Lu) II]
    3.  Ji Movement: Preceded by a small reaching back movement (8h), move the left hand towards the left; both hands cross at the wrists and are pushed
forward and out (8i-8k).  When pushing forward, shift the weight again to the right leg (8k).   [Press (Ji) III]
    4.  An Movement: at the conclusion of the Ji movement (8k), turn the hands so that they are crossed (8l) with the palms facing down, right hand below the
left (8l). As the weight is shifted to the back left leg (8m-8n) - the toes of the right foot raised slightly off the ground (8n) - the crossed hands separate again
and are pulled towards the body by the elbows (8m-8n).  They are then - with a slight shift of of the body's weight (8n-8o) - pushed forward (8n-8o).  Do not 
straighten your arms out in the end position (8o). [Push (An) IV]."
-   Wolfgang Metzger and Peifang Zhou
 
I.  Ward Off Right (Peng You) (8a-8f)   Inhale 8c-8d, and exhale 8e-8f.  Turn torso to the right towards E3 (8c-8e).  
II.  Roll Back (Lu)   (8f-8h)  Inhale 8g-8h.  Turn torso to right towards N12 (8h).  The hand movements for Roll Back are not shown clearly in the the above 
illustrations (8f-8h).   Look at right hand in the direction of NW10.  
III.  Press (Ji)  (8j-8k)  Inhale 8h-8i, and exhale 8j-8k.  Torso facing E3 (8k).  Turn torso to the right towards E3 (8i-8k).  The left wrist presses against the 
inside of the right forearm. The right palmfaces the body.
IV.  Push (An)  (8l-8o)  Push both hands, palms forward, towards E3 (8n-8o).  Inhale 8m-8n, and exhale 8n-8o.  Torso faces E3 (8o).  Both palms face away 
from the body.
 
             
          (8f)                                    (8k)                                  (8k)  
 
 
9.  Single Whip

Variations of names for this movement include: Simple Whip, Whip, Holding the Whip in One Hand, Holding a Single Whip, 单鞭 : Dan Bian.
The general direction of movement is in a straight line from E3 towards W9 in Movement #9.
From the Push phase (9a) at the end of the Grasping the Sparrow's Tail movement (9a =8o), begin to rotate the arms from the left side to the right side. The
arms draw across the body at about chest height (9a-9c).  After the arms reach the left side (9c), then they rotate back to the right side (9c-9d).  The waist 
faces N12 (9c). As the right armgets to the right side (9d) then the hand extends in the direction of NE1 (9e) and the hand is shaped into a beak style (thumb
touches the other fingers and all fingers point down) (9e). The left armis drawn up to the face level, with the palmfacing the face (9e). As the right hand
forms into beak, the left leg steps to the right, bringing the left foot fairly close to the right foot (9d-9e), and the left toe touching the ground (9e). As the left
leg lifts and is placed to face W9, the left hand opens out towards W9 (9e-9f).  As the body settles into a left bow stance (9g), the left hand pushes forward, 
palmfacing out. We end in Single Whip (9g) with the waist facing NW11, in a left bow stance, pushing with the left palm in the direction of W9, with the
right armlifted and pointing towards NE1, beaked right hand, and looking towards W9 (9g). Inhale 9d-9e, and exhale 9f-9g.  


       
          (9g)                                    (9g)
 
 
Return to Index for Sections or  Proceed to Third Section (Movements 10 - 15)
 

 
 
Third Section of Standard Simplified 24 Form T'ai Chi Ch'uan (Yang Style)
Movements 10 - 15
 
 
10.  Waving Hands Like Clouds

Variations of names for this movement include: Moving Hands Like Clouds, Waving Hands Like Clouds, Cloud Built Hands, Wave Hands in Clouds, Cloud
Hands 云手 : Yun Shou.  
The whole Cloud Hands (Yun Shou) movement flow is fromthe left to the right, from E3 towards W9.
Cloud Hands is a gentle flowing movement that is rather complicated to describe. Please study the recommended online videos to see how the series of
postures in this particular movement are performed.


 
From the Single Whip position (10a =9g) begin to turn the torso to the right side (10a-10e) until the front of the body is facing N12 (10c). At the same time
as the torso turns toward the right side, the right hand remains outstretched (10b-10c).  The left hand moves downward and then upwards toward the right 
side (10b-10c) until it reaches the level of the head (10d). The weight moves into the bent right leg (10c). The head turns and looks towards the right side E3
(10d).  
The left hand, palmfacing the body, remaining at about face level, moves across the body towards the left side (10d-10f).  The right hand, at about waist 
level, palm facing the body, moves across the body towards the left side at the same time as the left hand moves (10e-10f).  The waist turns to move the arms 
more than the shoulders move the arms (10e-10f).  Turn the waist and move the arms until you reach the left side and are looking towards W9 (10f). 
Step with the right leg and move it closer to the left leg as the arms move to the far left position W9 (10e-10f).  Switch the position of the arms by moving the 
right armto about face level (10e-10f), and the left arm down towards the waist level (10f). This completes the first part of the Cloud Hands movement by
moving fromthe far left (10a) to the far right (10c) and then fromthe far right (10c) to the far left (10f) in a gentle flowing manner (10b-10f), moving the
hands like floating clouds.
From the far left position (10f) with the right hand high (10f) and the left hand low at waist level (10g), with both palms facing the body, move both arms to
the right across the body (10g-10h).  The waist turns to move the arms more than the shoulders move the arms (10f-10h).  Turn the waist and move the arms 
until you reach the far right side and are looking towards E3 (10h). When you reach the far right, exchange the arms by bringing the left arm up to about face
level (10i) and the right armdown to about waist level (10i-10j), and at the same time step the left leg to the left W9 (10h-10i).  Now begin to move the left 
armacross the body to the left side at about face height, palmfacing the body (10i-10k), at the same time as the right armdrops down to about waist level
(10i-10j) and moves across the body, palm facing inward, to the far left side (10j-10k).  When the left hand reaches the far left side (10j), lift and step with 
the right leg towards the left leg (10j-10k).  This completes the second part of the Cloud Hands movement by moving from the far left (10f) to the far right 
(10i) and then back to the far left (10k) in a gentle flowing manner, moving hands like floating clouds.
From the far left position (10k) with the right hand high (10k) and the left hand low at waist level (10l), with both palms facing the body, move both arms to
the right across the body (10k-10n).  The waist turns to move the arms more than the shoulders move the arms (10k-10n).  Turn the waist and move the arms 
until you reach the far right side and are looking towards E3 (10m). When you reach the far right, exchange the arms by bringing the left armup to about
face level (10n) and the right armdown to about waist level (10m-10n), and at the same time step the left leg to the left W9 (10m-10n).  Now begin to move 
the left arm across the body to the left at about face height, palm facing the body (10n-10p), at the same time as the right armdrops down to about waist level
(10m-10n) and moves across the body, palmfacing inward, to the far left side (10n-10p).  When the left hand reaches the far left side (10p), lift and step with 
the right leg towards the left leg (10o-10p).  This completes the third part of the Cloud Hands movement by moving from the far left (10k) to the far right 
(10m) and then back to the far left (10p) in a gentle flowing manner, moving hands like floating clouds.


           
       (10l)                                  (10o)   
 
 
11.  Single Whip

Variations of names for this movement include: Simple Whip, Whip, Single Whip, Holding the Whip in One Hand, 单鞭 : Dan Bian.

From the last posture of Cloud Hands (10p =11a), step forward with the right foot a small step (11b). Begin to rotate the arms fromthe left side to the right
side.  The arms draw across the body at about chest height (11a-11c).  After the arms reach the left side (9c), then they rotate back to the right side (11c-11e).  
The waist faces N12 (11c). As the right armgets to the right side (11d) then the hand extends in the direction of NE1 (11d) and the hand is shaped into a
beak style (thumb touches the other fingers and all fingers point down) (11e). The left armis drawn up to the face level, with the palm facing the face (11d).
As the right hand forms into beak, the left leg steps to the right, bringing the left foot fairly close to the right foot (11c-11d), and the left toe touching the
ground (11d). As the left leg lifts and is placed to face W9, the left hand opens out towards W9 (11d-11e).  As the body settles into a left bow stance (11f), 
the left hand pushes forward, palmfacing out (11e-11f).  We end in Single Whip (11f) with the waist facing NW11, in a left bow stance, pushing with the left 
palmin the direction of W9, with the right armlifted and pointing towards NE1, beaked right hand, and looking towards W9 (11f). Inhale from 11b-11d and
exhale from 11e-11f.  

      
      (11f) & (16e) (11f)
 
 
12.  Pat the Horse on the Back

Variations of names for this movement include: High Pat on Horse, Patting the Horse's Neck While Riding, Stroke the Horse From Above, Asking for
Directions While Riding a Horse, Pat the Horse's Back, Pat the Horse on the Back, 高探马 : Gao Tan Ma : High Pat on Horse.

From Single Whip (12a), draw the right foot forward a half-step (12b). The right hand changes froma beaked hand into an open hand (12b). The right arm
moves forward at about face level from right to left in the direction of W9 (12b-12c), and ends with palmfacing out in front of the body at face level. The
torso turns to the left and ends facing W9 (12c-12d).  The right hand stops at face level, with the palm facing out and away (12d).  The left hand moves in a 
downward arc (12c-12d) to the Dan Tien level, and ends with the left palm facing up (12d). The left leg is in an empty toe stance (12d) The body is facing in
the direction of W9 (12d). The final position is called High Pat on Horse (12d). Inhale at 12c and exhale at 12d.

      
       (12d)
 
 
13.  Kick with Right Heel

Variations of names for this movement include: Right Heel Kick, Kicking Straight Right Mode, Kicking with the Right Heel, 右蹬脚 : You Deng Jiao: Right 
Heel Kick.
The general direction of movement is in a straight line from E3 towards W9 in Movement #13. Please study the recommended online videos to see how the
series of postures in this particular movement are performed.


       
Lift left leg and step forward (13a-13b).  Circle both hands outward in a circle and down (13b-13c).  Step with right leg forward to bring the right foot next to 
the left foot (13c-13d).  At the same time, circle both hands upwards and bring the right hand in front of the left hand, crossing the hands in front of the face 
(13d-13d).  Left the right leg as both hands move away from each other towards the sides (13e), palms facing out and fingers up (13f).  Turn the body slightly 
to the left so that instead of your waist facing W9 it faces SW7. Kick with the left heel in the direction of NW10 (13f). Inhale 13c-13d, and exhale 13e-13f.  
Some persons may not be able to kick high with a straight right leg and right toe drawn back - a right heel kick (13f). Instead, substitute a toe kick, while
kicking lower if necessary, or bending the knee if necessary. Don't let the inability of executing a movement perfectly, according to a standard, prevent you
from practicing Taijiquan. Adapt accordingly to accommodate for injuries, balance problems, inflexibility, or weakness. Be practical and smart; and, make
reasonable adjustments. Keep practicing, and you will probably see steady improvements, increased strength, and greater flexibility.

             
        (13f)                                         (13f)                                         (13f)  
 
 
14.  Hitting Your Opponent's Ears with Both Fists   

Variations of names for this movement include: Box Ears, Box Opponent's Ears with Both Fists, Strike to Ears with Both Fists, Strike to Temple with Both
Fists, 双峰灌耳 : Shuang Feng Quan Er : Twin Fists Strike Opponents Ears.
The general direction of movement is in a straight line from E3 towards NW10 in Movement #14.
.   

From the Right Heel Kick position (14a =13f), draw the right knee back into the body to waist level (14a-14b).  Draw both hands down and bring the elbows 
to the sides of the body, closing the open hands into fists and holding the hands level with the knee (14b-14c).  Step forward with the right leg (14c-14d) in
the direction of NW11. Circle the arms outward from the body (14d), and then draw both fists towards the head level of an imaginary opponent to strike the
opponent's temples with both fists (14d-14e).  Settle into a right bow stance (14e).  The imaginary opponent is in the direction of NW10 or NW11 (14e).  
Look intensely at the imaginary opponent. Inhale 14b-14d, and exhale 14d-14e.   

     
       (14e)                                (14e)  
 
 
15.  Kick with Left Heel    

Variations of names for this movement include: Turn Around, and Kick with Left Heel; Left Heel Kick, Turn Around and Kick with Left Heel, 左蹬脚 : Zuo
Deng Jiao : Left Heel Kick.
The Direction of Movement is reversed.  Move backward in a straight line from NW10 (15a)  in the direction of E3 (15b-15g).  Please study the
recommended online videos to see how the series of postures in this particular movement are performed.


Turn 270 degrees clockwise, face to NE2. Cross and separate hands at face, heel kick with left foot. Left arm in front and right arm in back at shoulder
height.  Inhale 15c-15e, exhale 15f-15g.  

       
       (15g)                                  (15e-15g)
 
 
Return to Index for Sections or  Proceed to Fourth Section (Movements 16 - 19)
 

 
Fourth Section of Standard 24 Form Taijiquan (Yang Style)
Movements 16 - 19
 
 
16.  Snake Creeps Down, Golden Rooster Stands on Left Leg

Variations of names for this movement include: Squat Down on Right Leg, Snake Creeps Down Left Leg: Crooked Whip to Right Side: Squat on Right,
Climb Down Left; Golden Rooster Stands on One Leg, Left Down One-leg Stand, 下势 : Xia Shi : Snake Creeps Down, 左金鸡独立 : Zuo Jin Ji Du Li :
Golden Rooster Stands on Left Leg.
The Direction of Movement is reversed.  Move backward from in a straight line from W9 in the direction of E3 (16a-16h).  Please study the recommended
online videos to see how the series of postures in this particular movement are performed.



16a =15g. Squat down and balance on right leg (16d-16e).  Right arm draws back in single whip (16c), and right hand makes a beaked fist (16c).  Extend 
left leg low to E3 (16e). Draw the left arm down along inside of left leg towards left ankle ... the snake creeps down (16d-16e).  Stand up on left leg (16f-
16h).  Draw right leg up until level with hip (16h).  Right elbow is over right knee, right had pointing up (16h).  This final posture, facing E3, is called 
"Golden Rooster Stands on Left Leg, Golden Bird Standing Alone" (16h).

                     
           (16e)                                        (16e)                                        (16e)                                     (16h)  
 
 
17.  Snake Creeps Down, Golden Rooster Stands on Right Leg

Variations of names for this movement include: Squat Down on Left Leg, Snake Creeps Down Right Leg; Crooked Whip to the Left Side: Squat on Left,
Climb Down Right; Golden Rooster Stands on One Leg, Right Down One-leg Stand, 势 : Xia Shi : Snake Creeps Down, 右金鸡独立 : You Jin Ji Du
Li  : Golden Rooster Stands on Right Leg.
The general direction of movement is in a straight line from W9 towards E3 (17a-17h).  Please study the recommended online videos to see how the series of
postures in this particular movement are performed.


17a =16h. Squat down and balance on left leg (17d-17e).  Left arm draws back in single whip, and left hand makes a beaked fist (17c).  Extend right leg low 
to E3 (17d-17e).  Draw the right arm down along inside of right leg towards ankle ... the snake creeps down (17d-17e).  Stand up on right leg (17g-17h).  
Draw left leg up until level with hip (17g-17h).  Left elbow is over left knee, left had pointing up (17h).  This final posture, facing E3, is called "Golden 
Rooster Stands on Right Leg, Golden Bird Standing Alone" (17h).

               
        (17h)                              (17h)                             (17h)    
 
 
18.  Fair Lady Works the Shuttles

Variations of names for this movement include: Throwing the Loomto the Left Side and Right Side, Shuttle Back and Forth, Two Corners, Work at Shuttles
on Both Sides, J ade Maiden Works the Shuttles, 玉女穿梭 : Yu Nu Chuan Suo : Fair Lady Works at Shuttles.   
The general direction of movement is in a straight line from W9 towards E3 (18a-18m).  Please study the recommended online videos to see how the series of
postures in this particular movement are performed.





18a =17h. From"Golden Rooster on Right Leg (18a) step left foot forward and diagonally (18b-18c), draw right foot to left foot (18e), step out with right
foot diagonally to right (18f-18g).  Raise right arm to block out above head (18g-18h), palm facing out. Left palm strike (18h). Right leg bow stance (18h).
Bring left leg up by right leg (18h-18j), and bring arms to chest (18i). Step diagonally to the left side with left foot (18k-18l). Raise left armto block out
above head, palmfacing out (18k-18m).  Right palm strike (18m).  Left leg bow stance (18m).  
Here is a description of how to perform Fair Lady Works the Shuttles ("Works at Shuttles")  (#18, 18a-18m) from the book 'Tai Chi for Health: The 24
Simplified Forms" by Cheng Zhao and Don Zhao, p.126:
    "Form 18.  Fair Lady Works at Shuttles (Left and Right Sides.).
    (1) Step forward on your left foot; shift your body weight onto the left leg (18b-18c).  Draw you right foot forward in such that the toes touch the ground 
beside your left foot (18c-18d).  At the same time, your arms hold a large ball in front of your chest with the left hand above the right (18e).  Face NE2 
(18e).   
    (2) Rotate your waist to the right and place your right foot forward with the right heel touching the ground first (18e-18f).  Then shift 70% of your body 
weight onto the right leg and froma right bow stance (18h). At the same time, rotate the right arm up so the hand is level with your forehead and the palm
faces out (18h). Face SE4 (18h). [Inhale 18e-18f, exhale 18g-18h.]  
    (3)  Shift your body weight back to the left leg, and rotate your waist slightly to the right (18i-18j).  Shift your body weight back to the right leg, drawing 
your left foot up to rest beside your right foot with the toes touching the ground (18j-18k).  At the same time, both arms hold a large ball in front of your 
chest with the right hand above the left (18k). Face SE4 (18k).
    (4)  Rotate your waist to the left and place your left foot forward with the left heel touching the ground first (18l-18m).  Then shift 70% of the body weight 
onto the front leg forming a left bow stance (18m). At the same time, rotate the left arm up so the hand is level with your forehead and the palmfaces out
(18l-18m).  Face NE2 (18m)."  [Inhale 18j-18k, and exhale 18l-18m.]
-  Dr. Cheng Zhao  
 

                       
       (18h)                                   (18h)                                (18m)                                  (18m) 
 
 
19.  Pick Up the Needle from the Bottom of the Sea
Variations of names for this movement include: Pick Up Needle fromBottomof the Sea, Needle at Bottomof the Sea, Find the Needle at the Sea Bottom,
Reach for the Moon in the Lake, 海底针 : Hai Di Zhen : Needle at Sea Bottom.
The general direction of movement is in a straight line from W9 towards E3 in Movement #19.

From the last posture of "Fair Lady Works the Shuttles" (18m=19a), begin by stepping forward a half step with the right leg (19a). The right hand moves
back and up to the right (19a) until it is drawn up to around face level on the right side (19b). The left hand moves down in an arc until it comes to stop at
about waist height over the left leg (19a-19b).   Lift up the left leg and step forward a half step into a left toe stance (19b-19c).   Settle the body weight into 
the right leg (19c). Reach down with the right hand, fingers pointing downward, until the right hand is below the waist. Face the body in the direction of E3
(19c).  Inhale 19a-19b, exhale 19c.

      
        (19a)                               (19a)   
 
 
Return to Index for Sections or  Proceed to Fifth Section (Movements 20 - 24)
 

 
 
Fifth Section of Standard Simplified 24 Form Tai Chi (Yang Style)
Movements 20 - 24
 
 
20.  Flashing the Arms Like a Fan

Variations of names for this movement include: Flashing the Arms, Fend Off and Push Away with Arms, Unfolding Arms Like a Fan, Fan Through the
Back, Flashing the Arms, Shunting with Both Hands Fanned, 扇通背 : Shan Tong Bei : Fan Through the Back.
The general direction of movement is in a straight line from E3 towards W9 in Movement #20.
From the final posture of "Pick Up the Needle fromthe Bottomof the Sea" (19c =20a), begin by lifting the left leg up and then stepping forward onto the left
heel (20b-20c).  Lift the left hand and move it forward towards E3, fingers upward, palm facing S6 (20b-20c).  The right hand moves up and back to the left, 
finishing above head level, palmfacing S6, fingers pointing upward (20c-20d).  Sink the body weight into the left leg, and take a left bow stance (20c-20d).  
Inhale 20a-20c, and exhale 20c-20d.  



           
         (20d)                                     (20d)                                 (20d)  
 
 
21.  Deflect, Parry and Punch

Variations of names for this movement include: Turing Around, Warding Off, Punching; Turn, Intercept and Punch; Turn Body, Shoulder Strike, Back Fist,
Deflect, Parry, and Punch, Turn to Deflect Block and Strike, 进步搬拦捶 : Jin Bu Ban Lan Chui : Step Forward, Parry Block and Punch.
The general direction of movement is in a straight line from E3 towards W9 (21a-21h).   Exhale on the punch (21g-21h).  Please study the recommended
online videos to see how the series of postures in this particular movement are performed.



21a =20d.
Here is a detailed description of how to performDeflect, Parry and Punch (#21, 21a-21h) taken from the very useful narrative document by David Hann:
    "Turn, Intercept, and Punch:  Turn to the right on your left heel so that you are facing to your rear, looking over your right shoulder (21b).  Your left hand 
is held, palm facing out, at least a hand's width from your head. Your right hand is formed into a fist, held about chest level, with the elbow below the fist
(21c).  Step out with your right foot and strike out and downward with the back of your fist (21d).  Step up to your right foot with your left foot, toe down, 
heel up (21e). Bring your right fist back to your right waist (21f). Bring your left armacross your body as if blocking an opponent's punch and bring your
left hand, palmopen, facing and in front of your right fist (21f). Step forward with the left foot (21g) and punch with your right fist (21g-21h), moving it
over your left hand, which is now turned flat, palmup (21h)."
-  David Hann,  Yang Style Short Form Tai Chi
 

 

      
      (21e-21f)                              (21h)*    
* Note: In this photo, wesee moreof theWu Styleof Taijiquan realization of Punch (21h). Notice how far forward theman leans, with hisfeet rather closein aright bow stance. Notice
how theleft hand touchestheright armon theinsideof theforearmnear theelbow. In the24Form, thefinal posture (21h) is much moreupright, without leaning forward so much.
 
 
22.  Apparent Close and Push

Variations of names for this movement include: Clearing Cross Block and Pushing, As if Blocking and Closing, Appears Closed, Withdraw and Push,
Closing a Door, 如封似闭 : Ru Feng Si Bi : Apparent Close Up.  
The general direction of movement is in a straight line from E3 towards W9 (22a-22g).  



From the end of Deflect, Parry and Punch (21h =22a), begin by drawing the left hand under the right hand fromthe forearmtowards the right hand (22a-
22b).  Both hands come together in front of the body facing W9 (22c).  Draw both arms backwards towards the body (22d-22e) as the weight shifts
backwards into the right leg (22d). As both hands reach the waist (22e) the weight is in the back right leg (22e) and the left toe rises (22e). Begin to move
forward again in the direction of W9, drawing the weight into the left leg and taking a left bow stance (22f-22g).  Both arms Push (An) forward, palms out,
elbows bent, pushing in the direction of W9. The waist faces W9 (22g) and the eyes gaze towards an imaginary opponent in front of you (22g). Inhale 22c-
22e, and exhale 22f-22g.

      
      (22g)                                       (22g)   
 
 
23.  Cross Hands

Variations of names for this movement include: Crossing Your Hands in Front of Chest, Close the Door, Cross Hands, Cross Your Hands,十字手 : Shi Zi
Shou : Cross Hands.



Begin fromthe Push (An) position (23a =22g. Gradually turn the front of the body to the right so as to face N12 (23a-23b).  Draw the right hand in an arc 
out and across to the left (23b). Draw the weight into the right leg (23c). Open the arms wide to both sides (23c), palms facing forward, arms about shoulder
height.  Step the right foot back to shoulder width stance (23d).  Draw both arms down in an arc (23d) then up to cross the hands in front of the chest, holding 
the right hand in front of left hand (23e). Face in the direction of N12 (23e). Inhale at 23b-23c, and exhale at 23e.


        (23e)
 
 
24.  Closing Posture of Taijiquan    

Variations of names for this movement include: Conclusion, Concluding Posture, Taiji Ending, Ending Posture, Closing Posture of Taijiquan, 收式 : Shou
Shi : Closing.


From the final posture of the "Cross Hands" movement (23e =24a), begin by moving both arms down and outward (24a) until they reach the waist level
(23a-24b).  The arms continue downward until they are fully extended downward, hands resting against the sides of the thighs (24c).  Step to the right with 
the left leg (24c) until the left foot is immediate beside the right foot (24d). The final position is identical to posture 1a. Keep in mind all the principles
discussed for the posture 1a.  You have now finished a full performance of the Tai Chi 24 Form.  Inhale at 24a, exhale at 24c.  Inhale at 24c, exhale at 24d.  
The body is facing in the direction of N12, as it was in posture 1a.
 
Standard Simplified 24 Tai Chi Form, Names of Movements 1-24, 1 Page, PDF Format, 11Kb

 

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