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太陳 王

西

極氏




Wang Xi’an

Chen
Family
Taijiquan
tuishou

Chenjiagou
Wenxian County
Henan, China

陈 Published by
氏 INBI Matrix Pty Ltd
po box 775, Maroubra 2035
太 NSW Australia

极 English Edition © 2009 INBI Matrix Pty Ltd

拳 Copyright © 1998 Wang Xi’an


All rights reserved. No part of this book may be reproduced or utilized in
手 any form or by any means, electronic or mechanical, including photocopying,
recording, or by any information storage or retreival system, without permissing
技 in writing from the publisher.


First edition, 2009
Printed in China

Project management & design: Roman Mukhortikov
Editors: Juliana Ngiam, Tom Watson
王 Translation: Zhang Yanping

西
安 ISBN-13: 978-1-87693-500-6
ISBN-10: 1-87693-500-6

iv

Thoughts on Taiji 陈



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 succes-
sors. 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. 技
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 法
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.

Wang Xi’an


西

v

陈 氏 太 极 拳 推 手 技 法 王 西 安 vi .

Japan 安 vii . an impressive feat of concentra. belongs not only to China but to the rest of the world. the Japanese are coming to love Taijiquan and the great 法 charm of Chinese culture. to consist of everything’. indubitably a result of the efforts of Taiji follow- ers in both countries. 极 I recall Master Wang working on two manuscripts which he carried 拳 around in his bag during his visit to Tokyo in November 1995. More than ever. Tokyo. Indeed. 王 Atsuko Noguchi 西 January 1998. 推 tion and energy considering Master Wang’s teaching workload. One of the finished manuscripts resulted in this book. is to be published. newly written by Master Wang Xian. ‘to exist everywhere. In the spirit of Taiji’s original meaning. I look forward to Master Wang’s future works with great enthusiasm. we believe that Taiji. his high disciplinary standards and outstanding martial arts techniques serves 手 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 技 Taiji knowledge all over Japan in years past. I shall always be greatful for Master Wang and Taijiquan for leading me to a totally different worldview and life.Preface to original edition 陈 氏 I cannot express how excited I am on hearing the news that Chen Style 太 Taiji Tuishou Techniques. as an expression of the profound spirit inherent in all human beings.

陈 氏 太 极 拳 推 手 技 法 王 西 安 viii .

...31 9.........................................................................................  Leg Practice.............21 技 4........................................23 5.................38 2.......................  Opening and Closing ......63 5............  Na (Seizing) Practices.................................. Step by Step ................  Energy Explosion ....................  Zhan Nian Techniques...97 西 8........................... ....34 10.  The Core of Tuishou...............10 5.........84 7........................................................................................................4 极 3....................  Listening to Energy.........26 7..Table of Contents 陈 氏 Chapter One: Introduction 太 1.........................................................................  The Origin of Taijiquan Tuishou ...............................................................  Misleading and Transforming Techniques.........................................................72 王 6...........................................................................................................................................................................  Elbow Practice.................  Lian Sui Energies ..............................105 9...............  Dongjin – Realization of Energy.............................117 安 ix ....  Tuishou: the Only Criterion to Judge the Gongfu of Taiji....................................................40 3.  4.............13 推 Chapter Two: Interpretation on the Ten Forces of Tuishou 手 1....16 2.........................35 Chapter Three: Single Form Practice 1...........................................................................3 Tuishou Practice – Going Inward.................................................................................................................................................................................................................................................... The Relationship Between Three Stages of Taijiquan Practice and 拳 Tuishou....................................................  Feet Practice........................................18 3.....  Fist Practice.............................................................................  2......................................................................................55 4............... ........................................  Jietuo (Escape) Practices........  Introduction.........................  Kao (Push) Practices..........25 法 6...............................................................................................  Na (Seizing) Techniques ............................................................  Ti (Raising) Energy ...................... ..  Reeling Silk.................29 8.............................................................  Palm Practice...

.........................  San Ti Shi (Three Postures)..........  Solo Wan Hua....................................203 8...................................................................................  Hand Techniques in Tuishou Reeling.240 x ......  Classifications of Tuishou....................................................................................................239 9..................................................................................... 183 技 Chapter Seven: Solo Practice in Tuishou 法 1..........................224 安 6.227 7....................197 6..............175 手 4........................................................  Single-hand Vertical Circle Wan Hua in Pair Practice..........  Wu Ji Zhuang (Wu Ji Posture)....................200 7........214 王 2........................................................................  Shun Bu Tuishou.....  Solo Luan Cai Hua Tuishou........................................  Introduction...142 太 5.................  Tuishou Footwork Techniques............................. 133 氏 3...................陈 Chapter Four: Health and Qi Enhancement Practices 1..........................................................................  Shuang Shou Li Yuan Wan Hua.......  Pair Practice in Da Lü Tuishou................186 2................. 215 3...................................................................154 Chapter Five: Practice for the Buttocks and Crotch...............................................  Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang)........................................................................  Pair Practice in Shun Bu Tuishou........171 3...............................  He Bu-Tuishou................................................193 4.......................... 157 拳 Chapter Six: Chen Style Taiji Tuishou Categories 推 1........230 8.............149 极 7............................................209 9..............................................  Solo Danren Da Lü Tuishou..........................  Solo Tuishou With Static Footwork.....................................................................................................................................220 5.................................................................146 6...................179 5.........................................210 Chapter Eight: Pair Practice in Tuisho 1.............................................195 5...................  Shuang Shou Ping Yuanwan Hua.........  Single-hand Horizontal Wan Hua in Pair Practice...............................  Solo Double-hand Wan Hua in a Vertical Circle....................................................................132 2....  Kai He Zhuang (Opening and Closing Zhuang)............  Solo Ping Yuanwan Hua..........................................................................  Hunyuan Zhuang (Circle Posture)........  Solo Double-hand Flat Circle Wan Hua ............218 西 4...............187 3.......................  Tuishou Steps......  Tuishou Handwork Techniques..168 2.... 138 4...........................................  Introduction.........  Chan Si Zhuang (Reeling Silk Posture).......................  Introduction .........  Pair Practice in Luan Cai Hua Tuishou...............................................

chapter one: INTRODUCTION .

陈 氏 太 极 拳 推 手 技 法 王 西 安 2 .

the Huangdi Neijing (The Canon of Huangdi) and acupuncture. in the period between the Ming and 太 Qing Dynasty. awareness of Taijiquan and Tuishou’s health & fitness benefits have spread far beyond China to all corners of the globe. With the accelerated pace of modern life. In doing so. According to the book. 拳 Using the foundation of the 108 Form (Tongbei Changquan) which he inherited from previous generations and from other Ming period martial 推 arts practitioners. as well as the principles of Yin and 技 Yang. it helps main- tain fitness. Chen Wangting. and 极 he was recognized as the creator of Chen Family boxing. originally known as Jieshou or Dashou. it helps build health and defence as well as to develop a sensitivity to movement.1  The Origin of Taijiquan Tuishou 陈 Tuishou originated in the Chen Village. Wenxian County. the ‘Book of Changes’). Tuishou. Henan Province. 1. gender. throwing and strik- 法 ing. reducing illness and prolonging a healthy life. (also known as Zouting) was a famous martial arts master. Chen Wangting developed the creative and athletic routines of Taijiquan and Taiji Tuishou. Its creator. Taiji Tuishou practice is not restricted by a practitioner’s age. loca- tion or access to equipment. was the creator of Taijiquan and 9th generation head of the Chen Family. is a practical combat technique based on grabbing. agility and flexibility. As a combat techniqiue. and will continue to do so in years to come. catching. 王 西 安 3 . As it is not stressful to the body. ‘The Family Tree of Chen’. transforming. 氏 China. sword and stick routines. Chen Wangting. he drew on the theo- 手 ries of the Yijing (I Ching.

with greater efficacy and subtlety. and striking. so much that you will be able to apply combat techniques. followed by the 技 double hand horizontal and vertical practice. Less well known is Tuishou’s other application as a technique for internal transformation.2  Tuishou practice – going inward. Tuishou translates as ‘push hands’. As you reach the level of adept. to the Deity’. Learning Tuishou 极 will quickly expose any weaknesses in one’s internal Gongfu. Follow the circling movements with the whole body. transformation is the basis. ‘From the familiarity of forms. your entire body surface will become very sensitized and your ‘inner listening’ abilities very finely honed. such as grasp- ing. 4 . be relaxed. you will be able to release explosive energy 王 to both small and large targets. Relaxation is fundamental. advance/retreat movements until your sense of touch develops to a level where your reactions to any external stimulus becomes immediate. A Taijiquan proverb pertains also to Tuishou. enabling you to throw opponents meters away without hurting them. hard/ soft. Tuishou practice should be soft and modest.陈 1. listen to each other’s energy 手 flow. from the realization of Jin. pacing your learning step-by- step. and what it consists of. or appreciate the interplay of the slow/quick. an athlet- 太 ic activity based on mutual pushing. and do not disconnect or oppose your partner’s energy. nor will you be able to intuit your opponent’s energetic intention. to the real- 拳 ization of Jin. 推 Initially. Become famil- iar with the single hand horizontal and vertical practice. throwing. catching. Note that adepts earn their title only when 西 they attain the ability control and use combat techniques in an appropriate 安 manner. step-by-step 氏 To practice Tuishou. that is. you must know its significance. intuitive and subconscious. With sustained practice over a period of time. Literally. principles. You will not 法 realize inner transformation.

be calm and concentrated in 陈 your demeanour. Practice makes perfect. 氏 Skill arises from consistent and accumulated practice. you will ultimately enhance your health and combat techniques. As long as you practice persistently and make 极 progress. In solo practice. imagine a partner practicing or competing with you. force and speed in your actions.Remember that ‘inner listening’ is the one essential skill required to improve your technique. 太 but never practice just in order to practice. mind and spirit with determina- tion. your intention and commit- ment must be deeply held. 拳 推 手 技 法 王 西 安 5 . To cultivate ‘inner listening’. combining your heart.

with 西 the lightest of touches. it will enable you to feel. attacks or retreats. while its theoretical basis builds on the philosophies of Yin and Yang. 极 The thirteen forms are: 拳 • Ward off Peng • Roll back Lü 推 • Press Ji 手 • Push • Pull down An Cai 技 • Split Lie • Elbow strike Zhou 法 • Shoulder strike Kao • Advance forward Jin • Retreate back Tui • Look backward Gu • Gaze forward Pan • Central equilibrium Ding Tuishou flows seamlessly between the application and combination of opposites. Nian. opening or closing.3  The core of Tuishou 氏 The core of Tuishou consists of Zhan. your partner’s weight. you will develop the capacity to subcon- sciously anticipate quick or slow changes. Tuishou practice is based on thirteen ‘forms’ or energies. follow) and Chansi Jin (Reeling Silk). gather- ing or exploding. upward or downward movements. 6 . Lian. speed. You will learn to follow your partner’s intention and forget your 安 own. 王 Qing (light) and Zhong (heavy). actions to the left or right. When you can control these energies within yourself. and so on. adhere. distance and direction of energy. Movements alternate freely between Gang (hard) and Rou (soft). Kuai (quick) and Man (slow). continue.陈 1. At a more advanced stage. Sui (stick. which are also the essential 太 elements of Taiji.

or other deformation. this energy refills auto- matically to its original ‘full’ state. 拳 Use the forces of elasticity and friction 推 Use these forces when applying techniques such as ‘draw the opponent into one’s orbit to destroy their centre of gravity’. Master the fundamentals Basically. 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’. expansion. it is the force of friction that 法 enables you to hold and seize their arms etc.Points to remember: Move with great flexibility 陈 Change your movements constantly using elastic yet tense Neijin 氏 (internal energy). ‘if the opponent moves slightly. 太 Note: by ‘elastic’ we mean energy that is able to return to its original state after compression. 王 When releasing explosive energy. don’t move’. Tuishou centers around ‘listening and following’ techniques: ‘react fast to fast attacks’. move before they do’ etc. ‘utilize the opponent’s 手 energy’ and ‘conquer the strong with the weak’. stretching. ‘if the oppo- nent does not move. 7 . be calm and relaxed 西 To release bursts of energy effectively. ‘follow slow attacks unhurriedly’. 技 Note: friction forces are often applied in Tuishou – as you come in contact with the opponent’s hands. 极 Like a balloon whose air has been exhausted. concentrate on one direction at 安 a time.

results in the shaking off of the 法 opponent’s upper body and lifting of their lower body. I follow my partner. Similarly. whether ascending or descending. and is worth remem- bering.” 手 This technique. push or strike your opponent you do so without alerting them in order to capture their energy. also states: 拳 “No one knows when I gather or stretch. yet few who can actually strike the enemy’s heart and ribs with agility and effectiveness’. utiliz- 推 ing the techniques of Kao. I always follow their intention. 王 The canon of Taiji teachings is rich with such sayings. As Chen Changxing says: ‘There are so many people who wear the mask of a hero. whether they strike or twist. none of your opponents can defeat you. 8 . no matter how hard they press. Using this. and they serve as 西 concise and comprehensive guidelines for Taiji and Tuishou practice 安 through the ages. Even if attacked by a monster.” 极 Chen Changxing. I can conquer a force of a thousand jin with a tiny force of four Liang. known as Shang Long Xia Ti (which means to place the 技 opponent in a passive position unawares by holding close to his or her upper body while lifting their lower body).陈 As stated in the General Song of Taijiquan by Chen Wangting (also known as the ‘Song of Taiji Practitioners’): 氏 “…remembering the principle of following. I perform strictly to the principles so as to make me 太 unassailable. the 14th generation master. push or strike. when you move forward in your turn to press.

技 法 王 西 安 9 . 拳 As a science. 太 极 Here. 陈 One with two Yin and eight Yang is a San Shou One with three Yin and seven Yang is still considered tough. In order to inherit and develop this Chinese cultural heritage. Only one with five Yin and five Yang is called adept. the study of Taijiquan Tuishou is a profound undertaking which knows no bounds. I sincerely hope Taijiquan followers will embark on a 手 serious study of this art and strive toward the as yet unbounded acme of this science. requiring us to further our exploration and 推 improve our practice of it. the relative practice methods for each stage with differing ratios of Yin and Yang are clearly defined.Another essay defines the five levels of Tuishou: One with one Yin and nine Yang is as stiff as a stick. 氏 One with four Yin and six Yang is among the group of the adepts.

极 拳 The three stages of Taijiquan are: 推 1. 法 3. ‘three-yin seven-yang. Da Quan (big circle) 王 This is the stage whereby ‘one-yin nine-yang. 手 技 2. as stiff as a stick’ evolves to ‘two-yin eight-yang. is San Shou’.4  The relationship between the three stages of Taijiquan practice and Tuishou 氏 A brief description of the three stages of Taijiquan practice will be provid- 太 ed here. Correspondingly. one comes into the group of the adepts’. Zhong Quan (medium circle) 安 At this stage. Dong Jin (realizing the inner energy) Qi drives outer form. with fuller details available in Chapter Two of my book. ‘Chen Style Taiji Laojia’ (Old Routine). Taiji Tuishou also consists of three stages with three respective practice methods: 1. 西 2. 10 . still regarded hard’ turns into ‘four- yin six-yang. Zhao Shu (familiarity with the forms) Outer form drives Qi.陈 1. Shen Ming (dual cultivation of inner energy and outer form) One is regarded as a Deity.

that is. ‘I hit with any part of my 11 . Xiao Quan Naizhi Wuquan (small circle or even no circle) This is the final stage where ‘five-yin five-yang. we practice An Jin 推 (invisible force) through Yi Qi Cui Xing (external form driven by Qi). possess abundant internal energy. Note that ‘no circle’ denotes a state of subtlety and skilfulness. with the practice of Xiao Quan Shenzhi Wuquan (small or even no circle). along with the Tuishou practice of Zhong Quan (medium circle).3. we practice Ling Jin (spiritual force) through Nei Wai Jian Xiu (culitivation of both internal and external quali- 技 ties). one is regarded as a 陈 Deity’. By this stage. 法 We must pay attention to different methods during different stages of practice. we practice Mingjin 极 (apparent energy) by utilizing Yi Xing Dai Qi (external form guides inter- nal Qi). and be able to achieve constant internal changes between Xu and Shi (void and solid). along with the Tuishou practice of Da Quan (big circle). 手 At the third stage of Shenming (deity). in addition to a diligent assimilation of knowledge. an adept may say. 拳 At the second stage of Dong Jin (realization of energy). at the first stage. all parts of the body become as highly sensitized as finger 安 tips so that when competing. that is. Following a correct program of prac- tice as outlined above. Those who attain the level of Deity will be able to execute movements with tremendous flexibility and smoothness. students will improve step-by-step and attain the ultimate stage of Deity or Xing Shen Jian Bei. 王 enjoy a feeling of lightness. as well as the combination of the respective techniques applied in the big. That is to say. 氏 太 The three stages of Taijiquan practice are interrelated with the three stag- es of Taiji Tuishou. the complete fusion of external form and internal spirit. medium and small circles. and does not mean total stillness. random alternations between 西 states of energy gathering and releasing within a relaxed and elastic body.

if you don’t make 太 efforts to go forward.” 极 拳 推 手 技 法 王 西 安 12 . “Taiji practice is like rowing in the river. Also known as ‘Five-Yin Five-Yang’. those who reach this stage posess 氏 energy without imbalance and can achieve Lianshen Huanxu (cultiva- tion of Shen spirit and return to the void). even though I don’t know how I do it’.陈 body that is attacked by my opponent. you surely go backwards. as our ancestors tell us. This is not unattainable.

meaning ‘loss of energy’. Skilled practitioners rely on a highly developed sense of touch. it doesn’t imply Diu (a common defect due to failure in Zhan 推 Nian. Tuishou actually requires a strong sense of balance and an ability to 拳 combine energy and force. 太 In contrast with Quan (form) practice where the focus is on solo practice and developing self-awareness. It simply requires practitioners to have sufficient physical force for competition. However. It is this dynamic that we need to explore during practice. Ding meaning ‘stiff resis- 手 tance’). it is 氏 also the key criterion against which one’s level of Taijiquan Gongfu can be measured. 1. 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. 极 hence it is essentially a competitive activity. four 法 Liang defeats thousands of Jin’. or ‘losing tracking to the opponent’s energy’) or Ding (a common defect due to failure in relaxation. 技 When forces are equally matched during competition. the only criterion to judge   the Gongfu of Taiji 陈 Not only is Tuishou a reliable test of one’s level in any martial art form. 13 .5  Tuishou. These reflexes are faster than thought and only come with constant practice. When they 王 reach the level of ‘a good hand with invisible four-yin six-yang energy in medi- um circles’. While appearing deceptively easy. nor is it just a matter of pitting one’s physical force against others. try to feel your partner’s tracks of energy while controlling your own centre of gravity during practice.e. Tuishou develops one’s sensitivity to others. softness can break through hard. Without the latter. tough energy. no techniques can be executed. they are able to strike back instantly in response to an opponent’s 西 movement using conditioned reflexes derived from highly sensitized skin 安 alert to every minute stimulus. Nevertheless. Remember too where your weight is placed to main- tain control of your centre of gravity. ‘thousands of Jin’ (i. the stron- ger force) also can defeat the weaker force. This is called. Only by being fully aware of the changes in your partner’s movement can you react promptly to any attack. ‘Weak side strikes strong side. In other words. Hence.

陈 氏 太 极 拳 推 手 技 法 王 西 安 14 .

陈 氏 太 极 拳 推 chapter TWO: 手 Interpretations 技 法 on the ten forces of taiji 王 西 安 15 .

法 follow) as fundamentals. Similarly. her body light and flexible. the skin. her changes in rotation. When Wu-Yin Wu-Yang (energy equal and balanced) is attained. alluding not only to listening with the ears. Hence the saying. 推 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 手 to seize. and a highly-tuned awareness of sensations in the heart and nerves as well. feel your partner’s movements. no matter if the changes are in the opponent’s rotation. but also with the 太 eyes. a rise or fall in height or changes in weight. with the skin and with the fine hairs on the body 拳 surface. position and magni- tude. when an opponent touches one’s fine body hairs. a practioner’s body can react instantly with great accuracy and flexibility. ‘Without being known. The level of one’s overall listening ability is determined by 极 one’s internal energy (Gongfu). sensing through the skin enables reaction in any 王 manner within the rules.陈 2. adhere. At this stage. every single hair is so deli- 西 cate and sensitive it can detect a feather just before it touches the skin. and taking Zhan Nian Lian Sui (stick. One’s skin is the key weapon. The entire body surface of a high level practioner is highly sensitive. any signals of attack will be transmitted as sensations through the minute hairs on one’s skin. During Tuishou sparring. With your skin. allowing both body and mind to enter into the level of deity and transformation. On receiving these signals. the act of ‘listening’ has profound resonances. filled with abundant internal Qi. I know others and sweep all enemies aside.1  Listening to energy 氏 In the context of Taiji and Tuishou. squeeze and press. one’s force is 安 injected into the marrow. Listening can be divided into three areas: listening with the bones. continue. 技 What is listening with the skin? It means following the command of the heart and mind.’ 16 .

so a practioner cannot generate energy for sparring if he or she is unable 推 to listen. In all this. Without this preparation. you 西 fight back. your judgement confused. making all one’s muscles stiff. until it is too late to repel danger. slow. Failure to do so will cause one’s energy to remain stuck in the chest. 技 emptiness. “The most super-human strategy is formless and soundless. defending and attacking blindly. How good it would be to attain this level. calm. special attention should be paid to ‘the intervals of 法 fastness and slowness’. ‘co-ordination of opening and closing’ and maintaining a fluid continuity between all these techniques. Just as 拳 a deaf person is unable to comprehend a conversation as he cannot hear. your 王 listening untrue. While the majority of practitioners 陈 are able to listen with the bones. where every knot of one’s body opens and stretches without crude force. that is why it destroys the strongest of enemies”. ‘clear manifesta- tion of emptiness and solidness’. blood and breath. 手 Listening practice should strictly follow the Four Principles (Zhan Nian Lian Sui) as well as the Essential Formula – fast. which is essential 太 for constant adjustments to frequently changing circumstances. leading only to failure. ‘descending Qi and steady steps’.Finding a really peaceful place to practice will help concentration and improve one’s sensitivity to listening. Nervously. descending. opening and closing (快、慢、沉、稳、虚、实、 开、合). You will look without seeing. listen without hearing. listening would be impossible. Your reactions will become slow. let alone the attainment of energy for combat. solidity. This is why we recommend the practice of Zhan and Nian (stick and adhere) energies 极 as a preparation for listening practice. 氏 Listening is essential to Tuishou. As Sunzi Bingfa says. very few achieve the ability to listen with the skin. 安 17 . It requires cultivation of a finely-honed sensitivity to the sensations on one’s minute body hairs. rising to the upper body. Only through accumulated practice can one’s sensations detect the small- est changes.

“faulty palms” or “faulty body”. Shi (tight). hardness and 太 softness. Shan (dodge or flash). Without ‘hearing’ the energy of one’s partner. Gou (hook). 推 Realizing energy is based on listening. Ba (pull out). Zhan (chop). Dang (block off ). your energy too resistant (Ding) or being lost unnecessarily (Diu). Teng (jump). Be warned that mistakes will occur on this learning path. It is the ability to conquer one’s opponent by using prop- 极 er rhythm and techniques such as Yin. Failure to overcome these shortcomings would be to fail to 王 realize energy. Zhuan (cheat). the ability to circle and the principles of Zhan Nian Lian Sui. We call such shortcomings. await them. A further thirty-five shortcomings need to be overcome at this stage: Chou (draw). Na. 18 . Tui (push). Qi (insult). Ya (push down). Ting (stick out). Jia (stiff ). Ling (pressing). Meng (sudden). Hua. Peng. speed. Hun (mix up). that is. magnitude and hitting point. Pai (squeeze out). Ji (hit).陈 2. you cannot note any of the 手 above changes in the oponent. straightness and curvature. you cannot realize it. While beginners may find this difficult to achieve. Qin (intrude). length. 西 Bing (defect) signifies the inability to follow principles such as maintaining 安 one’s centre of gravity. Gua (hang on). Ke (knock). It is the ability to note present or potential changes in emptiness and solidity. Cuo (rub). Duo (escape). Ba (seize by force). Di (resist) and Gun (roll). transform. Ying (stiff ). 化hua – change. Fa (引yin – lead. 拿na – capture.2  Dongjin – realization of energy 氏 Realizing energy is a key concept in Taiji and Tuishou. Zhe (hide). Bo (move with hand). direction. Zhi (straight). An (press). Lou (hold). vertical axis and flexibility. Even for those who achieve this skill. this skill may eventually be attained with diligent practice and a 技 good teacher. new challenges such as ‘being too fond of competing’. Li (leave). your posture too straight 法 (Zhi). You may find yourself being too stiff (Jiang). 发fa – explode) at the appropriate 拳 opportunity.

striking. Whilst acknowledged as a combat technique in its own right. Ji. says in a verse from his book. the Tuishou practitioner must aim 极 to apply these techniques (seizing. hence its continu- ing ties with Tuishou and. 安 19 . developed from further transformations of 法 Tuishou routines. rather than use them as disparate forces to enhance one’s attacking prowess. and also in one’s facilitiy with the eight energies or techniques (Peng. Lie. An. grasping. I always keep remembering to follow their inten- 西 tion. changing one’s centre of gravity and flexibility) 拳 in synchronous movements. 氏 tice. Tuishou is the combat application of Zhan Nian Lian Sui. When attacking. 推 Whilst all Chinese martial arts possess unique characteristics. 王 I follow my partner. 14th generation Taiji master from the Chen family. no matter if they use the technique of Kao or twist. with Taijiquan. Lü. ‘The Taijiquan Formula’: No one knows when I gather or stretch. The quality of one’s form practice and Tuishou level 陈 speaks for itself – it is reflected in one’s ability to freely move forward or backward.The practice for ‘realizing energy’ also tests one’s position. falling. In effect. Sanda complies with basic Tuishou principles. utilizing the techniques of Kao in spiralling. Hence. form and quality of Tuishou. jumping. ultimately. which is used not only in Tuishou. Zhou and Kao). twisting. 太 nal forms are the method and the pathway’. Cai. In fact. relaxation and health practice for the old and infirm. and shares many common 技 principles with Sanda (free sparring). Sanda can simply be taken as a higher evolution of Tuishou. angle. Ultimately. these eight techniques form the method for Tuishou. 手 but also in the combat arts and and Sanda (free sparring). they share the common practice of ‘realizing energy’. look around and maintain an upright axis during Tuishou prac. is misleading and does not take into account its funda- mental role across the Chinese martial arts. dodging. transforming. Concordant with the adage that ‘exter. the poplular stereotype of Taijiquan as a non-combat. As Chen Changxing.

Taijiquan and Sanshou are practiced synchronously today to enhance health and self- defence skills. Chen 拳 Changxing exhorts practitioners to maintain a keen awareness of self and other parties. Chen Xin once said. to forget about one’s own intentions and follow the opponent’s. Everyone knows how to hook. step by step. As mentioned. The author stressed the importance of ‘follow’. that is. 技 that is. With the devel- opment of modern weapons. push or press. Indeed. The attacks from me by twisting. ‘listening and real- izing energy’. to act naturally and follow one’s intention. fourth and fifth sentences refer to the application of Taiji Sanshou. 手 The second sentence of the verse means to follow the other partner’s inten- tion while circling them. this verse confirms Taijiquan as a profoundly practical Martial Art. press and hold back. leading to a wider understanding of the profound benefits and applications of Taijiquan. until I come to the level of Deity”. The third. ward off. 西 In addition to applying Master Chen Changxing’s advice. Li. one must also ‘realize energy’ through diligent practice and the exchange of ideas with 安 one’s sparring partner. we can clearly see that in all movements. yet who knows the tactful way to turn one’s back and dodge 太 suddenly? 极 From the above verse. 法 Again. along with the Four Essentials and ‘realizing energy’ tech- niques in Tuishou.陈 You need to go forward in order to chop. and horizontal Cai are also 氏 irresistible. This ability is 推 encapsulated in the phrase ‘Zhan Nian Lian Sui’. to the realization of energy. Tuishou is a combat practice method designed to prevent injury to the body whilst Sanshou is the appliction of Tuishou in actual combat. only with accumulated practice can one exert energy flexibly and 20 . It is through the practice of Tuishou and Sanshou that 王 one garners the true meaning of Taijiquan. strike. “From the familiarity of forms. Hence. the Chinese martial arts have evolved into health and fitness promoting practices. adaptable to both Tuishou and Sanshou.

Tuishou practice cultivates the capacity to know others. extent. ‘Realizing energy’ is the middle stage of the three major phases in Taiji 氏 development. direction and the position of a partner’s energy flow. that is. capturing and transforming his energy and 拳 using it to attack at the first opportunity.3  Zhan Nian techniques 法 Zhan & Nian are forces directed forward. to one’s opponent. Through reeling-silk practice. like glue. Only with the awareness of both oneself and others can others be conquered. with Zhan as the dominant force since without a 21 . with which one’s opponent will find difficult to escape. while Tuishou exposes the quality of Zhan Nian techniques. It is commonly used in attacking strategies. They are external manifesta- tions of internal forces arising from prolonged ‘reeling silk’ practice. so 西 that he finds it hard to escape.effectively. on reaching the final stage of ‘deity’. This ability comes through great patients and a life-long 推 perseverance of effort through the three stages. This is why it is said. he or 极 she will be able to prevent their opponent from escaping with zhan ener- gy by following his intention. 手 技 2. A practitioner. Whilst it is said that form practice cultivates a capacity to know oneself. Nian means to chase and follow one’s opponent. Ultimately. Zhan Nian techniques develop one’s capacity for high precision.” Zhan literally means ‘stickiness’. the first being ‘familiarity with form’ and the last being ‘real- izing deity’. Zhan Nian 安 energies work as a pair. this results in a deeper and more precise understanding of energy. “Form practice is the essence of Zhan Nian training. Conversely. and come to realize the laws of movement and force. in this way maintaining the upper hand at all times. At this point. magnitude. and its 陈 natural and intuitive use. will be able 太 to instantly sense the delicate changes in the movement. the adhesive force that allows a 王 practitioner to become strongly attached.

This is why it is said that at this relatively high level. When Zhan Nian techniques are 拳 applied. During Tuishou. It is Zhan energy that envelops the body. flow up the arms to the shoulders and back. the practitioner can exert Zhan Nian forces towards the opponent. slow reactions to slow attacks’. inflexible muscles and joints. 手 Understandably. ‘Fast reactions to fast attacks. Zhan Nian energies can only be realized through thorough theoretical understanding and careful. Zhan techniques are fundamental to Tuishou – one needs to stick to the opponent to react appropriately. one can never accomplish quality ‘chas- ing’ (Nian). the opponent will find it difficult to detect any weaknesses and hence any opportunity for attack. 西 安 22 . despite prolonged practice. ‘I move before them on feeling their slightest motion’. Simultaneously. have failed to attain high proficiency in the art. an internal energy 氏 manifesting externally. and then through the entire body. as indicated by these teachings: ‘Follow my partner’s intention. and forget my own’. continuous and diligent practice. but certainly achiev- able for diligent practitioners with good teachers. Not an easy task for ordinary practitioners. Zhan Nian energies can be detected by sensations that start at the palms. these techniques will 推 lead the opponent into faulty moves.陈 good mastery to ‘stickiness’ (Zhan). especially those who. ‘I win by striking after the enemy has struck (My fist starts late. ‘I don’t move 太 if they don’t move’. Once the whole body is enveloped. 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. but even many long-term practitioners find total under- 技 standing or realization elusive. yet arrives at 极 the hitting point earlier than the opponent)’. as reflected in their 法 stiff bodies and tense. victory or defeat is decided in an 王 instant. Ultimately. beginners find Zhan Nian energy difficult to comprehend let alone detect. and so on.

王 西 安 23 . Their inter-dependence requires both Zhan Nian and Lian Sui energies to be used in concert to work effectively. that is. In so doing. Once palms come in contact. another rises’. adhesiveness. slow reactions to 技 slow attacks. including consistency. Sui. Lian has a rich 手 amalgam of meanings. and no chance to escape.4  Lian Sui Energies 陈 Lian Sui energies are twin companions of Zhan Nian energies. ‘Bu Diu Bu Ding’ (no loss of energy. ‘to react while following’. non-pressing. can we execute Yin Jin Luo Kong efficiently. Unless one follow’s the opponent with Lian (co-relation). non-forcing. no resistance). the act of connecting and maintaining the conti- 法 nuity of one’s movements with those of the opponent. the opponent cannot escape because if one follows closely using Zhan Nian. there can be no Lian. fast reactions to fast attacks. so that ‘as one falls. 2. taking any opportunity to attack. one observes and reacts to the opponent’s Zhan Nian techniques. emerges from the application of Lian. moving effortlessly between quick/slow and forward/ backward movements. 推 Lian is dependent on one’s use of Zhan. Lian Sui means to follow the partner constantly and closely thereby 太 preventing their escape. how can Sui be achieved? Sui technique means to react. continuity. 拳 misleading and upseting the opponent’s centre of gravity by attack and thus strike and ultimately conquer the opponent. Only if 极 we can achive quality work on Lian Sui (continue and follow) based on good mastery of Zhan Nian. Without Zhan’s adhesive force over the partner preventing escape. Used in concert with Zhan Nian ener- gies. follow and move in the same direction as one’s opponent. and can only 氏 exist in the presence of the latter. It can be summarized as ‘co-relating to the opponent’.

whether through form practice or 极 Tuishou”. applying Lian Sui provides a good opportunity to observe the partner’s weaknesses: 氏 “Lian and Sui are the means to mislead the opponent into our territory and to put them into a passive position. upper and lower coordinate any motion in the middle. 王 西 安 24 . 技 “The lower body automatically follows any motions of the upper 法 body. Only with unimpeded energy flow and smooth inter- nal co-ordination can one interact seamlessly with one’s Tuishou partner. As the teaching says.陈 As a teaching goes. without any break in flexibility or continuity. so that 手 they can ascertain if their energy levels match the purpose and intention of their actions. It is vital that beginners are able to feel the movement of internal energy inside their bodies. on the other hand. Internal and external energy flows relay the most valuable quality inside those adepts who can coordinate their energies closely. 拳 Beginners may attain the preliminary stage of Lian Sui. Lian and Sui can 太 never function without the other. successfully 推 use Lian and Sui to attack and prevent escape. the basic ability to follow the opponent’s movements. therefore it is advisable to practice the combined application of both. Adepts. following their energy flow without interruption.” Here we refer to the ability to keep every part of the body functioning as an integrated whole.

neutralizing any opportunity for attack. so as to mislead my partner’s energy and upset their centre of gravity. I apply Shun reeling downwards. turning left or right. “We strike by coordinating forces from different directions (Yin Jin Luo Kong). elbows. the adept draws the opponent into 极 his or her domain.5  Misleading and Transforming Techniques 陈 Yin is the main force used to mislead opponents. 法 or feet to upset their centre of gravity. Yin is the ability to draw the opponent’s energy into one’s control. For instance. hips. knees. then gradually upwards. I lower my body then stretch my right foot toward his or her crotch. and in this way mislead and neutralize your opponent’s energy. Literally meaning ‘to 氏 draw’ or ‘to lead’. going up 技 or down. one should avoid Diu and 推 Ding (losing energy and resistance). When we feel the changes in our opponent’s energy flow. we then use our shoulders. A particularly effective combination is Luo Kong. striking the opponent with explosive 拳 energy while applying Yin Hua (literally to mislead and transform). palms. we should apply She Ji Cong Ren without being 手 detected. and cannot exist without Yin first being applied. using Lian Sui to follow their energy flow. legs and so on”. While moving. 西 安 25 . reeling my back inward before suddenly 王 striking outward. Once neutralized. As Chen Xin explains. if my partner press- es my right arm with their palms. hands. Note that while applying Yin and Hua forces. When applying Yin. Using these complementary techniques. Use these principles whether you are going backward or forward. 2. using our arms. Hua is 太 the transformative force. hence ‘misleading’ and transforming the opponent’s energy. 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.

desta- 极 bilizing their centre of gravity and transforming their energy in order to conquer them.陈 Yin Hua can be applied in many ways. It is important to remember that one must gather energy 拳 well before misleading one’s opponent. explode energy as if releasing the arrow”. the more one stretches the bow. I know my partner without being known. Hua and Xu (gathering). shock. and hence the harder 手 the opponent falls. “gather energy as if pulling on 推 the bow. wrists or hands to inhibit their rotation or movement. he or she can easily capture his opponent through the combined use of all 26 . 法 2. I “roll over. so that the opponent is hurt and caught) or low stances are not always necessary for a good practitioner to conquer opponents. dodge. That is to say. they are conquered. However. look one way and go another”. Opponents will feel as if their tendons and bones are about to break. i. In Tuishou and San Shou. As Chen Xin suggests. just as one should attack forcefully without hesitation. When I attack. continuous solo practice is required to absorb knowledge thor- 氏 oughly before techniques can be put to effective use.e. sweep. meaning the direction which hurts the natural struc- 安 ture of joint. hence rendering them helpless. depending on circumstances. using all these techniques to mislead my opponent. touch. Any 西 hard fan guanjie (joint twisting. tie up. As Chen Changxing 太 advises. 王 While many martial arts schools may practice their own interpretation of the Na technique. my Taiji harmony within emerges so that even ghosts fail to predict my next move. that of Taijiquan is accepted as the most refined.6  Na (Seizing) Technique The Na technique or ‘Way of Seizing’ consists of seizing opponents by their arms. the further one’s arrow flies. In this way. and their pain penetrates right to the marrow. so as to accumulate and release energy 技 effectively. rotate an opponent’s joint towards its unnatural direction. Instead. elbows. one must cultivate the forces of Yin.

agil.their gathered forces. To apply Na effec- tively. you must react quickly and flexibly to any changes in your opponent. so that I can strike them cleanly and successfully. ‘Na (seize) always goes with Da (strike). in order to strike well. ‘is called the 法 “best of the best”’. When utiliz- ing Na. 氏 The seizing technique in Tuishou is very important. you need 太 to seize first’. Hua (transforming) are all pre- 极 conditions for striking (Da). Make sure Shun reeling and Ni reeling happens continuously when you utilize Na techniques. This is why it is said that Na is the pre-condition of Da. so that I may capture my opponent without hesitation or detection. 技 ity. throwing. flex. In Tuishou. applying the energy smoothly and judiciously without over-exertion. flexibility and skilfulness). This is called ‘dual-utilization of seizing and gath- ering’. Shuai (throw). Zhua (grabbing). a Tuishou practitioner can exert the invincible might of Taiji. you still have 王 the opportunity to move in quickly and seize them by their palms before they move away. techniques such as Zhan Nian Lian Sui. I move using the principles of Qing Ling Huo Qiao (lightness. With the combined application of seizing. ‘Only this. thus reaching their goal. Tuishou accentuates Taijiquan’s martial power. Indeed. Only with the synchronous use of various techniques can a Tuishou practitioner put their opponent at a disadvan- 拳 tage position and conquer them. 西 ible and skilful exertion of Zhan Nian Lian Sui as well as other techniques. Na (seizing). agile. These recovery measures also depend on a light. 推 I utilize Na to prevent my partner from escaping or from transforming 手 their energy. There is a saying. If he or she succeeds in escaping.’ as Sun Zi Bing Fa says. 安 27 . To apply Qing Ling Huo Qiao while seizing one’s opponent means to exert one’s spiral energy on them on contact. If you fail to attack lightly and skilfully and your intentions are detected. transforming 陈 and striking. strengthen your force so that your opponent finds it too difficult to escape or transform their energy.

and sensing the amount of force the partner’s joints can withstand. use the Na technique carefully to avoid hurting your spar- ring partner. In peace every part of my body moves at the time of movement’. seize him then guide his pressing force into your territory using Lü energy. shoulders and crotch all gather downward 极 in concert. 法 Na technique works together with Cai technique. Using this will overcome the opponent without fail. if you want to seize your opponent.陈 When applying Na. Never let Qi float upward and never let your feet lose their 氏 roots. During practice. ‘Never be rude and rash when you begin to practice Na. 推 Na is the synchronous manifestation of the internal and external. How then can you hope to seize another? Indeed. just as 拳 it is stated. stomach and the protruding and concaved parts of the shoulders. By relaxing. the targets for both being the arms. especial- ly amongst beginners. and your ribs. ‘No part of my body is not peaceful. Next. Miscalculations often 安 result in injuries. Exert 手 your energy first lightly then with force. both palms covering his right wrist. hence it is advisable to heed the teaching. your chest rolls inward naturally. application of appropriate angles and techniques. with no part tense. chest. making sure your hitting points are clearly defined. Common problems. your root will become unsteady. releasing your force like bullets rushing out of a gun. twist his right arm inward with your left hand. 太 you have no option but to relax your joints. in which case. stomach and legs. If Qi ascends. whether you exert Na by the co-ordination of your hand and 王 chest or with your ribs. When relaxed. The combination of Na-Cai with gathered chest energy has a force twice more powerful than Na alone. If you fail to Peng (ward off ) your opponent adequately. remember to maintain a relaxed state by lowering your whole body. and all parts in a gathering motion.’ 28 . every part of your body works in harmonious cooperation. your centre of gravity destabilized and you will find it difficult to protect yourself. he will be able to press forward. Then strike directly forward in a spiral and hit your 技 target accurately. include controlling one’s speed and magnitude of 西 attack.

are widely used in Tuishou. Opening- Closing techniques. Even masters of Chinese philosophy – Kungfuzi. In all Tuishou and Taiji movements. Opening (Kai) means to stretch and reach. relax the shoulders. opening and closing illustrate the subtlety of Taijiquan. Sanda and form practice. As Chen Xin says. ‘How can the circulation of stillness and movement have fixed directions? No matter under condi- tions of movement or stillness. Inhale from the stomach so that it remains 陈 solid. Listen to the tracks of your opponent’s energy while 氏 applying Na and Bi (closing).7  Opening and Closing 推 In the martial arts. 安 Mengzi. opening and closing 西 imbues Taijiquan with a subtle elegance that is as difficult to define as the motion of snowflakes. preserve. As complementary opposites. often meaning to ‘guide and attack’ in the martial arts. The opportunity to transform the partner’s energy lies in the process of movements in various directions’. just as Chen Xin mentioned in his works. 极 拳 2. making sure all movements are steered by the waist. hence this technique epito- 法 mizes the dual nature of Taiji – the opposite yet complementary. transform. one cannot ‘open’ without first being ‘closed’ and vice-versa. bend and gather. This is an important concept which bears deeper contemplation. Opening- Closing is a physical expression of Yin-Yang qualities: hardness versus soft- 技 ness. Remember – to attack your target with agility and flexibility requires long 太 accumulated practice. gathering versus exploding. Laozi and Zhuangzi – have been unable to describe the subtlety 29 .Work on your technique step-by-step: develop a closed crotch. 王 Indeed. Gather the ribs. Closing 手 (He) means to draw in. solid stom- ach and slightly concave chest. Keep every joint relaxed before you exert Na. every part of the body is engaged in the action of opening and closing.

and some- times they disappear. While standing. In practice. Yi moulds changes in external shape while Jin (force) rises with Qi. This means your root will not be disturbed 安 and the flexibility of your reactions may even be enhanced. but also to coordinate the heart (Xin). The qual- ity of the effort you put in to closing determines your ability to open with 拳 power and effect. from the 王 soles of the feet. Thus 西 positioned. Your heart acts as the guide and leader during energy explosion – when your heart opens. your intention (Yi). crude and slow.’ Only diligent practitioners have the opportunity to experience this phenomenon. forceful. 极 this means that one needs to be closed first before one can open. 太 The Opening-Closing technique starts from the closed state. so that your targets become accurately defined and attacks successful. the louder the explosion.陈 and beauty in the opening-closing movements of Taijiquan. 技 The art of opening or exploding your energy is akin to setting off firecrack- ers – the tighter the paper is rolled. 30 . swift and powerful. since Yi (intention) follows wherever Xin (heart) goes. you will find your opening power- less. grasp the floor with the toes and soles. sometimes appear before our eyes. every part of your body follows suit. if 法 your energy is gathered and conserved well. Kai (opening) energy originates in the root of your body. so that all 手 parts of the body work together. muscle energy (Qi). that is. with the qualities of 氏 both solidity and emptiness. Closing not only means to bend and withdraw your 推 upper body. Likewise. In using Yi’s guiding qualities during form practice and opening-closing in Tuishou. your ‘opening’ explosion will be natural. ‘Opening-Closing. the rebounding force exerted by the ground can be used to ener- gise any upward movement. As the saying attests. these changing motions. pressing the ground with your heels to empty the Yong Quan points. filling you with great vigor. you will find that Qi penetrates your whole body more smoothly and powerfully. Without closing well. external shape (Xing) and spirit (Shen).

Doujin is also known as ‘cun jin’ (very short energy) as cun is the Chinese unit of measurement for small lengths equivalent to 3. then to every corner of the 陈 body. your centre of gravity may be lost. Beyond this range. you will need to drop and relax the shoulders. flexible and compact enough to mislead and upset your opponent’s centre of gravity. the whole body returns to a state of softness and relaxation.8  Energy explosion 法 Energy explosions consist of either long or short energy (Doujin or vibrat- ing power). then spiral your internal energy up the legs to the waist. is limited by its short duration and small coverage which extends only as far 太 as your body. strikes may not find their mark. The explosion should be short. 安 31 . Exploding 氏 energy at close-range is best as Kai energy. 极 tunities to attack. 王 mulated practice. or you may find your Kai technique lacking in power and precision. the energy released unhindered. albeit swift and powerful. To master this elastic force. lower your waist 推 and let Qi flow along the spine. keep your elbows down. and to develop high sensitivity and 西 rapid responses to external stimuli. 手 技 2. you need to train your muscles in relaxation and gathering. spirals up the legs to the waist control-center. presenting your partner with oppor. After exploding energy. roll your chest slightly inward. land on the ground on your in-steps. while being mindful of the adage. or worse still. To 拳 gather energy of this quality. which then distributes it to the other extremities. This energy originates from the soles of the feet. The solution is to make your energy round. Practitioners also need to build-up a reasonable level of muscular strength.33 cm. Exploded energy is an elastic force which can only be controlled through intense concentration and physical flexibility only attained through accu. Exploding Doujin comes from releasing energy gathered during a state of relaxation when energy permeates the whole body.As you explode energy.

but also that of your internal energy and combat strat- 法 egy. However. The main external force that we humans experience is gravitational force from the earth. that you are unable to neutralize. all these are prerequisites to “destroy something already in a state of ruin”. it is necessary to distinguish clearly the respective functions of internal force and external force. To combine the power of the three. 氏 When doing Tuishou exercises. not strength”. Transforming and 安 gathering are complementary and cannot function without each other. which manifests 极 as our weight. Constant diligence.陈 “use thought and intention. you must practice Changjin 32 . consistent good performances will not be achievable. Failure to counter your partner’s force means. not relying on rigid or crude force. horizontal forces and so on. in effect. flexibly and harmoniously. 王 Gathering. straight forces. spiral forces. The 手 external force of both parties affects each’s internal energy flow. counter forces. and with that outburst. inter- 拳 nal forces. one must explode energy smoothly. though random wins may happen. together with the above- mentioned techniques of grasping the ground as energy explodes using the earth’s rebounding power. your opponent is vanquished. 技 Your performance in competition depends not only on the quality of your sensitivity. skil- fully. utilize. abundant internal energy and intense physical and energetic concentration. which are characterized by firm and ferocious attacks where internal energy is released with an explosive ‘Ha!’ sound. To do this. transforming and attacking are closely related. The force that you and your partner exert on each other in Tuishou is external 推 force. Daily cultivation of Yuan Qi (primor- dial Qi) and vital energy flow throughout the body are essential for decisive wins. Without these. frictional forces. and exploding energy with elastic vibrations. there are also a myriad of other forces which influ- ence our bodies – supporting forces. and to explore the 太 interactive relationship between them. Transforming and gathering are preconditions for energy explosions used in attacks – 西 striking without transforming energy leads to stiff explosions while trans- forming without gathering results in powerless ones. dissipate or absorb her external force.

Good Hands’. At this level of Gongfu. imag- ine a line between the navel and Mingmen. “Without striking the part- ner from a distance of three metres. will find the opponent flung far and wide. the whole body moves as a synchronized force to follow the slight- est movement of intention. the medium circle practice. Upward energy and downward energy exist in opposition to each other. it is not advisable to exert Changjin 手 (long energy). while downward flowing energy helps maintain a firm and stable root. easy conquest of the opponent does not necessarily follow. Only very high-level practitioners may achieve this. 安 33 . instantaneous. one should not attack at close target.(long energy) and Duanjin (elastic short energy) by doing stretching and relaxation. you will find it easier to hit targets more 拳 accurately and swiftly. An attack. below which energy flows 氏 downward and above which energy flows upward. there would be no striking the partner 技 from one inch”. 王 Alternate between these three with slow. quick. 推 At the transitional stage between ‘Three-Yin Seven-Yang. and the small or no circle practice. and even when elastic cunjin (hitting a target at very close range) is executed. Continue developing these techniques step-by-step 西 until the level of deity is reached. elastic or vibrating variations. As it is said. This means that if one finds it difficult to attack from a distance. beginners need to do the following: do the big circle practice. To reach this level. a quality leveraged 太 for precise attacks: upward energy is used to explode energy vigorously. Still Tough’ and ‘Four-Yin Six-Yang. Close-range attacks require 法 a high-level of competence. 陈 For example. even with the slightest touch. By 极 mastering the key points of energy explosion. during Tiaozhou practice (upward strike with elbow). despite its ferocity. especially exhaling-inhaling and opening-closing motions. leading to very smooth and swift responses. as their attacks flow naturally from their heart and intention.

while you keep your intentions and energy flow undetected. powered by upward spiral- ling energy. Using Zhan Nian Lian Sui. At the same time. keep agile so that the opponent 极 may not detect your energy flow and will thus be unprepared for escape. Pay attention to defend- ing your territory – it is better to relinquish victory than to lose territory 34 . As Qi flows up the spine. Remember to maintain your centre of gravity with the coordination of the other leg. The arms and legs work together. skilfully changing your tack to distract them from your true intentions until you 技 have destabilized their centre of gravity and they are caught off-balance. To conquer your opponent. spiral your forearms upward with guidance from the waist toward your opponent’s upper body. waist and arms. Even if not thrown completely off balance. heart. The rising force is difficult to use if forced. 拳 Remember Master Chen Changxing’s advice to “hold [your opponent’s] upper body under your control before you lift his lower body. never let your partner know your intention 手 before you act. then your 推 instant and precise attack can never fail”. keeping your axis upright and 安 combine your eyes. 法 To lift your opponent up with Ti requires the combined effort of legs. and may lead to loss of control. Instead. at which point you quickly change to exert Lü and Cai downward to throw them to the ground. while you maintain a state of relaxation. shadow your opponent with agile steps. To apply Ti successfully 王 requires the whole body to work in coordination. and intention into one entity. combine your rising force with your elastic force. This means that no matter what Tuishou techniques you use. you need to destabilize your opponent’s centre of gravity by insert- ing one leg between your opponent’s legs and lifting it quickly outward using spiralling energy. you lift your partner with spiralling energy to destabilize their centre of gravity and draw them 太 into your control. First. 西 Remember to maintain full concentration. rotate your Dantian so that your body lifts with greater speed and accuracy.陈 2. When applying Ti. your opponent’s upper body will shift out of their control.9  Ti (Raising) Force 氏 Ti means to ‘rise spirally’.

Though undiscern- ible initially. Attaining high-level skills will make you braver. You will attack like a flying 陈 dragon. passes through the legs up the spine and arms. 西 and not even know from whence your power emanates. whether you rise or descend. touch or sweep in response to the circumstances 氏 and you remain always observant and alert.and power. and manifests externally as it permeates through to the fine hairs on the skin. you will be able to transform energy while striking. reeling outward. walk with such assurance as to shock evil spirits. as it emerges from the feet. The Reeling Silk consists of great varieties: reeling inward. When this happens.10  Reeling Silk 法 Reeling Silk is a spiralling. you will lose awareness of your physical body and location. Mastering this energy requires much effort and practice. tie. their root and they will certainly 极 fall. transform and defeat your opponent’s attacking energy. until it reaches the fine hairs of the skin. You roll. but once attained. mislead. your attacks will never fail. For beginners. 安 reeling upward. Adequate practice will naturally lead to success. This energy is created using the Reeling Silk technique and penetrates all movements during form practice. Do not try to strike others before you have attained a reasonable level of competence. your force will reach its target just 王 with intention. Your incredible speed allows you to gain ground 太 easily while your opponent feels as if they are fighting perched on a ball. reeling in big or 35 . you will come to sense it with practice. follow the primary principles and develop your skills step- 拳 by-step. on the verge of losing their centre of gravity. 推 手 技 2. so you feel able to “protect your descendents and kill the rebels”. you will find it easier to follow. revolving energy which originates internally in the body. reeling to the left or reeling to the right. go forward or backward.

and apply opening and closing techniques. focusing your energy internally and guiding the flow of your responses from Yin to Yang. When being utlilized. Excessive softness (Ruanshou or weak hands) makes you too weak 推 to fight. Be humble and respectful during form practice. reeling hori- 氏 zontally or reeling vertically. 王 西 安 36 . 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. Keep a firm root. While reeling. reeling forward and backward. quiet and calm. Shun reeling (conforming) and Ni reeling (contrary). excessive toughness makes you get too rigid. The principle of 极 ‘Circulation between Yin and Yang’ clearly dominates the reeling process. remember to keep your Zhongqi (energy 太 to keep your axis upright). 手 The solution lies in the middle path: keep a balance between softness and toughness. Yin (guiding. collapse the waist and establish a stable centre of gravity in the legs. apply the principle of Dingjin (suspending force): hold the 法 neck upright and relaxed. and so on.陈 small circles. maintain the interplay between solidness and emptiness. one must avoid being too soft or too tough. all these reeling movements are always comprehensively combined together and closely connected. reeling to the front or reeling aside. 技 As for posture. remain balanced. 拳 When using Reeling Silk energy.

陈 氏 太 极 拳 推 chapter THREE: 手 Single Form 技 法 Practice 王 西 安 37 .

Keep learning and eventually you will be able to use intention (Yinian) alone to execute tech- niques appropriate to each circumstance rather than conscious thought.’ In this way. goes through the Sanguan (Three Gates). so the Single 推 Form Practice and Erlu help to compensate for this disadvantage. Hua (transform) and Na. Shan (dodge). as well as 西 techniques focussing on various target areas of the body.陈 3. As we know. who is then inevitably conquered. An. for example. Da. keeping your energy 王 tracks undetected by the opponent. full relaxation of the joints. Shuai (fall). and exert- 安 ing energy too forcefully (Ding) while exploding energy. Yilu (First Form) cultivates energy while Erlu (Second Form) releases it. Erlu and Single Form practice help to accumulate and strengthen Gang. Zhou. Take special care to avoid losing energy (Diu) while practicing relaxation (Song). Kao. To win. Faji (attack) effectively under any conditions. movements gradually become agile and flexible. Qi will flow around the body to the extremities and skin. 38 . Because Yilu lacks speed and Gang (tough) energy.1  Introduction 氏 This is a practical lesson in combat practice. Erlu explodes 极 In this technique. Tui (go backward). It also demands a period of diligent practice to ascend gradually through the primary. Zhan (battle). Ti. inter- links the Santian (the three Dantian) and reaches the Yong Quan point. relaxed and soft. you need to execute Jin (go forward). This means that Yilu fosters Zhongqi so that. the purpose of form practice is to ‘get energy to reach the tips of the four limbs’.1. Lü.1      Yilu cultivates Qi. Cai. 太 3. Single Form practice is vital for hand-to-hand Gongfu combat. Ji. Lie. 手 Single Form practice is essential for developing techniques which form 技 the basis of Taiji Tuishou: Peng. A wide variety of single movements must be practiced repeatedly. where ‘Qi spreads to the whole body. if practice 拳 is diligent. This practice requires a solid foun- 法 dation in preparatory exercises. medium and high-level stages.

the seizing techniques of Eagle Claw King. hands. sober movements and his relaxed yet vigorous energy explo- sions. The world of Taiji is replete with pithy sayings that provide useful guid- ance to the attentive practitioner. after you practice the form ten thousand times’. the throwing tech. we have Master Feng Zhiqiang who is venerated for 技 his steady. you fail’ and so on. Hence. be they exponents in internal Gongfu or external Gongfu. inner meanings of the mysterious art rather than a competition. Significant gains may 西 be attained by practicing the single forms step-by-step. 陈 ing in their practice. these masters have attained their 法 expertise through a shared and unwavering focus in Single Form practice.Gongfu masters. Though widely differing in style. Well known examples include the foot techniques of Li Bantian. 搭Da (touch) and 扫Sao (sweep). you don’t. elbows. 拳 puted master of 滚Gun (rolling). resulting in loss of vigor and effectiveness. they always got hit and thrown to the ground. more like a relaxing stretch 手 to enjoy the subtle. Lastly. as well as for his subtle and delicate jinlu (energy tracks) in Qinna (arresting). neglectful practice becomes 王 increasingly difficult to rectify. each have their own unique combat style drawn from continuous temper. Master Chen Zhaokui was celebrated for his sudden dodges and 极 incredibly small rebounding circles. 安 39 . you harvest. 拴Shuan (tie). 氏 nique of Zhang Zhidie and Master Dong Hai’s Baguazhang technique of ‘[striking] the world by a half-step Beng (burst apart)’. These clearly advise diligent practice of the shoul- ders. Single Form practice is of vital importance. No matter how steady his partners stood in the beginning of a 推 fight. legs and hips using relevant principles. To do otherwise would be to ‘attend to trifles and neglect the essentials’. ‘Skills come naturally when you are familiar with forms’. Chen Zhaopi was the undis. Also legendary is 太 Master Chen Fadou’s ability to vanquish competition partners with just a touch. He was known to say that he found throwing partners too easy. back. so that the path to deeper understanding and realization may be paved. If prolonged. such as: ‘Profound principles emerge by themselves. ‘You practice.

chest rolled slightly inward.2. swinging up and down and so on. 太 pedalling forward. 技 法 王 西 Fig.1      Exercise One 拳 • Squat slightly. alternating between both legs: kicking forward. • With one hip relaxed and the opposite foot slightly touching the 手 ground. 3.1 安 40 . 极 3. face to the front. bend and raise your knee slightly. stomach gathered and 推 head suspended from above. trampling. horizontally.陈 3. upwards and sideways.2  Feet Practice 氏 Feet practice includes the following movements.

bend the other leg with toes grasping the ground to maintain a firm centre of gravity. feet hanging backward and so on.2      Exercise Two 陈 This is actually a series of exercises focusing on various kicking movements: forward. horizontal. upward 氏 and downward swing. • Relax the feet so energy can reach the toes where it is required.2. up and down. sideways. 推 • Roll the chest inward and aggregate energy with the whole body.3. stepping.2 41 . 太 a) Forward Kick 极 The Forward Kick consists of kicking directly forward at mid-level and to the left and right. 拳 • Kicking smoothly. pedaling. 法 王 西 安 Fig. 技 make sure your in-step is stretched moderately tightly. 3. 手 collecting the energy at the abdomen. Descriptions of some of these exercises are provided below.

3. Beginners should practice slowly. your left 安 foot prepares to kick with the toes or instep as the right foot lands. 3.3). At this point. for example. On landing with either foot.4.3 法 • This technique is applicable to the toes. 3. b) Horizontal Kick The key points of the Horizontal Kick are basically the same as those of 王 the Forward Kick. 42 . It should be practiced with both feet so that. except that the Horizontal Kick is higher and targets 西 the opponent’s pubic region and lower abdomen. 3. edges of the foot plate and the sole (Fig.陈 氏 太 极 拳 推 手 技 Fig. gradually developing until they reach the point of whole body integrity with the unification of Yi-Qi-Xing (inten- tion-energy-form). use the rebounding force of the earth to bounce up and propel your kick (Fig. if you kick with the right leg. they will be able to direct energy explo- sions to targets with precision and ferocity.5).

6 43 . 3. 3. 3.4 Fig.5 技 c) Upward Kick (Shang Ti Jiao) 法 王 西 安 Fig. 陈 氏 太 极 拳 推 手 Fig.

44 . practice kicking with each foot sequentially. flexible and quick. usually the opponent’s chin. The whole body must be kept balanced and straight when kicking upwards. a principle also applicable to the Double Kick (Er Qi Jiao). There is no jumping in the Upward Kick. The Upward Kick should match the rhythm of the hands’ movements. 王 d) Stepping Down (Xia Cai Jiao) 西 Follow the sequences as follows: 安 • Stand with the feet shoulder width apart. 3. instead.7  法 The Upward Kick is used for high targets. Only if one’s kick is quick and powerful can kicking be initiated precisely and the target hit cleanly. The kick should be light.陈 氏 太 极 拳 推 手 技 Fig. • Switch your centre of gravity to the left foot.

3. 安 45 . cup your right fist and left wrist together in front of the chest. raise the right knee gradually (Fig.8 • Then stamp your right foot on the ground. gathering the stomach and collapsing the waist to ensure you stand with the left foot firmly 氏 rooted. 太 极 拳 推 手 技 法 Fig. • Make sure that your centre of gravity does not switch to your right 西 foot right after it touches the ground. grasp the ground with the left toes and.• Bend the left knee. exploding 王 energy as quickly and fiercely as you can.8). but try to keep some weight in the un-weighted side as well. all the 陈 while rolling the chest slightly inward. feet firmly grasping the ground. 3. keeping the right foot at the same distance from the left foot as before. stand- ing with left leg. • As your right foot explodes energy stamping downward. Then empty the Yong Quan point.

remember to follow instant- ly and quickly with the other leg.10). 3. e) Forward Kick This consists of a straight kick forward with the sole of the foot. 46 . Kick as high as your opponent’s stomach and chest.9 法 Regardless of which leg steps forward first. you can practice with the alternation of legs 安 (after praciticing with the right leg for a while. 3. 西 In Single Form exercise. including the alternating use of the legs (Fig.9). The distance of the kick depends on your skill level – a good kick hits the opponent at an angle of 王 25o from the horizontal.陈 氏 太 极 拳 推 手 技 Fig. 3. and then withdraws elastically like a rubber band springing back into shape. The key points here are the same as those for the previous segments. practice with the left leg) (Fig.

11). 安 47 . 3.11 技 Kick mainly with the heels. prepare well by relaxing the chest and stomach to ensure your kick is fast. Avoid leaning back- 法 ward when kicking – keep your axis upright to maintain your centre of gravity.10 Fig. with hitting 西 points mainly on the inside of the foot (with the occasional use of the outside). sometimes with the soles. 3.12) and the Outward Kick (Fig. Before kicking. fierce and perfectly targeted. 3. 3.13). 陈 氏 太 极 拳 推 手 Fig. As you reach a higher level of skill. 王 • The Inward Kick is executed upwardly to the front. f) Sideways Kick The Sideways Kick consists of the Inward Kick (Fig. 3. your reach will grow naturally and you will find it easier to execute kicks with greater ease (Fig.

陈 氏 太 极 拳 推 手 技 Fig.13 法 • The Outward Kick is executed outward and upwardly. as instructed in the ‘Essay on Quan’: “Gather energy like stretching a bow. explode energy like releasing 西 the arrow”. 48 . 3. 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 emphasises the importance of good quality energy 安 gathering as a precondition for fast and powerful kicking. with the hitting points mainly on the outside of the foot (occasionally inside). as bending exists in straightness (meaning the body becomes bent when gathering (preparing for kicking). 3.12 Fig. while the body becomes straightened when kick is streched). this reflects the relationship between Yin and Yang’. • In the Sideways Kick. the whole body gathers together then opens 王 up with an explosion of energy.

• Kick upward with the back foot. then bring it backward (Fig. 3. 3. be it with the right or left foot. 氏 • Eye your target and prepare for the kick by gathering your internal energy and lowering it.14). If kicking with the right 手 foot. 陈 • Squat slightly.g) Upwards Swinging Kick • Place one foot in front of the other. 3. While swinging outward to the level of the shoulder. use the Gen Bu (follow-on 太 Steps). toes grasping the ground and all muscles of the body relaxed.14 49 . then swing it outward in a natural 极 arc. while your hands are targeted at the face. Before kicking.15). turn the body to the left to ensure a smooth and powerful forward swing of the foot and vice versa (Fig. smack the foot with your hand to ensure 拳 the integrity of the energy. 推 • Your swinging foot is targeted at the back of the opponent’s head. 法 王 西 安 Fig. 技 • Always coordinate the kick with your hands. which allows you to use quick and continous forward steps.

西 安 50 . And smash enemies to pieces. I smack in the air by switching into the track of a swing arc. And kick upward along with palms coordinated with Lü.陈 氏 太 极 拳 推 手 技 Fig.15 法 As a Tuishou poem states: With openings and closings. I take the back of the opponent’s head as target. 3. Practice these kicks repeatedly so that they become smooth and continous 王 and you may eventually hit distant targets using a combination of kicks with agility.

coordinating both with Tou 安 Bu (sneaking steps). 太 • Hold the body in a squatting position for the next few movements. keep your footwork flexible and neat. During solo practice. 51 . • Pay attention to that you finish this action with the guiding of the waist and back. • Use both hands to execute Lü on one arm of opponent behind the 拳 body. • The foot hangs to the calf suddenly to make the opponent lose his 法 balance. Gua (hanging) and Gai (covering) in a second. 推 • Lower the back hanging foot to the ground then switch the front foot to Tou Bu (sneaking step) and move it forward. You should finish Lü. • Swing both hands backward to the side of the back hanging Foot.h) Back Hanging Foot (Hou Guan Jiao) 陈 This kick is widely applied in Huo Bu Tuishou (Tuishou with Moving Footwork). • The action must be quick and powerful. depending on the distance 西 between you. 手 • Meanwhile the hand assists the foot hanging and covers towards the chest of the opponent. The powers of hand and foot combine 技 together. 极 palms facing outward. Backward Hanging Foot can be used as an initial step or as a follow-on (Gen Bu) 王 to initial approaches toward the opponent. rotating it slightly so that it slants to one side. meanwhile two hands attack the chest of the opponent and strike the opponent down to the earth. remember to balance upward Long (close) movements with downward Ti (raise). No matter which you use. 氏 • Hang one foot backward. otherwise the power will become Ding force (a deadly disadvantage: energy going up) and you will be defeated.

16). I explode my energy with the rotation of my waist. 3. your face looking upward.陈 氏 太 极 拳 推 手 技 Fig.16 法 • Start by executing Yin (guiding) then move forward to attack with Jin (forwarding and attacking) force. • Hold your position and collect yourself enough to kick upward then swing downward. The secret of Back Hanging Foot is to plot the method to seize the oppo- nent down and to fiercly bring him under your control without detection. And enemies fall to the ground with face to the air. • Move forward with Tou Bu (Sneaking Steps). 3. And kick upward along with palms smashing downward. 安 I take the opponent’s upper body and chest as target. twisting the waist and rotating the back to exert more power (Fig. • Then lower your foot to the ground. 王 As a Tuishou poem states: 西 With Yin and then Jin techniques. 52 .

20:80). 陈 氏 太 极 拳 Fig.18.. 3. 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. since these are in a constant state of flux depending on the circumstances.g. 30:70.19). • Note that while weight distribution ratios may be used as a guide (e. • The attacking leg must be flexible enough to swing to the left or right. these may not provide an accurate picture of weight changes required in practice or combat.17 推 i) Downward Swinging Kick 手 • Take one step forward and switch your centre of gravity to the front leg (Fig 3. 技 • Practice this transfer of weight by alternating the legs. 40:60.17). mindful 法 that while one is in the air. 王 西 安 53 . Use Front Bow Steps to practice this movement (Fig. 3. 3.

18 Fig. ‘seize the upper body’ or ‘coordinate an outward strike with internal energy gathering’. 3. so that the strikes are as rapid and powerful as possible. shock their lower limbs and unbalance 王 their upper body with my feet.19 法 Using Short Energy: Short energy should be used in both inward and outward kicks. Avoid using long energy as it is likely to dissipate the concentration and power of your attack. waist and hands. As one master said: I move my centre of gravity. 西 I explode and shock the ghosts.陈 氏 太 极 拳 推 手 技 Fig. Moving my feet in Ni (reverse) circles and my body in Shun (conforming) circles. making your intention easily anticipated. 3. 安 54 . Short energy attacks are often used to ‘give a shock to the lower limbs’.

3. 3. • Lower the tip of the toes of your unweighted right foot to the 法 ground. step your right foot 40 cm forward to the right. 推 • Change your weight to the left. Use intention (Yi) rather than physical force (Li). Begin with slow practice. Waibai Tui (Legs Swinging Outward). 极 3. then squat and step out with your 手 right foot. Lihe Tui (Inward Knee Strike). repeating the move- ments while keeping reeling from the left to right. 王 Note: When stepping forward.1      Shunchan Tui … Legs Reeling in Shun Circles 拳 • Stand with the feet a shoulder-width apart. As the toes touch the ground. • Relax your legs and inject energy into the heels with Chun Chan for smooth and easy reeling. • Move the left foot half a step to the left. that is.3  Leg practice 陈 Leg practice includes Shunchan Tui (Legs Reeling in Shun Circles). • Practice continuously alternating both legs. 西 ‘Yong Yi Bu Yong Li’. Xiacai Tui (Downward Cai energy). • When the right foot lands fully on the ground. look in the direction of the moving leg. 技 • Keep your legs reeling from left to right. 安 55 . just as in form practice. Nichan 氏 Tui (Legs Reeling in Ni Circles). a shoulder width apart from the left foot. making sure your leg is no higher than 15 cm above the ground. working up your speed in gradual stages. Zhuangxi 太 Tui (Strike with the Knee) and Houbai Tui (Backward Swinging Kick). toward the target. change the weight to the right and step out with the left foot.

王 西 安 Fig. 推 • Practice these steps in continuous alternating cycles. • Next. and then rotate 360o left stepping on 太 the toes (Fig.3. 氏 • Step the right foot forward. striking to both sides with each leg. continuous practice.20 56 . 拳 then step forward 40 cm to the left. • Raise the left foot. 手 Note: It is best to practice Shunchan and Nichan by varying the distance 技 between you and your partner. Inner knowl- 法 edge can only develop with concerted. You also need to practice Nichan and Shunchan with both legs.20). step forward 40 cm with the right foot. transferring all your 极 weight to the right. transferring all your weight to the left.2      Nichan Tui … Legs Reeling in Ni Circles 陈 • Step the left foot leftward so that the feet are a shoulder-width apart. 3. rotate to the left forward at an angle of 360o. remembering that the inner side of the heel is the striking point. 3. 3.

3      Lihe Tui … Inward Knee Strike 陈 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 氏 Steps). As such.22 57 . 3. 3.3. 技 法 王 西 安 Fig. 3. we usually attack with Lihe 推 Tui using the right leg. In Huobu Tuishou (Tuishou while walking).21 Fig. 3. then transfer your weight to the left before 太 moving the right foot forward (Fig.21). 拳 • Combine Lihe Tui with the rotation of the waist and spine. • While practicing.3. change your weight to the front foot. whilst in Shun Bu Tuishou (Tuishou while walking back and forth) Lihe is usually applied with the left leg. • Stand at attention. practice 手 with both legs and with change of directions.22). attack with 极 Lihe and then move 90% of your weight to the back leg (Fig.

3. step forward with one leg and swing the other outward and then closing inward. 3. 手 Through diligent solo Tuishou practice.3. Take care not to 太 exert too much energy in the arms and legs to initiate the swing or your intention will be anticipated by your partner. practitioners will come to real- 技 ize the deep significance of their efforts. 3.4      Waibai Tui … Legs Swinging Outward 陈 氏 Waibai Tui is based on Qian Gong Bu (Front Bow Steps).23 Fig.23). 3. 推 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. 极 During practicing Waibai Tui. regardless of whether you practice day and night 法 (Fig. 3. and requires a sudden outward swing of the leg as weight is transferred. Being content with a superficial understanding is fruitless.24 58 . 王 西 安 Fig.24). Practice this technique with both 拳 legs alternately once you feel your energy flowing smoothly (Fig.

3. 太 • Start with your centre of gravity at the back leg.3. Cai to the right. • To do Ni Cai: move the back leg forward.25 Fig. Shun Cai and Ni Cai are based on Front Bow Steps. Shun Cai (Pulling Down in Conforming Circles) and Ni Cai (Pulling 氏 down in Reverse Circles). 拳 • To do Shun Cai: Cai downwards from the outside in using Shun 推 Chan (conforming circles). placing your toes slightly outward.26 59 . placing your toes slightly inward. 技 法 王 西 安 Fig. then Cai (pull down) 极 with Ni (reverse circles) at an angle of 180o from the inside out. 3. • Targets of this technique are typically the upper and middle parts 手 of the inner side of the lower leg of the opponent.5      Xiacai Tui … Downward Cai Energy 陈 Cai means to pull down.3. Xiacai Tui consists of Cai to the left. The outer side can also be targeted once your ability improves.

3. 太 • Deepen your understanding of Jin Li (energy and force distribu- 极 tion). you can enter the oppo- nent’s territory (Fig. 法 王 西 安 Fig.28 60 . 拳 • Practice with alternating legs during Single Form practice. keep ankles relaxed and Qi descending (Fig. 3. striking inward and striking outward.25). With a spiralling move forward. bending consists of stretching’. 推 3. Bend your knees about 40o – more than 氏 this and you will lose your centre of gravity. 3.27 Fig.3.陈 • While applying Cai (pulling down).6      Zhuangxi Tui … Strike with the Knee 手 Zhuangxi Tui consists of four types of strikes: striking left and right. 3. strik- 技 ing to the front.26). Train your body to understand the meaning of ‘stretching consists in bending.

• 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 gath-

er 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 推
(Striking Outward). Key points are the same as in the previous striking
practice (Fig. 3.30). 手


西

Fig. 3.29 Fig. 3.30

61

3.3.7      Houbai Tui … Backward Swinging Kick

氏 This is a wide-spanning movement and beginners are advised to imagine
an opponent or target as they perform the technique during solo practice.
太 • Lift the right foot to step forward and as you lean forward, swing
the right leg backward using both the waist and spine.
极 • As the right leg swings backward, fend off the opponent’s arm and
attack with both hands. This technique of ‘attacking the upper
拳 parts and shocking the lower parts’ is often used to throw oppo-
nents to the ground (Fig. 3.31).
推 Key points to remember are the same as in preceding techniques, all of
手 which require whole body involvement.



西 Fig. 3.31

62

3.4  Fist Practice

3.4.1      Shangchong Quan … Fist Striking Upward 氏
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. 拳
• Simultaneously, use your bent right knee to hit at the opponent’s
crotch (Fig. 3.32). 推
• Integrate both fist and knee strikes with practice principles of roll-
ing the chest slightly inward (Hanxiong), lowering the waist (Tayao), 手
relaxing the stomach (Songfu), and drawing up the anus (Tigang).
• Strengthen your centre of gravity to improve your accuracy by ensuring 技
your left leg is slightly bent with toes grasping the ground (Fig. 3.33).


西

Fig. 3.32 Fig. 3.33

63

3.4.2      Xia Zai Quan … Fist Striking Downward

氏 This technique encompasses a downward strike with either fist at any
angle. For example:
太 • If the right leg goes forward, transfer your centre of gravity from
the right to the left leg.
极 • Clench the right hand into a fist, thumb tucked inside neither too
tightly nor too loosely.
拳 • Strike the opponent’s upper body with the right fist, using your left
arm to balance your movement.
推 • You can also use the Bei Kao technique or attack with the elbows

手 as well.
• Again, effectiveness of this technique requires involvement of the
技 whole body in the movement: ‘once you move, your whole body
follows’ (Fig. 3.34).


西
安 Fig. 3.34

64

3.4.3      Shuang Fen Quan  
Splitting Fists or Double Bursting Fists 陈
• Take a half-step to the left (or right). 氏
• Bend your knees slightly and gather both fists to the chest, centres
(Quanxin) facing downward (Fig. 3.35). 太
• 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, 手
and the energy flow smooth (Fig. 3.36).

Fig. 3.35 Fig. 3.36 王
西

65

• Rest the left fist beside the left leg (Fig. fist centre 推 facing inward. However. 3. 3. 极 • Take a half step to the right with the right foot. there are three main distinctions: 太 the trajectory of the fists and target differ with Fists Smashing Downward and one or both fists may be used. at the same time hooking the left fist upward. • Hold the right fist close to the left side of the chest. change your weight to the right leg and step your left foot 技 forward.4. 王 西 安 Fig. 拳 • Rotate the right toes slightly outward as the foot lands. 手 • Next. 3. • Rotate the body to the right then strike downward with the back 法 of the right fist.37).37 66 .4      Xia Za Quan … Fists Smashing Downward 陈 Fists Smashing Downward shares many common traits with Splitting 氏 Fists: both strike with the back of the fists and require practitioners to look to the side of the stepping foot.

3. both left and right fists rise and descend at the same time. 3. downwards on the right and upward on the left. For each 安 step.39 手 • Again. 3. the fists are raised from the sides across the chest as one foot steps horizontally in front of the other. as the left foot steps 王 forward (weight on the right). • Practice these steps. the left fist rises above the right side of the chest and smashes down to the left. • Then repeat with the other foot.38). • Return both fists to their original positions (raise the right fist 法 from its downward strike position back to the left side of the chest. 陈 氏 太 极 拳 推 Fig. alternating both sides continuously (Fig. step the left foot horizontally over the right one. (Fig. 西 when the right foot steps forward (weight on the left). Likewise.38 Fig. the right fist is raised above the left side of the chest for more power and then smashes down to the right. and lower the left fist from its upward strike position back to the left side of the body). For example. In summary.39) 67 . 3. 技 • After striking. involve your whole body in the attack. stepping the right foot forward and exploding the fists before landing.

fingers 极 vertical. 3. This counter-balancing movement helps to accelerate the punch of the right fist. stretching the left hand upward. 推 • Then fling the right fist forward in Ni reeling.5      Dan Bi Zhi Chong Quan … Single Fling Fist 陈 Single Fling Fist is a forward punch unique to Taijiquan in that its power 氏 is generated by rotating spiral energy at the waist and back.40 Fig.4. 拳 • Sink your weight into the right foot and rotate the waist to the right to gather energy.41). 王 西 安 Fig. the left arm gathers inward and strikes backward to the left with the 技 elbow. then guided outward with Yinian (intention) to manifest in a ‘quivering punch’. Make efforts to cultivate both inter- nal and external energies (Neiwai Jianxiu) and you will develop power. 3.41 68 . 法 Practice this technique on both sides. 3. avoid the temptation of focusing too much on the external ‘look’ of the punch – this will lead to nothing but the loss of energy (Fig. 手 • Sychronise both arms so that while the right fist flings forward. concentrating your power in the Quanding (the front of the fist). • Gather the right fist under the right rib (Fig. 太 • Step the left foot forward. 3. 3.40).

• Repeat with the other side. so that the strike manifests within a narrow range yet internally it contains great power and flexibility.4.6      Baokong Quan … Half-Moon Fist 陈 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. 氏 • Step the right foot forward. bringing the left palm to the front of the body (Fig. 法 The power of this technique depends very much on the practitioner’s phys- ical condition. 极 • Transfer your centre of gravity from the back to the front and hit 拳 the right fist into the centre of the left palm (Fig.43 69 . Instead. 3. energy does not manifest externally. 3. 推 Baokong Fist shares the same characteristics as Zhichong Quan (Fling Fist). 3.42 Fig. 王 西 安 Fig. 手 the main difference being that in the former. simultaneously gathering the right fist beside the right ribs. 太 • Then step the left foot forward. and practice alternating both sides. only about 40% of the jin force generated is exerted as 技 short rather than long energy.3.43).42). 3.

like hammering a nail. This makes the 拳 fist ‘peak’ stable and solid. 3.44 西 安 70 . using small agile steps (Fig. 3. 太 • Clench your fist so the middle joint of the middle finger protrudes.7      Dianxue Quan … Nail-Shaped Fist 陈 Dianxue refers to the internal injury caused by hitting a specific acupunc- 氏 ture point with a sharp force. This forms the ‘peak’ of the fist. 推 • Attack to the left or right. 3. and press the tip of the thumb against the middle fingernail. up or down. 极 • Brace the middle finger with the index and ring fingers.4. 手 技 法 王 Fig. • Strike with force and ferocity with this fist using short energy.44).

46 71 . Practice both methods using both legs.46). 太 Method 1 Method 2 极 • Step forward with either leg. dual attack with both fists and knee (Fig. 3. gather the 技 ribs and lower your energy to the Dantian (Fig. 3.3. 法 王 西 安 Fig. hence creating a 推 fists together in the middle about 25 cm apart.45). • Bend the other leg then 拳 and strike from both sides using short energy. Guanyang 氏 means to hit the temples with two nails.8      Dingzi Quan Guanyang   Nail-shaped Fists targeting acupoints on the temple 陈 Dingzi Quan is also another term meaning ‘Nail-shaped Fist’.45 Fig. 3. 手 • Roll the chest and shoulders slightly inward. 3. Bring the strike both fists upward together.4. • Form two nail-shaped fists • Place your weight on one leg.

48). 手 • Prepare for the strike by ensuring your axis is upright. practice using long energy first.1      Shuang Zhen Zhang … Double Shaking Palms 太 This technique includes shaking palms with both short and long energy. thrusting them forward with explosive force. though in the initial stages. while making sure the chest is relaxed. transferring your weight to the front. 王 西 安 Fig. fingers pointing up (Fig. the ribs 法 gathered.5.5  palm Practice 氏 3. 3. 推 • Step forward with the other leg. 拳 • Place your hands in front of the chest. palms facing forward. 极 • Step forward with either leg. 3.47).48 72 . 技 • Strike forward with both palms. 3.陈 3. the chest rolled slightly inward and the spine slightly lifted. 3. and lower the energy to the abdomen (Fig.47 Fig.

3. 3.5. while the Single Palm Push requires the rotation of 安 waist and back to exert a frontal or inclining push.52). 陈 氏 太 极 拳 Fig. • At the same time step forward with the left leg. 3. 73 . 法 3.50. Make sure your 技 shoulder.49 推 When practicing with short energy. To be effective. lower your energy abruptly and push forward with short energy using small steps. As the energy reaches the wrists. energy range and flexibility of movement of both Single and Double Palm Push all rely on the practitioner’s abilities and internal 西 energy. gather the chest and stomach like a cat 手 stalking a rat. Just before the explosive strike. 3. 王 The power. speed. • Repeat using the left palm. a Double Palm Push needs to be sudden and exert- ed directly forward. • Thrust the right palm forward or diagonally to the side. elbows and wrists are lowered.51. using long or short energy (Fig.2      Danzhang Xunlianfa … Single Palm Technique This technique consists of the Single Palm Explosion with Shun Bu (walk- ing forward and back). thrust your arms out about 50% (Fig. 3.49).

abruptness and power of the push. 3. gradually increasing the speed. 太 极 拳 推 手 技 法 Fig.50 王 西 安 Fig. 3. and hence conquer your opponents without effort.52 74 .陈 Start this practice slowly. With continuous practice. you will be able to explode 氏 energy with natural ease by combining both external form and internal spirit.51 Fig. 3.

推 sion and power (Fig.53). 3.5. 3.53 Fig. 太 • Step one foot forward and ward off an arm attack with one hand.3.3      Bi Peng Qiantui Zhang … Push with Ward-Off 陈 This technique is used to fend off an arm strike from the opponent with an upward hand strike. 3. whilst using the other palm to push at the opponent’s 氏 chest or strike at their stomach. 3.54). • Direct energy above the waist upward and energy below the waist 拳 downward. This creates an energy balance that stabilizes your centre of gravity. enabling you to hit your target with more preci. 手 技 法 Fig. 极 while gathering the other hand beside the ribs (Fig.54 王 西 安 75 .

法 王 西 安 Fig. • As you push upward. Explode this energy through the right side of body out through the right palm.5. first at an angle then vertically upward. 3. 3. the stomach gathered and the chest rolled 技 inward (Fig. 太 • To push with the right palm: bend the right knee. while gathering energy on the left side. and then straighten it while pushing the right palm upward.55 76 . press downward with the left hand as a counter- balance between the upper and lower body (taking the waist as the 拳 dividing line). 极 • At the same time. 3.4      Danshou Tuo Zhang … Single Palm Upward Push 陈 氏 This technique uses the inner side of the root of the palm (Zhanggen) to push upward.55). open the right side of the chest and stom- 推 ach. 手 • Keep the hips relaxed.

3.57 77 .58). 3. stepping forward 极 with the left foot and extending the left hand forward in Ni Shun reeling (Ni means ‘first’. Shun means ‘sequence’) (Fig. 3.’ Apply this technique during Single Palm practice. • Step the right foot forward and extend the right hand outward to 太 ward off the opponent’s attack (Fig. 拳 • Then swiftly draw the opponent into your domain by touching 推 their back with your left hand.57).56 Fig.5.56). rotate your body to the right. Keep your body and energy 手 lowered while doing this.5      Zuoyou Lianhuan Shuangji Zhang   Attack with Both Palms 陈 This is also called the ‘Attack with One Palm Guiding and Other Hand 氏 Pushing. 3. • At the same time. 3. then quickly striking their chest with your right palm (Fig. 技 法 王 西 安 Fig. 3.

陈 氏 太 极 拳 推 手 Fig. 78 .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. 法 • Coordinate the movements of your body with those of the palms. 3. and gather the ribs and dantian.5. This helps to concentrate energy in the palms.58 技 • Also apply the usual principles: roll the chest inward. 3. left and right. if the opponent seizes your right hand and twists it outwards 西 with Shun reeling. apply the following steps: • Step your right foot forward and lower your body and centre of 安 gravity to the right. 王 For example. incline your body outward with Ni reeling whilst following the opponent’s Shun reeling. lower the shoulders. moving the body quickly forward. • As you lower the body.

• Next. 3. • Unify the three actions of stepping forward. 陈 氏 太 极 拳 推 手 Fig. 安 • Key points are the same as with the left hand push above.60). 西 • Again. If the opponent seizes your left hand and twists it with Ni reeling.59). extending the thumb and 法 fingers (Fig. lure the opponent into your territory to destabilize his centre of gravity (Yinjin Luokong) by swiftly moving your right foot further forward and lowering the body while your right hand reaches forward. inclining outward and exploding with the left palm (Fig. 3. thrust forcefully at the opponent’s right ribs by exploding energy with your left hand. 3. respond in this way: 王 • Step forward with the left foot. 79 . thrust forcefully at the opponent’s ribs. lower your body then extend it forward with Shun reeling. this time at the left side with your right hand.59 Fig. 3.60 技 • As you do this.

西 • Step the right foot forward and seize (Na) the opponent’s hand with your left hand while reeling downward in Shun circles.61). so that energy flows to the very 法 tips of the body.7      Danzhang Shunni Chan Fa  Shun or Ni Reeling with Single Palm This technique consists of using either hand to seize the opponent using 王 Shun or Ni short spiralling energy. “Energy comes from heels. coordinate the waist and legs when exploding energy. as advised in an essay. change your centre of gravity from the left to the right. goes through legs. 3. especially when stepping forward and exploding energy 技 (Fig.” 3. 3.61 手 Increase the effective of solo practice by sparring with an imaginary enemy in mind. Relax 安 your joints to enhance energy application. roll your chest slightly inward and bend your right arm inward. 80 . regardless of the technique or force used. Also.5.陈 氏 太 极 拳 推 Fig. • As you seize. dominates the waist and penetrates to every part of body.

陈 氏 太 极 拳 Fig.63). 西 安 [1]  ‘Dai’ means to lead.62). If the opponent escapes. 3.62 Fig. 3. 3.8      Shuang Dai Zhang Danshi Yanlian Fa  Double Dai[1] Palms Single Form Practice Step your right foot forward and transfer your centre of gravity to the front. reach out with your left palm and guide your 王 opponent to the left by reeling in Shun circles with thumb extend- ed.63 推 • With your right arm. To speed up your response. guide or bring along 81 . palm open. listening closely to your partner as you do so. reach under your opponent’s front arm. change sides so that your right hand seizes the 法 opponent by Ni reeling and the left by Shun reeling (Fig. 技 • Thus.5. practice alternating the seizing between right and left hands. 手 • Change your right hand to Shun reeling and your left to Ni reeling. 3. you are able to use both palms to seize the opponent (Fig. 3. • At the same time.

face the left palm outward. fingers pointing to the front (Fig. 3. 3. gather the right hand beside the ribs. 3. • Bend your right arm 90o inward and form a fist with your right hand.65 技 • Extend your right arm forward.5. 安 • As your step forward. 3.66).陈 氏 太 极 拳 推 手 Fig. moving your arms to stabilize this rotation. 82 . Transfer your centre of gravity to the front.64). 王 3.9      Qianchuan Zhang   Forward Piercing Palms Single Form Practice 西 • Step the left foot forward. 3. • Then hit the opponent with the right arm (Fig. fingers to the front (Fig. • Clench the left hand into a loose fist and push it forward. 法 • Change your weight to the back and turn to the right. fingers up.65). palm up. Practice on both sides.64 Fig.

reel the right hand in Shun reeling to the right and step the right foot forward. • As the right foot lands on the ground. left under right and right under left (Fig.67 手 • Lift the left palm over the right. • Next. coordinate the waist and spine when shaking the right palm forward in Shun reeling. to increase the speed and power of the explosion. 技 • To increase the precision and power of the fingers. • Return the hands to their original positions before the next energy 王 explosion. and then explode both palms forward with a piercing thrust. 西 Practice alternating the position of both palms.67).66 Fig. 3. place the left thumb and little finger in opposition while the remaining fingers 法 face forward. 陈 氏 太 极 拳 推 Fig. 安 83 . 3. move the left hand and foot quickly forward together. • Also. 3.

6  Elbow Practice 氏 3. palms facing 拳 in (Fig. 3.6. bend both arms at 900 and gather both hands into fists close to the ribs to either side of the body. • Remember to apply long energy before you apply short energy 法 (Fig. strike forward with the right elbow while hitting backward with the left elbow.69 84 . In this case.69).69). 3. 3. 3.68 Fig.陈 3. 王 西 安 Fig. 手 the left arm counter-balances the movement of the right. 极 • At the same time. 推 • As you change your weight to the front. • Practice striking with both elbows with corresponding weight 技 changes to either side.1      Li Zhou … Standing Elbows 太 • Step forward with the left foot.

3. wrist turned inward and the palm facing backward. 推 • As the right elbow descends. bend the right elbow inward.2      Qian Zai Zhou … Falling Front Elbows 陈 • Change your weight to the left and turn the body to the right. palm up.3. 3. 太 • Prepare for the downward elbow strike by raising the right arm while touching the back of the right fist with the left hand (Fig. 极 • Step the right foot forward and strike the right elbow down force- fully as the foot lands. 3. slap the right shoulder with the left palm.6. 手 • At the same.70 Fig. return the elbow to the right side. • After the strike.70). gather it close to 氏 the right ribs. 3. 技 • Then strike the right elbow down for the second time (Fig. take a small step forward with the left foot. 拳 • Lift the left hand when the right elbow completes 90o of its descent. step the right foot forward again and extend the left arm forward.71 85 . Alternatively. 法 王 西 安 Fig.71). and clench the right hand into a fist. • At the same time.

3. 极 拳 推 手 技 法 Fig. 3.3      Yao Lan Zhou … Elbow Block at Waist 陈 • Step the right foot forward.73 Fig. then turn right with the right toes facing 太 slightly out. 3. 氏 • Rotate slightly to the left.6. 3.74 86 .72 王 西 安 Fig.

As you do 陈 this. transferring your centre of gravity to the left.75). 3. clench the right hand into a fist. 技 3. 王 • Move the body to the left and transfer your centre of gravity to the 西 right and back. 太 • Gather the body by bending it slightly. • Lower right fist to the left side of the body so that the right arm is 氏 held at 900 while stepping the left foot forward (Fig. gather the ribs and lower your Qi. then step forward with the right foot. clasping the right forearm with the left palm. 3. 推 Practice with the other arm.4      Shun Lan Zhou … Smooth Elbow Block 法 • Roll the chest slightly inward so that it is concave. Focus on ‘hitting 拳 upward’ with your right elbow so as to destabilize the opponent’s centre of gravity and lift them off from the ground (Fig. • At the same time. clasping the right forearm with the left palm. palm facing in. Remember that the right leg moves forward 手 with the right arm and vice-versa. • Step the right foot to the left and bend the right arm. so that both feet are approximately 50 cm apart.74). toe tips slightly touching the ground.6. • Step the left foot forward.72). • Gather the body to prepare for attack by lowering the body slightly (Fig. 极 • Turn to the left and strike out explosively with the right elbow. as if warding off (Fig.73). 3. 安 87 . 3. raise the right hand across the front of the chest to the left in an upward arc.

6. gathering it horizon- tally in front of the chest.陈 氏 太 极 拳 推 手 技 Fig. palm down. turning the body to the right. 王 3. • Next. 3. Footwork and hand 安 movements are similar to those of Shun Lan Zhou (Smooth Elbow Block). practice with long and slow energy. step right with the right foot. In the initial stages.76 法 • Spiral the right arm forward with Ni reeling. the right fist lowered to front of the left armpit. use short and fast energy. Once familiar with the practice.5      Xin Zhou Technique … Heart Piercing Elbow 西 This technique consists of an elbow strike at the heart. strike the right elbow to the right. with the following differences: 88 . Simultaneously. balancing this movement with the left hand. Practice with both sides (Fig.75 Fig.76). 3. 3.

陈 • In Xin Zhou the left palm touches and lightly holds the right wrist as the right elbow strikes (Fig. jump slightly with the right foot. • Turn the body to the right and reel the right palm across the chest 安 to the right. extend your left palm forward.78). • Stand at attention with the arms relaxed at the sides. 3. 氏 太 极 拳 推 手 技 法 Fig. palm down. landing approx- imately 50 cm apart from the left foot. 王 • Simultaneously.6      Shang Tiao Zhou … Upward Striking Elbow This technique consists of concentrating energy in the elbow and striking upward with it. palm facing right. Before the foot lands. 3. while Xin Zhou is targeted to the front (Fig.6.77). 89 . fingers pointing 西 up. 3.77 Fig.78 3. 3. Touch the right knee with the right palm. • Jump the left foot half a step to the left. toe tips on the ground. • Shun Lan Zhou is aimed slightly to the back.

• Next. 3. • As you change weight. 3. • While striking on the right. step the right foot forward. toe-tips on the ground. step the left foot to the left. 3. gather the left side of the body so that your attack will have a clear division of Xu (emptiness) and Shi (solidity).79). 3.79 Fig. followed by the right foot. 3.陈 氏 太 极 拳 推 手 Fig.80 Fig. balance the energy between the 王 upper and lower body. toe tips touching the ground (Fig. Look to the right side of body while striking upward. then 法 transfer your centre of gravity to the right. Practice on both sides. starting with slow movements initially until the steps become familiar. taking the waist as the dividing line. 西 • After the strike. placing the left fist below the right. Also. 90 . 3. 安 • Return the left fist beside the right ribs (Fig. then gradually using short and fast energy.80). bending the wrist before striking upward quickly with the back of the right fist.81 • Prepare to explode energy by looking to the right and gathering 技 the body (Fig. Instead. avoid letting all your energy flow upward as this will destabilize your root. clench both palms into fists. • Move the right fist toward the right shoulder using Shun reeling.81).

looking to the left and concentrating energy in the elbow tips 手 (Fig. 3. then exploding both elbows 氏 horizontally. the right elbow executes the dominant attack. 3.6. • If you stepped to the left. 法 王 西 Fig. while the left the supplementary strike. In this 拳 position.82 Fig. 太 • Step to one side with either leg. 3.3. 技 Practice alternating both sides. 3.83 安 91 . then strike with the right elbow. 推 • Change your weight to the left.83). place the left arm inside the right.82).7      Shuang Kai Zhou … Double Open Elbows 陈 This technique consists of striking simultaneously with both elbows by holding the arms in front of the chest. 极 • Gather the fists close to the chest (Fig.

85). 3. 3.6. holding fists on either side of the ribs (Fig. 3.陈 3.8      Shuang Kou Zhou or Shuang He Zhou Double Closing Elbows 氏 This technique consists of a center strike with both elbows. 3.84). prepare for the stike by gath- ering the wrists inward. 拳 • As your weight transfers to the front. 手 技 法 王 Fig.85 西 安 92 . This increases the force of your attack.84 Fig. Try to feel the effect of this preparation during practice (Fig. looking to the front and rolling the chest 推 and shoulders inward. 太 极 • Step one foot forward.

palm to the front. 3. clench the right hand into a fist. 技 You can begin a new round by stepping forward with the other foot and 法 repeating the movements on the other side. 3. 王 西 安 Fig. • As your centre of gravity shifts to the left. clench the left palm into a half fist and place it beside the left leg.86 Fig. 拳 • Simultaneously. 3.87). palm facing inward and inclining backward. then lift it so that the right elbow 推 is positioned over the right knee (Fig. 3. rotate the body to the right. extend 手 the left hand forward and simultaneously strike the right elbow downward past the back (Fig. take a big step forward 太 with the right foot in front of the left.87 93 .3.86). • As the weight shifts to the left.9      Gua Zhou … Hanging Elbow 陈 • Step the left foot forward and extend your left hand forward 氏 simultaneouly.6. 极 • At the same time. Practice alternating both sides.

strike forward explosively with the right forearm 技 using a short-energy (Fig. 极 • Extend the right hand outward. In this way. Make sure both hands move and arrive at their destinations simultaneously.6. palm up. 3. 3. 手 • At the same time.10      Pie Zhou Technique … Pushing Aside with Elbow 陈 氏 Pie Zhou signifies conquering conforming force (Shun Jin) with transverse force (Heng Jin). the aim of Pie Zhou is to 太 convert conforming force into transverse force (Shun Zhong Qiu Heng). 3. 推 • Shift your weight abruptly to the right and form a half fist with the left palm.88 94 . shifting your centre of gravity to the front. the legs should be parallel to each other.88). • After exerting Pie force. • Step the right foot forward. moving it beside the left ribs. As one of the Eight Forces. Shape the right hand into a hook (Diao Shou) and place it in front of the left thumb. 拳 • Change your weight to the left. then lower it over the right knee. you apply 法 Pie (Pushing Aside) force by meeting conforming force with the transverse force of your arms. • All movements are guided by the rotation of the waist and spine. 王 西 安 Fig.

bending the elbow. 3. using downward Ni reeling. lower the left hand from the front of the chest to the left ribs. use Cai technique to strike out explosively with the outside of the right forearm and elbow. 拳 • Then. 太 • Raise the right hand from the right side.3. palm up. 王 西 安 Fig. closing it slightly. Form a hook (Diao Shou) with the right hand with the little. 技 dinating the explosion of energy with a twisting of the crotch and rotation of the waist and spine. coor.89 95 . In this way. 氏 • Step backward with the left foot shifting your weight to the left. using guiding energy 推 from the little finger.89).6. both internal and 法 external movements are integrated with the movements of the body and limbs. 手 • While lowering the left hand. 3. The thumb and index finger form the character Ba ‘八’.11      Cai Zhou … Snatching Elbow 陈 This is a capturing and immobilising technique using the elbow. Shift your weight more to the left as you do this (Fig. • Keep the left hand open so the thumb is separated from the fingers. ring and middle 极 fingers. and extend the left hand forward to the right.

3. 太 • Bend the left knee. 拳 you raise the right hand in Ni reeling to descend the elbow (Fig. make sure power is gathered properly 法 through the whole body and that your timing is correct before you strike. and then.91). 技 Note: For maximum effectiveness. 手 • While transferring weight. 王 西 安 Fig. 3. 3.90). 推 • Relax the crotch and incline (Xia Fu) the body abruptly forward using Pie technique. toes grasping the ground. and extend the right 极 leg backward. strike the right elbow backward at an upward angle (Shang Chuan Zhou). 3.12      Xie Chuan Zhou … Slanted Piercing Elbow 陈 氏 This technique consists of using the elbow to strike backward. the right thumb guides energy flow.6.91 96 .90 Fig. moving your weight to the right (Fig. • At the same time. 3. especially useful as a defensive move when being attacked while in a passive situation.

93 97 . Shuang Bei Kao and Qi Cun Kao. Ying Men Kao. 推 • As you shift your weight to the right. 3. Ce Jian 氏 Kao.7.7  Kao (Push) PracticeS 陈 Kao practices can be divided into seven techniques: Qian Zai Kao. 3. and bend the right arm over the inside of the right leg while the left hand rests gently on the outside of 拳 the right arm. Xiong Kao. 太 3. 3.1      Qian Zai Kao … Front Shoulder Push 极 • Step the right foot forward.92). 技 法 王 西 安 Fig. 3. The 手 right foot and right arm should reach their positions at the same time (Fig.92 Fig. bend the right arm inward to position the right shoulder in readiness to execute Zai Kao.

quickly 王 pushing the front of the right shoulder forward to execute Ce Jian Kao (Fig. • Repeat these steps for both sides. step forward with the left foot and place it next to the right foot. 3. if you find you get into an appropriate space for attacking.2      Ce Jian Kao … Side Shoulder Push 法 This technique consists of pushing the shoulder at the opponent’s ribs. you can choose not to use Follow-on Steps 安 (Dian Bu) as this will result in Ce Jian Kao being pitched too directly forward. 3. pushing it forward and down.陈 • Then. As the body inclines forward 氏 significantly during this move. • Then take another big step forward with the right foot. • Step forward with the right foot (Shang Bu). 技 3. • As the heel touches the ground. 拳 推 Note: Only push when you are in the correct position. use the outside of the right shoulder to execute Qian Zai Kao. 西 • After executing the above.94).7. The left hand follows the right hand in support and comes to a rest in front of the right shoulder. 太 • On completion of the shoulder push. Then step the right foot 极 forward again to execute Zai Kao for a second time. Do not make the mistake of weakening your defences by being too eager to attack and 手 moving beyond your territory. raise the right hand from the inside to fend off and steer the opponent’s hand to the right. 98 . take care to maintain your centre of gravity by not stretching too far forward (Fig.93).

This only comes with closely combining the Yin (guide). light but not floating” .3      Ying Men Kao … Door Push with Shoulder Ying Men Kao refers to the ancient tradition of comparing the arms to 王 two iron doors. arms are a defense against attacks. then tech- niques such as Ying Men Kao can be used to penetrate defences and attack.7.94 技 Notes: 法 • Finding the right rhythmic flow to your movements is key to effective attacks. 陈 氏 太 极 拳 推 手 Fig. 3. When firmly closed. • Work consistently to master the key points until you are able to execute the movements in a way that is “quick but not loose. 安 99 . 西 conversely if one is able to ‘open’ the doors of the opponent. Dai (lead and pull) and Ji (attack) energies together. lower- ing down but not stiff. 3.

• Separate the hands of the opponent to expose his chest (Fig. The success of this technique depends on the extent of coherency and 王 how quickly and smoothly the steps can be executed. • Next. 西 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 安 protrudes more. It is easier to hurt the partner using a narrower attacking surface.95 Fig. fingers pointing up and palms facing the sides of the body. • You can use more of the shoulder surface in the attack.95). cross the hands in front of the chest. move both arms to each side of the body and push the right shoulder forward in attack (Fig. move the left foot forward parallel to the right foot and repeat the sequence for another attack.96). • Practice the steps in alternating rounds between right and left until you can execute the technique with speed and power. 3. • Once the attack is completed.陈 氏 太 极 拳 推 手 Fig. 100 . 3.96 技 • Take a large step forward with the right foot. 3. 3. • At the same time. the right 法 hand above the left.

太 • Extend both arms from the sides to the front in an embracing gesture. the chest and waist are in a collapsed position.97 Fig. • Practice this technique in rounds by stepping the right foot forward 手 again and repeating the sequence above. 技 Note: Focus on sharpening your sense of timing during practice. • Change your weight to the left while pulling the opponent toward 极 your chest using your palms (Fig.4      Xiong Kao … Chest Push 陈 This technique uses the chest to push at the opponent.7. 氏 • Step the right foot forward. 推 • After this move is completed.97). can you execute it in actual combat (because you may easily hurt yourself ). • Then roll the chest inward and shift your weight quickly from left 拳 to right. • To begin.3. 3. Only with a 法 thorough mastery of this technique.98 101 .98). 王 西 安 Fig. 3. shifting your weight to the front. A good sense of timing is essential for defeating the opponent. 3. 3. move the left foot parallel to the right. using this shift to deliver a sudden push with the chest (Fig.

shoulders slightly concave and with power guided by the thumbs (Fig. rebound- 太 ing and shaking power). Shuang Bei Kao requires Duan Tan Dou Jing prowess (short. 王 西 安 Fig. 3. 推 take a sudden breath in and push the chest forward quickly. 3. 法 Note: As mentioned in previous techniques. 3. remember to gather and withhold energy before delivering the strike.100 102 . 极 • Stand with feet parallel. • When the weight moves forward the chest rolls inwards.99).5      Shuang Bei Kao … Push with Both Shoulders 陈 氏 This technique consists of a simultaneous attack from both shoulders. and the 技 shoulders execute Bei Kao to the right . • When the whole body holds and collects to a moderate extent.7. You may lead 手 with either leg. 拳 • Gently rotate backwards with both palms facing backwards.100).99 Fig. as the shoulders deliver Bei Kao backwards (Fig. 3. a capability that comes only with extended Quan practice. 3. This technique also uses Duan Jing (short power).

use short power in your push. 极 • Start doing Shun reeling with your right hand as you move your weight slightly to the front.101 103 .101). 太 • Gradually move the right arm downward toward to the inside of the right leg. extend the distance of your Kao slightly. 法 Note: If the opponent is at close-range. 拳 • Turn the body slightly to the left as the right hand rises. This technique consists of drawing your partner into your territory (Yin Jin) while you 氏 move backwards to attack. • Practice pushing from both the right and left sides. 手 • Once your root is stabilized. Find a 推 stable centre of gravity with the body and gather your body in this position. 3. and at the same time deliver a forceful backward push 技 (Hou Bei Kao Jing) with the right arm and shoulder (Fig. 3. if further away. continue to transfer your weight to the right.6      Bei Zhe Kao … Lean with back 陈 To attack by moving backwards is called Bei Zhe Kao. 王 西 安 Fig.7.3. fingers pointing down. • Extend the right foot and arm forward.

拳 • • Incline the body forward in the same direction.102). This technique uses large- 太 scale movements and requires the body to be inclined while keeping the suspending upright power (Ding Jing). 法 王 西 安 Fig. Place the elbow below the knee (Fig. 3. 极 • Take a large step diagonally forward with the left or right leg.102 104 .7. This technique is particularly difficult to apply in combat and can only be executed successfully if real efforts are made during practice. 手 Note: Power applied in the initial stages should be slow rather than 技 quick. 推 • Practice this sequence in rounds from left to right. 3. 3.7      Qi Cun Kao … Seven Cun Kao 陈 氏 The name of this technique indicates that the body should be seven cun (approximately 23 cm) above the ground.

draw the right hand inward in Shun reeling toward 法 the left hand and seize forcefully (Fig. 拳 • Extend the left foot and left hand forward. 王 西 安 Fig. Shuang He Fu Cai Na.8. Diao gai Na. palm facing in. 3. and Shuang He Na. 3. palm up (Fig. 推 • Rest the right hand near the right ribs. 3. • Take the left thumb as the guidance of energy flow and reel the left 技 hand in Ni direction from outside in. 3. Tui Na.104). • At same time. • Relax the left side of the crotch and shift your weight forward to 手 the left.103). 3. Chan Rao Na.104 105 . 氏 Fu Na.8  Na (Seizing) Practices 陈 Na practices can be divided into eight techniques: Shun Ni Na. 太 3. Xiong Na.103 Fig.1      Shun Ni Na … Seizing in Shun and Ni reeling 极 This seizing technique employs both Shun and Ni reeling.

this time reeling in Shun direction with the left hand and Ni direction with the right. you will be able to execute these changes quickly and smoothly. if you practice each 王 side diligently. drop the elbow. 技 Observe your opponent’s changes and respond accordingly: if the oppo- nent uses long power. move the weight slightly backward then move forward again. 氏 • After seizing. Try to relax at every step while applying the seizing action firmly. Shun reel with the right hand and Ni reel with the left. then you 推 must respond promptly by swapping the reelings to the opposite hands. roll the chest in. tighten the ribs. even though you deliver the power later than the partner. changing the weight from left to right. With prac- tice. 拳 If you try to seize the opponent using Shun reeling on the left hand and Ni reeling on the right. Seizing techniques are quite difficult to practice. you should use short power so that with one closing 法 and one opening you can quickly reach the right position before the part- ner. lower the shoulders. and lower your waist and Qi. 西 Your moves will become more effective as your internal Qi integrates more 安 closely with the external movements. spread the energy up and down the length of your body like a bow so that power is distrib- uted everywhere. 极 Note: Shun and Ni reeling are interdependent and cannot be separated. in order to block the 手 opponent’s energy path. 106 . When seizing. you’ll be able to apply this technique automatically and even defeat your opponent if you apply it well. Closing with the left while seizing with the right and vice versa.陈 • While seizing with both hands. but she evades your attack by ducking down. i. 太 • Repeat the above sequence.e.

palm out. As you do this. 3. • Again.106 Fig.3. roll the chest in. 3. tighten the ribs.107 安 107 . extend the left hand forward to rest in front of 推 the body (Fig. 3. 3. • Relax the left side of the crotch. 极 • Then lower the right hand to the right ribs.105). • At the same time.107).106). and shift your weight to the right side. 3. Then rotate the right hand and 拳 body to the right.8.2      Xiong Na … Seize with Chest 陈 This seizing technique uses the Cai power of the chest with the help of the hands. 技 The shift to the left enables you to hit the target clearly (Fig. relax the left side of the crotch and shift your weight to the 手 left. 法 王 西 Fig. lower the Qi. placing it in front of the chest.105 Fig. 3. 氏 • Step forward with the left foot and move the right hand in front of 太 chest to fend the opponent off upwards to the right at head level (Fig. and clench the right hand into a fist.

palm facing left (Fig. Shift your weight forward and accumulate power well. 108 . 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.8.” 手 3.108). palm facing right (Fig. • Step the right foot forward and pass the right hand across the left side of the body. 安 • At the same time. the force of 拳 upward suspension maintains the axis. • Step the left foot forward and extend the left hand to the front. Make sure to keep your own axis when 推 seizing the opponent. • Close the crotch.陈 Remember that Qi gathers in the Dantian and the Three Powers (Jing Qi Shen) unify to become one power. 3. reel with both hands in a Shun 西 direction. rotate the body. Move quickly and follow your partner but do not lose power. • Relax the left side of the crotch and shift your weight to the left by 王 stepping the right foot on the ground. the palm form- ing a “八” (Ba) shape. extending it forward in an arc until it comes to a rest in the front of the right side of the abdomen. while the two hands serve as supports. The left hand leads by closing the power causing the right hand to follow. and gather energy in the ribs. As it states in the poem: 太 “Raise the left hand and extend the right hand upward to draw a 极 circle. • As the weight shifts to the left. roll the chest slightly inward and gather the ribs.109). 氏 The strike is actually applied by the left side of the chest.3      Fu Nang … Seize with the Abdomen 技 This technique consists of seizing with the abdomen filled with descending 法 Qi with the assistance of the hands. Move the whole body in a natural and relaxed state. 3. Relax the crotch. Match the speed of your move- ments to that of your partner.

seize with the right and roll 技 the abdomen – these three actions combine to become one power. 王 西 安 Fig. whose movement is heavier (Fig. The abdomen provides the main supporting element.110 109 . 陈 氏 太 极 拳 推 Fig. 3. 3.109 Fig. clench the left hand. 3.108 手 • As the Qi descends. the left hand moves 法 lightly and assists the right. 3. • The eyes look forward and to the left.110).

3. immobilizes their wrists by bending them outwards.112). bending them at the elbows. palms about 10 cm from the lower abdomen. roll the chest slightly inward. 极 拳 3. move the palms up to chest level and seize 西 the opponent’s elbows using Na power. capture and immobi- lize the opponent. and both feet standing steadily as the hands move. the right foot steps forward. while 技 the hands use Na (seizing) power to collect inward. • Direct the eyes to the front. and gather them towards you (Fig.陈 In summary. • At the same time. 安 • As you seize. and commence shift- ing your weight forward. 3. 王 • As your weight shifts. facing in so that the fingers are directed towards each other. whereby the abdomen gathers power to support the hands. • Continue to shift your weight forward. 110 . gather the ribs and lower Qi to the abdomen so that inter- nal strength flows through the Dantian and the Three Powers (Jing Qi Shen) may unify to guide the attack.111). followed by the left. Concentrate your energies then pounce on your opponent like an agile cat. Move swiftly without hesitation. Both hands extend forward in 氏 sequence. do not be kind to the foe for the opportunity to attack 太 comes just once. push the abdomen out suddenly (Fig.8. keep your intention firm for victory or failure will be decided in a second. the right hand moving down while the left moves up.4      Shuang He Fu Cai Na  Seize from Both Sides with Abdomen 推 手 This seizing technique uses the combined efforts of the abdomen and hands. 法 • Take a half step forward with the right foot. extend both arms to the front.

3. • Step the right foot forward and pass the right hand across the chest.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. fending the opponent off upward to the right (Fig.113). 安 111 .8.112 手 Note: It pays to practice as if sparring with a partner who is pushing 技 forward with his or her hands on your abdomen. 3. so that you respond by moving your weight forward. 3. 王 • Step the left foot forward and shift your weight to the left. supported by the warding right hand. and lower Qi in your abdomen before 法 protruding it forward.111 Fig. • Lower the right hand then cover it with the left. 3. 陈 氏 太 极 拳 推 Fig. 西 • Reel the left hand forward.

114). 西 安 112 . gathering 法 the ribs and lowering the waist and Qi. not like a thug. Collect the body by rolling the chest slightly inward.陈 氏 太 极 拳 推 手 Fig. 3. bones. 3. tendons and veins. • Step the right foot forward again and repeat the above steps. by taking a step forward (Shang Bu) each time.114 技 • Put your body in a squatting position by bending the knees slight- ly. • Alternate practice on both right and left sides. But remember: practice like an adept.113 Fig. • Collect the hands inward to about 15 cm in front of the chest. Combine them with the power of chest to become one power (Fig. Note: If Qi descends smoothly. 3. this technique can be used effectively to 王 break wrists.

6      Tui Na … Seize with the Leg 陈 This technique uses the combined power of both hands and one leg. 王 西 安 Fig. fingers pointing forward. and move both hands 法 to assist the left leg. swing the left knee inward to gather the left leg so that it serves as a support- 技 ing point during the seizing.115). relax the crotch. 3. 3. 手 • As soon as the right hand reaches the level of the left leg. Lower your Qi. 太 • As you step. In this way. 拳 • As the weight moves forward. • As the knee swings inward. lower the left arm in a downward arc using Shun reeling and extend the right hand forward in Ni 推 reeling to seize downward from the right side.3. roll the chest in and gather the ribs (Fig. shift your weight forward and bend the knees slightly 极 so that the body squats like a bent bow. 3. The powers of the left arm and right hand unify as one.115 Fig. • Step forward with the left foot and extend the left arm to the front. 氏 • Bend the left arm inward to gather both palms.116 113 . the Three Powers (Jing Qi Shen) combine to seize the opponent.8.

• Step forward with the right foot.118 114 . shift your weight quickly to the left and step forward with the right foot. 3. The changing of the legs happens quickly. 氏 • As you step forward. 3. 技 • At the same time.117). guiding it to the right ribs for support (Fig. shift your weight to the front and extend the left arm again to repeat the steps and seize once 极 more. spiral the right hand up from the right side into an arc. 王 西 安 Fig.7      Diao Gai Na … Seizing with Both Hands 推 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 手 down from the top. • Then lower the right arm by executing Lü downward in Ni reeling. 3. 3.8.陈 • After seizing. 拳 3. 太 • Then step forward with the left foot. extend the right arm and pass it from the upper 法 left side of the body to the right in a warding off motion (Fig.117 Fig. gradually guiding it inward to rest in front of the right ribs.116).

• As the right foot touches the ground. • Then move the right hand forward in Shun reeling until it reaches 法 the same level as the nose. The intention is to have the whole body collecting and seizing together with the hands. • When the right hand moves up. 3. 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 技 to the right and move the left foot and hand forward (Fig. • As the hands move.119 手 • As soon as the right foot touches on the ground. lower the shoulders. • Continue to move the right hand and foot forward.119).118). 安 115 . 陈 氏 太 极 拳 推 Fig. shift your weight to the 王 right and step forward with the left foot. Then extend the right hand forward to cover and seize with both hands with Gai power 西 (Fig. roll the chest slightly inward and bend the knees slightly into a squatting position. 3.

Combine this with the power 技 gathered in both hands and seize with one force.8      Shuang He Na … Seize by Gathering Both Hands 陈 氏 This technique uses the gathering power of both hands to seize. 3. • Make sure you have a clear line to your target by lowering the 法 shoulders and elbows before seizing downward (Fig. step forward with the left foot and shift your 拳 weight to the front. 3. then gath- er both hands and grasp the opponent’s wrist firmly downwards. • At the same time. 3.120). 3.121 116 . 王 西 安 Fig. 3. 太 • Sweep the right hand from left to right in a warding off movement 极 (Peng) to fend the opponent’s arm out and upward (Fig. strengthed by whole body coordination.8.120 Fig. This step marks the transformation of Peng (ward off ) to Na (seizing). 手 • Prepare for the seizing by lowering Qi to the Dantian.121). rolling the chest inward and tightening the ribs. 推 • Bend your knees so your body squats like a bending bow.

middle finger. Diao Wan Qu Zhi Jie Tuo 3. Shan Jing Ce Jian Jie 7. 3. • Move Qi in from the outside and lower it to the Dantian. • Inhale. • Stand with both feet in parallel. Qu Wan Fan Na Jie 推 6. then the ring finger. Shan Jing Zhen Zhang Jie 手 8.9  Jie Tuo (Escape) Practices 陈 The practice of Jie Tuo is divided into nine techniques: 氏 1. then exhale as you bend the knees slightly to put the body 王 in a squatting position (Fig. ‘Wars Among Three Countries’ by Guan Yu. Guan Gong.122). Shuang Wan Zhi Jie 极 4. Chuan Zhang Jie 拳 5. 西 • Next. shoulder-width apart. • Hang the hands naturally at the sides. 3. curve the fingers into hooks and raise them in front of the ribs with the little finger leading. 117 .1      Guan Gong Jie Dai … Guan Gong Style Escape According to the book. This technique enables a practitioner to avoid capture or break a hold. such as a waist grasp from the rear to throw you down.9. Fan Na Cu Bu Jie 技 9. eyes looking forward. the Guan Gong Jie Dai technique is said to be named after its creator. 安 and finally the index finger. Guan Gong Jie Dai 太 2. Shuang Shou Wai Fen Jie 法 3.

hook the wrist and bend the fingers to escape.2      Diao Wan Qu Zhi Jie Tuo   Escape by Hooking Wrist & Bending Fingers 王 西 This technique is especially useful to release a hand hold by an opponent. the gathering of the ribs and the hooking of fingers should combine to become one unit. In this way. 安 This technique is always applied to Liu Feng Si Bi Dan Bian (Six Sealing and Four Closing Single Whip). This technique becomes effective only after extended practice. 3. 3. 3. the squatting of the body.123 法 • Synchronise the speed of this movement with that of the body.122 Fig. If the fingers are being held.123). and also with the speed of Qi descending. otherwise it is not easy to unfold (Fig. 118 . 3.陈 氏 太 极 拳 推 手 技 Fig.9.

125 技 • If the fingers of one hand are seized by the opponent.124 Fig. By the end of your movement. 119 . so that Tuo (escaping) power can reach the fingers effectively. 3. • Move your body to transform the attacking power. 3. • Practice these steps with both hands in turn. 陈 氏 太 极 拳 推 手 Fig. unblocking the arm area being attacked.124). • As you move. • By doing this. relaxing the shoulders. 3. your conjoined fingertips and knuckles should be able 王 to escape with ease (Fig. join the 法 fingers of your hand together and point them diagonally upward to the right (Fig. lowering the elbows. 3. rolling the chest inward. 西 This technique is only to be used if you have become proficient in it after 安 extended solo practice. slowly bend the wrist and fingers. and lowering your Qi as you do so.125). you relax and elongate your encaptured arm.

lower the shoulders and elbows. It consists of spiral- 太 ling the inner sides of both wrists upward to force the opponent to open his hand.126 Fig.127). then move your arms 推 forward and upward as your weight shifts forward (Fig.3      Shuang Wan Zhi Jie   Escape by Spiralling Wrists Upward 氏 This technique is used to escape a double wrist-hold. and lower the Qi so that power can flow smoothly to the inner side of the wrists. tighten the ribs. 拳 • At the same time. 王 西 安 Fig. 极 • Step one foot forward and shift your weight to the other leg (Fig.126).9.127 120 . closing your hands while opening the opponent’s. bend the 手 arms. 3. • While doing this.陈 3. 3. 3. clench both hands into fists. 技 It is not necessary to use large movements in this technique. Just focus on 法 relaxing and lower the Qi. 3. roll the chest inward.

tighten the ribs. placing the right hand on the left (Fig. 3. It is most often used in the transition between the Jin Gang Dao Zhui posture (Buddha’s Warrior 太 Attendant Pounds Mortar) and the Lan Zha Yi posture (Lazily Tying Coat). 3.128 Fig. and Qi.128). 极 • Two feet stand flatly and the body stands straight. and roll the chest inward.129 121 . 推 elbows.3. 手 • Bend both arms 90o inward and cross them in front of the chest. and lower the shoulders.4      Chuan Zhang Jie Tuo   Escape by Crossing the Hands before the Chest 陈 This technique consists of crossing both hands before the chest when you 氏 move to the left or right to transform power. 技 法 王 西 安 Fig.9. 拳 • Bend the knees slightly to place the body in a squatting position. 3. two eyes look forward horizontally.

5      Qu Wan Fan Na Jie   Escape by Bending the Wrist and Seize the Opponent 手 This technique is used to counter-attack a hold on the right fingers.陈 • If you choose to turn to the left: rotate the body to the left then right. 3. swapping the Shun and Ni reeling to the opposite hands. 王 西 安 Fig.131 122 . 3. 极 • If you choose to turn to the right: rotate the body to the right then left. 技 It requires you to twist the captured fingers outward in Shun reeling. 3. and move the right hand in Shun reeling while the left does 氏 Ni reeling. Do not rush forward but defend you territory in straight postures (Fig. • Then ward off (Peng) by pushing both palms outward. then 法 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. and lock 太 the palms of the opponent.129).130 Fig. then rotate forward again.9. 拳 推 3.

130). 3. If you practice diligently.132). 3. Your movements should 西 be relaxed and executed with power at all times. 陈 氏 太 极 拳 推 手 Fig. raise the elbows. then bend it about 450. it 安 will be difficult for opponents to overcome your attacks. • While rotating the arm. wrist bent inward in readiness to seize and fend off danger (Fig.133).132 Fig. 3. extend the left hand forward to support the right hand as it seizes downward (Fig. Apply the principle of constant change and flexibility in Taiji circles. relax the shoulders. • As the right toes touch the ground. 123 . 3.131). 3. step the right foot forward (Fig. 法 • Rotate the arm about 1800 outward in Ni reeling. • As you do this. 3. 王 Note: Use the waist as the boundary dividing rising energy above the waist and descending energy below the waist. 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.133 技 • Extend your right arm forward. palm facing left (Fig.

极 Together. 王 西 安 Fig. 技 • As the right palm reels outward. Next.134 Fig. the palm gradually guided by Ni reeling to slant externally to the right. right fingertips initially pointing downward. 太 then move swiftly to the right to destabilize the opponent.9. 3. 3.135 124 . 拳 • Extend the right arm horizontally and bend it 900 inward. coordinating it with the lift- ing of the back and the descending Qi. this sequence of movements make up the Shan Jing Ce Shen Jie technique. roll the chest inward.6      Shan Jing Ce Jian Jie … Escape by Flashing Back 陈 氏 This technique is applied when the opponent seizes your wrist in Shun reeling. 手 • Simultaneously. • The right wrist bends inward with the arm to rotate the hand in 推 Ni reeling. palm facing right. In response. incline the body and attack with the Ce Jian Kao technique (Side Shoulder Push). move the left hand rightward to 法 the front of the chest. you should rotate externally and upward in Ni reeling. 3. so that the power of the left hand combines with the right to become one.

shift your weight to the left . then quickly step the right foot forward (Shang Bu). 法 3. touching the ground with 陈 the toe tips (Fig.7      Shan jing Zhen Zhang Jie   Quick Shaking Palm Stun This technique uses very swift abrupt (Shan) power to stun the opponent. Project your shoulder forward using Shan Jing (Sudden Flash Back) and it will break the copper wall. make a big step forward with the right foot.135).134). giving him a sense of losing of Qi. 氏 • Almost at the same time. 太 nent’s right rib using the Ce Jian Kao technique (Side Shoulder Push). then project the right shoulder forward to push at the oppo. 安 125 . then bend your knees slightly 西 to place your body in a squatting position so that you can collect and hold energy. The above movements of both arms and the right foot should occur in one very smooth and swift motion. 王 If the opponent seizes your forearms: • Retreat half-a-step with the left foot. and thus enabling one to evade capture. feet and shoulder 极 should integrate into one resolute force and terminate at the same moment (Fig. • As your left hand moves. 拳 • The force of this attack can help wrest you free from the oppo- nent’s grip and dislodge your wrist from his or her grasp. 推 Note: Move in Ni reeling while the opponent moves in Shun reeling. 3. 手 Use your whole body to collect energy and attack: the Yin force (guid- ing) from the upper body and Jin force (inserting and attacking) from the 技 lower body. because with these.9. All the above movements of the hands. you find it easy to execute Zhen Zhang (Shaking Palm) and thus to escape. 3. So Shan and Jing serve as the pre-condition of escaping.

the body squats. open both fists and shift them away from the sides of the body. 推 • Simultaneously.138 126 . then the whole body sends a Dou in a circle in Shun reeling (short power).136 Fig. 极 • At the same time. and both palms draw inward. slowly raise both hands and bend them inward about 1800. 3. and the extending palm reaches the right position at the same time. then Shang Bu (take a step 法 forward). palms facing up and the two little fingers placed 拳 on the middle of each arm. 太 • Shift your weight forward and extend both arms forward to break the power of the opponent’s grip on your forearms (Fig. 3.138). As soon as you surprise 手 and destabilize them with your moves. step forward quickly and attack with the palm (Fig. This power should be quick and strong.136). 3. 氏 • Next. 3. use both hands to draw the opponent’s arm toward you and destabilise their center of gravity.陈 • At the same time. 技 • When the body and two hands send the Dou power. palms facing up and eyes looking forward. 3.137). 3. 王 西 安 Fig. clench the hands into fists and place them at the sides of the body (Fig.137 Fig.

palm facing out. fingertips slanting up (Fig. thumb separated from the 西 fingers (Fig. 3. because sometimes appro- 陈 priate retreating gives one a closing power.8      Fan Na Cu Bu Jie … Escape by Stomping 手 This is a composite technique consisting of seizing and twisting the oppo. first bending it inward then moving it outward to the right. the partner cannot reach you though his attacking power is strong. 技 nent’s joints (Fan Na) using the Fan Guanjie (Reverse Joints) technique. • At the same time. Step diagonally right with the right foot.140). you 拳 find escaping easy. 法 • Step forward with the right foot and commence Shun reeling with the right arm. It is not wise to grasp the opponent’s elbow with your 氏 fingers. and attacking by the Cu Bu or Dun Bu technique (stomping).It is just like the poem reads: ‘It is not a failure if you retreat your pace. 3. 安 127 . 推 3.139). extend the left hand from left to right. 太 极 Two elbows draw inward and hands move outwards.9. which is against principle. With Shan and Jing. holding and collecting a quicker speed. 王 • Then push the left palm to the right. then shift your weight to the left and inclining the body to the right to hold and collect. extend the right hand diago- nally forward to the side. since he or she can easily twist your fingers and get you caught’. • Bend the knees slightly to place the body in a squatting position. • As the right foot steps on the ground.

西 During the practice. 3. paying attention to the upper and lower body and your surroundings. Stand rooted like a big tree. from long power to short power. from slow to quick. side pushing with the left palm and exhaling at one 王 time.陈 氏 太 极 拳 推 手 技 Fig. do not react or become anxious but remain confident in your prowess.139 Fig. Then you will free yourself from capture. Even if you sense the opponent’s intention to move. 128 . Incline your body and explode the energy with great unity by stomping with the right foot.140 法 Notes The Cu Bu stomp requires a large incline to the side to project an abrupt burst of power. the body should move from high to low. only by this will you increase in strength. This power can only be gathered with greatly unified power. Be patient and diligent with prac- 安 tice. 3.

palms facing in (Fig. breath. 技 法 王 西 安 Fig. 3.141 Fig. the hands wrest free of the opponent’s wrist grip. 3.142 129 . lower the shoulders and elbows. the left hand in 推 Ni reeling and the right in Shun reeling. exhale.9.9      Shuang Shou Wai Fen Jie  Escaping by separating hands 陈 This technique is used to wrest free of a double wrist grip by separating 氏 the arms.141). As you do this. • Step the right foot forward. bending inward about 90o. tighten the ribs 手 and lower Qi to the Dantian. palms facing each other. 拳 ing in as you do this.3. 3. 极 • Then bend both wrists inward. • Next. roll the chest in. eyes looking forward (Fig.142). 太 • Extend both arms forward. • In this way. separate the hands to the sides of the body. 3.

get your wrists free by moving the right hand in Shun reeling and the left hand in Ni reeling. then separate them to each side. then raise your hands. If you still can’t free your wrists with this technique. then you transform and eliminate the 王 seizing on your wrists. 西 安 130 . 3. finally returning them to the front of the chest to repeat the cycle (Fig. 3.143). If you cannot push the opponent’s hands away. During practice. keeping both arms tightly together like pincers.陈 氏 太 极 拳 推 手 Fig. 3.144). insert both palms downward (Xia Cha Zhang. Palm Inserting Down) (Fig. 3.143 Fig.144 技 Notes 法 The extent to which you separate your hands depends on the opponent’s grip. You can escape from seiz- ing by one closing and one opening.

陈 氏 太 极 拳 推 Chapter Four 手 技 Health and Qi 法 Enhancement Practices 王 西 安 131 .

rising and falling. San Ti Shi (Three Postures) 西 5. Lü. Chen Xin. 法 incorporating both movements inner quietness and more active techniques such as the Wu Ji posture. Ji and An. opening and closing. 132 . It also incorporates Qigong and body combat techniques and may be regarded as an advanced form of Qigong.陈 4.1  Introduction 氏 Taiji Yangsheng Zengqi Gong is a collection of health and Qi enhancement practices essential for the formation of robust Taiji and Tuishou tech- 太 niques. its leaves and branches must flourish. Kai He Zhuang (Opening and Closing Posture) 王 4. These movements are applied throughout the whole system of Taiji and Tuishou practices. Wu Ji Zhuang (Wu Ji Posture) 2. unblocking the whole vessel system by enhancing Qi and blood flow through the body 拳 and helping the accumulation of Qi in the Yong Quan point (known as the ‘Bubbling Spring’ located on the sole of the foot). 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. Chan Si Zhuang (Reeling Silk Posture) 安 6. 推 As Qing Dynasty Taiji Master. states: 手 “If a tree has deep and strong roots.” 技 Taiji Yangsheng Zengqi Gong is an extension of Jing Qigong (Quiet Qigong). Taiji Yangsheng Zengqi Gong can be divided into six postures. each of which can be practiced individually or in sequence: 1. Peng. Hunyuan Zhuang (Circle Posture) 3. This group of practices is used 极 to strengthen the Prenatal and Postnatal systems of the body.

2  Wu Ji Zhuang (Wu Ji Posture) 陈 氏 4. 4. • Concentrate your intention (Yi) in the Dantian.1 133 . breathing gently and slowly. keeping your 手 mind relaxed. 技 法 王 西 安 Fig. feet parallel and shoulder width apart.2. 推 • Open your eyes gradually. 4.1      Postures 太 a) Posture 1 极 • Stand upright. eyes closed. 拳 • Hang both arms at the side of the body and relax.

Overdoing this will raise your Qi to your upper body so that it becomes blocked in your chest and destabi- 技 lizes your feet. 4. 王 西 安 Fig.2 Fig. • Lower the hands onto the abdomen. the reverse for females (Fig. when it should actually 法 be solid. 极 c) Posture 3 • Curl the little fingers towards the thumb and slowly draw the arms 拳 down to the middle of the body. the right over the left for male 推 practitioners. 4.3 134 .陈 b) Posture 2 • Raise the arms to the sides. • Maintain the hands at shoulder height. On the other hand. 4. Take care of these points and you will not lose power (Diu Jin) unnecessarily.3). do not do it so gently that Qi becomes too soft and weak to reach every part of the body.2). 4. 手 Try to expand your arms moderately. palms facing downward 太 and slanted diagonally (Fig. the right hand rotating in Shun reeling 氏 and the left in Ni reeling.

Your elbow 太 joints should be lowered. 3. the mind and 氏 facial muscles naturally relaxed. 技 4. 2. The neck should be firm and straight. The Yong Quan 手 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 王 meet during breathing: then lower the tip of tongue. Lift the buttocks and anus up a little. Pay attention to the following points when practicing the Zhuang posture: 1. Your shoulders should be loose and slightly lowered. Inhale through the nose and exhale through the mouth The tip of the tongue should touch the palate when inhaling. The whole body will be steady if you gather the internal organs consistently.2. Relax the crotch so that the inner and middle parts of the lower limbs 推 are also relaxed.2      The requirements for every part of the body 陈 1. until they reach the lower Dantian. Gather the chest and ribs inward. The palate is the commencing point of Du Mai while the tip of the tongue is the beginning of Ren Mai. 135 . so that the waist descends natu- 极 rally.4. guiding the Qi and saliva through to the 西 middle Dantian.3      Breathing 法 Breathing is one of the main elements of the Zhan Zhuang (Standing Posture). inhale and then swal- low saliva down into the stomach. lower it when exhaling. Concentrate your intention (Yi) at the Bai Hui point and apply power to this point. bend the knees slightly and grasp the ground gently with the toes. 拳 4. 安 It is important to practice this diligently to unblock both the Major and Minor Zhoutian circulation.2.

Raise your 氏 Yi (intention) from the Hui Yin point (perineum). until it reaches 太 the Bai Hui point. and ease the Major and Minor Zhoutian circulation (Da Zhou Tian and Xiao Zhou Tian). through the Wei Lü Guan point. lower the waist and gather the Qi in the Dantian.陈 2. Do not lift the back too much while the Qi rises as this causes 拳 both the Qi and blood to rise even further. skin and fine hairs 推 opening as the Qi rises. 王 西 安 136 . leading to Qi filling and block- ing the chest. Note: Do not press the abdomen down too much as it will swell naturally as it lowers. roll the chest slightly inward. up along the spine. While inhaling Gather your chest and abdomen inward while breathing in Qi. keeping your body upright and lifting your back slightly. you will enlarge your vital capacity and exercise the diaphragm muscles. so that they 法 all have the same rhythm. which will help with the distribution of Qi around the body. While lowering the internal Qi. By practising the above key points. including the internal organs. 极 Maintain your vertical axis. Feel the sensation of all the body joints. across the Yu Zhen point. While exhaling 技 Lower every part of the body. 手 3. Practice also enhances your ability to guide Qi with Yi (intention).

and achieve the smooth Zhoutian circulation and help with body combat. these can be accomplished only by hard learning. can the mind obtain full rest and be adjusted so that every organ 技 system may be well promoted. However. just as Xing (posture. thinking.4. you need to concentrate your intention 推 on the Dantian so that all other distracting ideas may be replaced (Yi Yinian Dai Wannian). external move. quietude and 法 concentration. 氏 ments) follows Qi. Only these can guarantee normal and healthy inter- nal Qi circulation. Qi cannot be separated from Yi (intention).4      Additional Notes 陈 • In Taiji Yangsheng Zeng Qigong. Only through mastering your mental 手 activities such as intention. so it is recommended that they do not practice Yi and Qi until they become familliar with the form. 拳 • During Wu Ji Zhuang. Qi follows Yi. 王 西 安 137 . consciousness. Practitioners should 极 modify the scope of their practice according to their level and progress. and emotions. • Beginners generally find it difficult to remember the postures and 太 key points.2. • The key requirements for practice are relaxation. patients and the correct mastery of key points.

” 技 Hence.” 拳 and 推 “Practicing Martial Art routines without practicing Zhuang skill is 手 like a house without pillars.4 Fig. is an important basic skill in Chinese Martial Arts. as 太 reflected in the following sayings: 极 “You won’t make progress if you practice Chinese Martial Art forms without praticing basic skills.3.陈 4. 4. also known as ‘Standing Zhuang’ or ‘Standing like a tree’ Qigong meditation. 法 4.3  Hunyuan Zhuang (Circle Posture) 氏 Zhuang skill.1       Postures 王 西 安 Fig. 4.5 138 . people who practice Taiji will make more progress only if they practice not only routines but also Zhuang skill.

if closed. 西 mid-level and low. Bend the knees so that the body is squatting a little. Lower the elbows and shoulders slightly. 4. 氏 • Stand with your feet parallel. 4. fingers pointing at their coun- 法 terparts about 30 cm apart. 极 The upper body should be kept upright. Execute the posture as if embracing a big tree. then lower the waist (Fig. 陈 • Next.3. waist and back straight. 技 • Keep the fingers evenly open and slightly bent as if half grasping a sphere.a) Posture 1 • Start with the same initial posture as the previous posture. 拳 推 b) Posture 2 • Separate the hands when the left foot reaches ground. focus your attention on the Dantian (Fig. 4. then move 手 them back to the middle. the neck. The old and weak may practice using a high body stance. • Keep the head naturally erect. a little more than shoulder-width 太 apart. • Leave your eyes naturally open or close them. shift your weight to the right and lift the left foot and take half a step to the left. If your eyes are open. • Relax the shoulders.4).2      Body requirements a) Zhuang Skill Adjustment 王 Hunyuan Zhuang can be practiced at three levels of body stance: high. 139 . 安 with practice duration increasing gradually from short to long. focus on a static object at the same level as your eyes. The palms face each other.5). waist and crotch.

although this may become 拳 more obvious with prolonged practicing at mid or low stances. 极 and slight trembling may occur. For example. More benefits may be gained if initial practice lasts for at least ten to fifteen minutes. 安 140 . up the spine. Continue standing for as long as you can as this helps build fatigue resistance and enhances control of the muscles. when doing Standing Zhuang at a high stance. 王 intention and internal strength join together at the end of Du Mai (which is also the beginning of Ren Mai). Du Mai. This relieves or may even stop the trembling for a 手 period. Inhale again as the body rises. In this case. becoming gradually longer. through the Ren Mai. graduating to mid- level. inhale slowly first. At the same time. The trembling may only be detected by touch or by close observation of the leg muscles. touch the palate with the tip of the tongue. the thigh muscles and even the whole body may tremble rhythmi- 推 cally. 太 Beginners will find that the thighs may ache after two weeks of practice. At this point. increasing to thirty or forty minutes at later stages. Wei Lü Guan. swal- 西 lowing your breath with saliva. past the Yu Zhen point. then a low stance. then lower your body again. raise Qi from the heels up the legs. until it reaches the Baihui point. Should this happen. Practice duration can last just a few minutes in the 氏 initial stages. 技 法 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. then bend the knees to lower the body until the buttocks are at the same level as the knees. Que Qiao. and guide the saliva down to the middle and lower Dantian.陈 The young and strong should start with a high stance. you should raise your stance slightly to rest. Now lower the tongue and inhale.

3      Breathing 太 Breathing is an important element of Zhuang skill. like a wild goose flies off and falls. but the apparent non-activity is misleading. 拳 tions. Practice this process 陈 repeatedly.As you exhale slowly. as it responds to the circulating blood. 技 The upper body is Xu (void) while the lower part is Shi (solid) with feet grasping the ground. 王 西 安 141 . Standing on the ground steadily like a 法 mountain. the body quivers in a relaxed and peaceful state of mind. 推 This is explained in the Song of Huanyuan Zhuang: 手 The body ascends or descends corresponding with the breath. Zhuang skill is actually 极 a practice using static strength and tension. 氏 4.3. It rises and falls like a boat in the ocean. The body weight is always subtly moving in various direc. breathing motions and digest- ing processes. the body lowers slightly and Qi moves down to the Yong Quan point along the inner sides of the legs.

4  Kai He Zhuang (Opening and Closing Zhuang) 氏 The standing posture of Kai He Zhuang is the same as Hunyuan Zhuang.7 142 . Gather the chest 技 and abdomen. 4. 4. 王 西 安 Fig. The only difference 太 is that in this posture. • In the initial stages of practice. extend your breath slowly through the practice process.陈 4. the breath is usually short. At the same time. • The navel and Ming Men are in the same rhythm.1      Postures 推 a) Posture 1 手 • Inhale and slowly separate both arms to each side. the middle fingers connect.6 Fig. 法 • The distance between both arms starts short then grows longer. relax and open the internal organs. the palms face inward and the eyes are slightly closed (see Fig.8). 4. as are the requirements and key points for the body parts.4. 极 拳 4. the body rises slightly with the inhalation.

Guide this Qi from the fingertips and 陈 palms into the ‘sphere’ in front of your abdomen. 手 • All internal organs are filled with strength. Qi appears between finger tips of both hands like a magnetic force. you will detect a current of energy released from both palms which seems to be difficult to gather at this point. 推 • Roll the chest slightly inward. crouch down and lower the elbows. 极 • At the same time. lower the waist and gather the rib muscles. use your intention to guide the current outward. using your intention (Yi). Acting 法 slowly. • Drop the wrists and hold the palms facing inwards in a concave 拳 shape. • Relax the body.Note: when you inhale and open up. the navel and the Ming Men Mai swell out. 4. Do this practice slowly. 王 西 安 Fig. 氏 b) Posture 2 太 • Exhale and gather the organs.8 143 . 技 Focusing on your intention (Yi).

Qi here refers to the fresh air exchanged between the lungs and the outside. For thought (or attention) to combine with intention. and also helps the practitioner build skills in relaxation and quietness. 极 4.   拳 Intention and Qi 推 Kai He Zhuang is directly related to the Three Internal Combinations: 手 thought and intention. intention and Qi. In this way. It will take some practice before you will be able to sense Qi and feel it move with the rhythm of your breath.2      The relationship between Thought. as well as breath control. if you require the breath to be slow. when extending the hands. only when you can mentally trust that you feel the Qi in your hands 法 can you apply the practice techniques to good effect. “the internal Qi moves inside”. as well as the internal Qi moving in the body with the guidance of your intention. For example. 144 . it also helps increase internal strength and 太 distributes Qi around the whole body. gentle and even. This is called. For example. then your strength must 安 be soft.4. Lastly. one’s thoughts need 技 to implement intention consistently. Qi and strength. Qi combines with strength when Qi descends – the whole body and inter- nal organs relax. and when Qi rises – the body and internal organs gather 王 slightly. the ebb and flow of 西 Qi and strength (or power) are in synch with each other.陈 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 氏 the navel and Ming Men. This practice also strengthens the practitioner’s ‘root’. To combine intention with Qi means to guide Qi so that it follows your intention as you practice Zhuang techniques.

the chest. Its purpose is to stimulate the nerve system by muscle movement. the regular up-down movement of the midriff muscles are very important in Kai He 氏 Zhuang. abdomen and back. 太 tion. Guided by inten. In particular. 拳 推 手 技 法 王 西 安 145 . you will reach the point where 极 internal Qi may be guided by intention to move freely in your body along desired routes. With practice.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 陈 – under the ribs. this movement becomes a conditioned reflex and helps move muscles which are normally static. and are one of the main requirements in Zhuang skill.

the right 推 hand in front of the left. 4. suffusing it with saliva and Qi and lower it to the middle and lower Dantian. 王 • Swallow the fresh air inhaled.5  San Ti Shi (Three Postures) 氏 The core content of San Ti posture is the method of drawing in and push- ing forward. 法 make sure your eyes are drawn inward to looking internally. 4. • Start the posture with your eyes closed. 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. • When the weight shifts completely to the left leg. When inhaling. 太 极 a) Posture 1 拳 • Stand with feet parallel and take a step forward with the right foot. • At the same time. then shift your weight forward from the left foot to the right knee.9). The length of inhalation should match the speed of the weight shift.陈 4. 手 • This posture could also be called a sideways Bow Step (Fig. • Gather the Lao Gong points of both hands inward. focusing your intention in 技 the Dantian. • The rhythm of the navel and Ming Men should be consistent with the breathing in and drawing in. • Next. 安 146 . inhale and move your weight backward. Purify this saliva with 西 your intention. then open your eyes and look into the distance. Expand the crotch like a circle.10). The fingers are poised as if grasping the air. raise both hands above the right leg.

close and fold your strength into your chest and waist. 法 • Repeat this process alternating the left and right sides. As you exhale and shift 技 your weight forward. 4. then push both hands forward slowly (Fig. 4.9 b) Posture 2 手 • As Qi is lowered into the Dantian. lower the waist.11 147 . 4. 4.11).10 Fig. 陈 氏 太 极 拳 推 Fig. You need to have the feeling of closing before opening. 王 西 安 Fig.

determi- 氏 nation. then your progress 拳 will be poor. Only after prolonged practice can confidence be nurtured. 推 Indeed. your practice hesitant and inconsistent. In sum. with confidence and determination. your belief is half-hearted. Confidence 法 in Zhuang skills grows with practice as difficulties are overcome. and persistence. Beginners tend not to have much confidence or belief in Zhuang skills because their 技 practice has only just begun. With confidence comes deter- mination. Through seri- ous dedication. You can persevere only if you firmly believe in the benefits of Zhuang skills. persistence may be engen- 手 dered. confident and diligent practice. 极 practioners will make the expected progress. and great determination. on the contrary. So where does confidence come from? From practice. leading to progress and experience of the benefits. 王 西 安 148 .陈 Notes: Remember to cultivate and apply the Three Spirits: confidence. and hold firm to these attributes throughout path of practice and study. practitioners are required to cultivate their Three Spirits when they begin practice. Practitioners who apply the Three Spirits can 太 develop good Zhuang skills and attain the expected results. confidence is a critical prerequisite. If.

inhaling all the while (Fig.6. Chan Si Zhuang refers to practices using silk- reeling power built on the foundation of Zhuang skill. 4. 太 极 4. • The fingers of the both hands point to each other. • At the same time.12). Peng force is maintained while the foundation of the body is reinforced as well. both palms facing forward.1      The practice method of Chan Si Zhuang 拳 推 a) Posture 1 • Step forward with the right foot and shift your weight forward. In this way. 4. relax the chest and midriff muscles to provide balanced strength between the upper and lower bodies (with the waist as the dividing line). extend both hands forward with the right hand before the left. 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. 手 • As you step forward. 王 西 安 149 .6  Chan Si Zhuang (Reeling Silk Posture) 陈 Chan Si power generated by practising Chan Si Zhuang is the core content 氏 of Chen Style Taijiquan.

14 安 150 .陈 氏 太 极 拳 推 手 Fig. 4.12 技 法 王 西 Fig. 4. 4.13 Fig.

withdraw the right hand 手 so it intersects the left. As this happens.b) Posture 2 陈 • Next. 西 • When both hands reach their full extent (your Peng and Ji can’t exceed your orbit or territory. otherwize. step the right foot on the ground. suffusing it with Qi before lowering it down to the middle and then lower Dantian. you start to repeat the sequence. gather and close the whole body so it forms a posture prepared for opening activities. open both fists into palms facing inward. rotate the left hand in Shun reeling in front of the lowered abdomen. the right hand in front of the left. you will lose your weight 安 and axis). relax the right crotch and shift your weight gradually to the right. Apply Peng (ward off ) and Ji (press) outwards with both hands as you shift weight and exhale 王 (Fig. 151 . lower the shoulders. turn the waist and twist the crotch. Both hands make a half fist when reeling. relax the left crotch and shift your weight to the left 氏 • Move the left hand down in Ni (contrary) reeling and the right 太 hand down in Shun (conforming) reeling. 技 • Inhale and swallow saliva. 4. 拳 • When the left hand executes Lü (roll back) to the middle of the body. 法 • When this happens. c) Posture 3 • Next. • As the weight shifts. 推 • At the same time. relax both arms. 4. 极 • As you shift your weight.13). inhale and crouch the body slightly.14). drop the elbows. keeping the left hand inside and the right outside (Fig.

The purpose of deep breathing is to make sure every small cell of your lungs takes part in the breathing. The normal breath frequency of adults is six to twenty times per minute. Inhalations 太 and exhalations should be of proper length. and comes only after accumu- 西 lated practice. and even to one or two times per minute. After practicing Zhuang skills for a period. you will feel your key joints 王 and your arteries and veins become unblocked and re-connected. 安 This phenomena of “connected arteries. It is incorrect to exhale with a long breath and inhale with a short breath (known as “too much Yin”) or 极 vice-versa (“too much Yang”). When you practise Zhuang skills to a certain level. Ren Mai and Du Mai are two of the eight channels (Ji Jing Ba Mai). your breath should be natural and of the proper duration so that it enhances body combat and health. the breath can become slower and longer. Dual practice with Yi (intention) and Qi connects the whole body. Ren Mai starts 152 . Only by this can you avoid errors and side effects. veins and joints” is known as the “connected Ren Mai and Du Mai” in Zhuang skill terminology.2      Breathing and its Purpose in Chan Si Zhuang 氏 When practicing Zhuang skill. then to five times per minute. so that your lung capacity is enlarged and the contact area between the capillary vessels of the alveolus and fresh air is increased. 推 After mastering the key principle of natural breath. decreasing to seven or ten breaths 法 per minute. This is a primary sign of beneficial Zhuang practice. the most essential principles to apply when practicing Zhuang 拳 skill is intentional natural breathing and intentional technical coordina- tion.6. This helps in the exchange of carbon dioxide and promotes metabolism in the body. inhalation/exha- 技 lation being one breath.陈 4. Therefore. you should focus on 手 increasing the duration and depth of your breath.

is called Xiao Zhou Tian (Minor 太 Zhoutian) of Yin Yang circulation. the 极 difference being that Da Zhou Tian extends Qi to the lower limbs. 手 The practice method for Da Zhou Tian is the same as that for Xiao Zhou Tian. then rises through 拳 the backs of the legs before joining the routes of Xiao Zhou Tian. reaches the perineum through the Dantian and then connects to Du Mai. and Yu Zhen Guan. Jia Gu Guan. and Yi and Qi 法 should move in the required routes.from the tip of the tongue. For both. then reaches the maxilla through the ears and cheeks to finally connect to the tip 氏 of the tongue. all channels extend- ed and unfolded. reaches the Bai 陈 Hui point through Wei Lü Guan. deeper. the body should be relaxed. then infusing Qi into the Dantian. In Da Zhou Tian. The whole process of moving Qi through Ren Mai and Du Mai. except that the breathing in the former is longer. The Qi of Da Zhou Tian originates from the Yong Quan point. Qi descends to the Yong Quan point through the inner sides of 推 both legs after which it returns to the Dantian. 技 even and quiet. Du Mai starts at the perineum. Da Zhou Tian (Major Zhoutian) is an extension of Xiao Zhou Tian. 王 西 安 153 . the five sense organs internally gathered. more gentle.

Leave it there for a little while to nourish the Dantian before disgorging the Qi slowly. bring in the arms and place both palms in front 手 of the abdomen (Fig. 4. Its practicing method can be summarized thus: when you finish Peng and Ji outwards 太 with both arms in Chan Si Zhuang. 极 a) Posture 1 拳 • Shift your weight gradually to the left leg. • At the same time.7  Wu Zhuang Huan Yuan (Returning to Wu Ji Zhuang) 氏 Wu Zhuang Huan Yuan is also called “Closing Practice”.15). • Swallow Qi down with saliva and guide it down to the middle 技 Dantian.15 Fig.陈 4. close your eyes and inhale. 法 王 西 安 Fig. then infuse it into the lower Dantian. 4. then bring in the right 推 foot so that both feet are a shoulder-width apart.16 154 . 4.

太 • Relax the whole body and raise it up slightly to open the joints 极 throughout the body (Fig. separate the arms 陈 to the sides. 4.17). 4. fingertips pointing obliquely down. finally placing them in front of the shoulders. • Clench both hands into fists and lower them to ear level as the 拳 body lowers. palms facing each other. lift both arms upright. 手 技 法 王 西 安 Fig. swallow Qi and saliva and infuse them into the 推 lower Dantian (Fig. 4.18 155 .16).17 Fig. 4. pointing the fingertips upward.b) Posture 2 • Inhale and with thumbs guiding the energy flow. palms facing in (Fig. • As the body lowers.18). 氏 • Then using the little fingers to guide the energy. 4.








技 Fig. 4.19 Fig. 4.20
法 c) Posture 3
• 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
王 and other parts of the body. This method of warming helps relax
the acupoint channels, stretches the tendons and muscles, and
西 promotes the generation of Qi (Fig. 4.20).

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Chapter Five

Practices for 技
the Buttocks 法
and Crotch


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陈 5.1  Practice for the Buttocks


太 5.1.1      Overview

极 The requirements for positioning the buttocks in Taijiquan practice are
very strict. It requires the practitioner to put Wei Lü (coccygeal end, at the
拳 end of spine) in an upright position when practicing, gathering and rais-
ing it naturally so that the buttocks do not protrude nor swing too much,
推 otherwise the buttocks will be unable to rise and lower naturally.

手 Taijiquan novices sometimes err on over-gathering or raising the buttocks,
which can result in various negative effects. For example, if the buttocks are

技 gathered too far forward, the posture will become unnaturally stiff and not
follow the natural straight alignment of the body; in addition, this posture

法 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 imped-
ed and consequently, Qi cannot cannot descend through the Dantian and
王 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 trans-
form the opponent’s energy.

Bei Kao is an opening-closing move, consisting of lightening-quick power 推
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 手
bend knees a little, then stamp on the ground to generate rebounding
power and ascending Qi. 技
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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陈 5.2  Practices for the Crotch (Dang)


太 5.2.1      Overview

极 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
拳 that the waist and crotch can rotate freely. Any obstruction of Dang move-
ment will negatively affect routine and Tuishou practice.
推 The opening-closing of Dang, that is, the transition between emptiness

手 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

技 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

法 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 opening-
closing of Dang is key to increasing and exerting power. When Dang is
王 closed, the whole body is directed toward closing (He); when Dang opens,
the body opens. Hence, Dang is essential to Xu (gathering), He (closing),
西 Yin (guiding), and Fang (releasing) in routine and Tuishou practice.

160

are described below: 5. 技 To help you master correct Dang postures in routine and Tuishou practice. womb and so on.2      Yuan Dang … Round Crotch Yuan Dang refers to the opening of the Dang area in a circular shape. advocating contraction of the anus during physical exercise 推 as a remedy.2.The Anus 陈 In the same way that the positioning of Dang is very precise. in the Dan Bian (Single Whip) posture of the Chen style Taiji Lao Jia routine. the left knee and ankle vertically aligned to each other and the ground. anus contraction should only be slight and done in a natural way. Jian 法 Dang and Tang Dang. which means that the left leg bears 30% of body weight while the right leg bears 70% of body weight. For example. it was realized that the anus and perineum were two of 太 the most vulnerable parts of the human body. the perineum and it’s soft tissue start- 极 ed to bear greater pressure from such internal organs as the liver. when the distribution between the weight-bearing leg and the other leg is at a ratio of 3:7 or 4:6. Yuan Dang. Ding Dang. the posi- tioning of the anus also needs careful attention. The right leg should be relaxed with the right knee 西 inclined slightly outward and the Dang gathered inward so that both form 安 a strong pair. rectocele. A brief introduction is 氏 provided below. 161 . After humans evolved to the upright posture and started to walk. womb prolapse and so on. This requires the left leg to be solid with the lower 王 leg standing upright. Doing so over an extended period can have a positive 手 effect in curing hemorrhoids. a short introduction of key Dang movements. In ancient times. This 拳 realization caused the ancients to suggest that “the ground door should be always closed”. the weight distribution is 3:7. In Taiji practice. and it became difficult for vena blood to flow to heart.

法 Ding Dang arises when the area connecting the weight-bearing right leg to the crotch remains tight. which means there will not be opening-closing power if he or she crouches in the Horse Stance. This should be corrected at the earliest stages of learning. at the end of the Dan Bian (Single Whip) posture. it is very difficult to correct bad 王 practice habits solidified with prolonged practice. A practitioner trying to 西 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 安 very uncomfortable. innate talents.” Indeed. Hence. the right knee should incline 手 outward. For example. If a practitioner is advised to relax. the body crouches as the right knee moves outward. he or she will typically re-distribute weight between the legs to a ratio of 4:6 or 5:5.2. As for practitioners. That is.陈 In this way. energy in the legs is strengthened and the body is well support- ed. Some perform better than others due to learning abilities. “closing in opening” and that “Dang should open in a full circle”. This positioning of Dang also means that it fulfils the Taiji principle of 氏 “opening in closing”. there are many opportunities and responsibilities. and 技 at this moment Dang should open in a circle so that both legs can support all parts of the body. 162 . the root of Dang should be relaxed. teachers do not typically correct their students’ mistakes as the emphasis was on students digesting teachings gradually and adjusting mistakes themselves. Yuan Dang reinforces the foundation and allows flexible body rotation in any direction.3      Ding Dang … Tight Crotch 拳 Ding Dang refers to a common mistake made by novice practitioners 推 whereby one leg supports the body without relaxing. “It is easy to teach but hard to change what is learnt. In traditional teaching methods. These traditional teaching methods should be changed as implied by the adage. when the right leg moves to the side. 太 极 5.

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 陈
intention being to allow the teacher more rest. Students are also happy to
learn from co-practitioners as this may help to accelerate learning. 氏

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 拳
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 推
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 手
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 技
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 法
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, practi-
tioners 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 develop-
ment 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 王
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 西
capillary blood vessels may have been strained. This ache will lessen gradu-
ally after extended practise, as the body becomes stronger, blood circula-

tion improves and lung capacity is increased. At this stage, any additional

163

陈 muscle ache resulting from further increase in practice will ease off more
quickly.

氏 Hence, do not be deterred by any aches and apply Yuan Dang when prac-
ticing Taiji and Tuishou, so that Jian Dang may be prevented from develop-
太 ing. Without patience, Taiji skills cannot be improved.

极 5.2.5      Tang Dang
拳 Tang Dang happens when the legs are spread too far apart, out of propor-
推 tion 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
手 move forward and back or turn to the sides with natural ease. This situa-
tion is also called Ta Dang, meaning collapsing Dang.
技 The Taijiquan routine is a whole body practice, suitable for people of all
法 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 move-
ments. 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.
王 This results in chronically tight muscles which will eventually cause bad
blood circulation in the legs. The Tang Dang posture has particular impact
西 on the stimulation of the on the nerves in the knee joint, so hindering the
supply and renewal of blood in the leg muscles.
安 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

164

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 陈
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 氏
the legs can recover quickly, so Tang Dang poses no real issues.
However, large-scale movements cannot be applied to the whole prac-

tice; 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 require-
ments of body combat so that the practitioner does not incur any injury.




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Chapter six

Chen Style 技
Taiji Tuishou 法
Categories


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167

if you advance using Ying Men Kao (Kao diagonally to the front). 法 王 西 安 168 . since both the attacking and defensive movements are interrelated and cannot be separated.1  Overview 氏 Within the Chen style Taiji routine. we will describe how to apply these eight 太 Tuishou techniques in sparring practice. 手 you can defend using An (pressing). with attackers 推 changing to defensive roles in an instant and back again without warning. 技 While the combinations of Tuishou moves are infinite. then strike back with Jian Kao. if the opponent attacks using Jian Kao (Kao with shoulder). practitioners may master its secrets and principles with serious study. In this chapter. your opponent may respond defensively with Xiong Kao (Kao by chest). the attack-defense stances change dynamically. For example. Tuishou is commonly divided into eight categories. 拳 Indeed. For exam- 极 ple.陈 6.

Luan Cai Hua (Picking Flower.e. normally a 技 forward step then a backward step) 法 6. while Tuishou) or Jin Wu Tui San (both parities advance and then retreat for 5 steps. Jin San Tui San (both parities advance and then retreat for 3 steps.1      Chen Style Taiji Tuishou Categories 陈 The Chen style Taiji Tuishou Routines can be divided into: 氏 1. Li Yuan and Ping Yuan (Vertical Coiling Flower and Horizontal Coiling Flower) 推 4.1.6. and any movements can be exerted by intention. Da Lü (larger scale movements) 7. also known as Ding Bu Tuishou (Coiling Hand with Static Footwork) 手 5. which is regarded as the highest level of Tuishou. Shuang Shou Wan Hua (Coiling Flower with Double Hands) 拳 3. i. 王 西 安 169 . while Tuishou) 8. where the the practitioners are no longer oblidged to the sequences or fixed routines. He Bu Tuishou with static footwork. silk reeling in 太 the shape of a flower) 极 2. Dan Wan Hua (Coiling Flower with Single Hand. Shun Bu Tuishou (Tuishou with movable footwork.

novices should start by learning one set at a time. or Kao hand techniques. Si Yu Shou hand techniques are always used. Cha Bu (inserting steps) 6. Dian Bu (stepping on toe-tips) 170 . Xuan Wan (rotating wrists) 拳 4. Duli Bu (standing on a single foot) 安 8. feet placed together ) 西 7. 手 In moving footwork such as Shun Bu (walking backward and forward) and Da Lü. these consist of 技 the Cai. There are many categories of footwork techniques. including: 1.陈 6. Huo Bu (moving footwork) 3. practitioners should be able to switch flexibly between Si Zheng Shou and Si Yu Shou 法 techniques as circumstances require. Bing Bu (step touch. Lian Jin Lian Tui (moving forward/back/right/left continuously) 4.e. Ji. Lü. Lian Huan Zuoyou Xuanzhuan (moving continously with body rotation) 王 5. Qie Zhang (palm chop) 推 In static footwork. and not be limited to one or the other. Bie. i.1. During sparring. However. An) is usually applied. Ding Bu (static footwork) 2. Shuang Tuishou (Tuishou with double hands) 极 3. Si Zheng Shou (Peng. as follows: 太 1. Dan Tuishou (Tuishou with single hand) 2. Zou.2      Types of Tuishou Handwork and Footwork 氏 Tuishou handwork is commonly divided into four classifications.

6. 王 西 安 Fig.2      Cutting with Palm 技 This technique uses the edge of the palm to cut downward in a vertical or diagonal direction. when both players retreat after being mutually warded off. 太 ed horizontally sideways. roll the chest slightly inward and lower the waist and shoulders.2). the four 极 fingers extended and joined together to form a slightly concave palm (Fig. 6.2. The roots of the fingers are relaxed. it is also often used when pushing or rotating in various directions in both Shun and Ni reeling. The elbow must be dropped.2.1 Fig. 拳 In single practice. All these adjustments must be executed simultaneously so that power can reach the palm edge and hit the target clearly (Fig. 6. Da (meet) and Sao (sweep) movements. with the wrist lowered and fingers relaxed. it is also applied to Gun (roll). with the forearm bent toward the upper arm at an angle of 450. 手 6. When cutting downward.2  Tuishou Handwork Techniques 陈 6. 6.2 171 . 6. In this posture.1). you need to place the body in 法 a crouching position.1      Li Zhang … Palm vertical to the ground 氏 Li Zhang is used at the initial stages of a sparring bout. 推 Shuan (bind). palm facing in. one arm is extend.

3      Wa Long Zhang … Roof Tile Palm 陈 The Wa Long Palm is shaped like a Chinese roof tile where the sides curl 氏 upward and the middle is low. when hands are rotating horizontally in a circle. The remaing three fingers turn 极 slightly outward so that the palm becomes concave (Fig. As 太 you rotate the hand downward or outward. 6. one player 法 may guide the other to reel first in the Shun direction. 6. the little finger is used to guide energy and draw inward toward the thumb. where the raised hand lies above the middle of the upper arm. This techniqueis often applied in Shun Chan (conforming reeling) and Yin Jin (drawing into your territory). then reverse to the Ni direction when the hands arrive at his or her body.4      Xie Tuo Zhan 技 In this technique. the hand is stretched upward to the sides (Fig. change your palm to Wa Long Palm as you follow your opponent and reel in the Shun direction as 推 the palm rotates upward.4 172 . 王 西 安 Fig.2. if the opponent executes Lü on you.2. The palm posture during this direction change is called Xie Tuo Zhang. During sparring. 6. 拳 For example. 6. the power lies in the root of the palm.3). 手 6.3 Fig. 6. Xie Tuo Zhang is also applied in the process of Big Lü.4). In this instance.

see above). 6. see above).5).5 173 . 氏 Cha Zhang is widely used in Tuishou. for example: 太 • When you rotate both hands in vertical circles. 王 西 安 Fig. Cha Zhang can be applied via the same application methods as 法 with the Si Zheng Shou (stated above). 技 • In Luan Cai Hua (palms reel in non-predictable angles. and gradually press your hands 推 toward the opponent. 极 • When the opponent executes Lü on your hand during Si Zheng Shou (handwork in four directions. as the hands insert downward. insert your hand 拳 downward and rotate it in the Shun direction. then lower your shoulders and drop the elbows. fingers slightly parted (Fig.2. This technique is called Diagonally Upward Cha. 6. the hand is inserted upward or vertically/diagonally downward.5      Cha Zhang … Slanting Palm 陈 In this technique. 手 • Cha Zhang is also adopted in Shun Bu Tuishou (see above) with moving footwork.6. separate them and switch to Cha Zhang.

the ring finger. This way.陈 6. and your partner exerts An to your hand. while the thumb and the index finger form a “ 推 八” shape. 手 技 法 Fig. 拳 you can rotate your arm with the middle finger. 6. you find it earsier to eliminate the opponent’s power by rotating your waist outwards with relaxation.2. When you guide your partner via Shun reeling to the front of your chest. it is called Ba Zi hand because “八” is 太 pronounced ‘ba’ in Chinese (Fig. 6. and the little finger bending inward.6      Ba Zi Shou 氏 Ba Zi Shou (hand posture in character ‘八’): separate the thumb and the index finger to form a “八” shape.6).6 王 西 安 174 . This type of hand is always used in Qin Na (arresting) and Tuishou with 极 single hand in a horizontal circle.

following the principle of ‘closing in opening’. 极 the thigh nearly parallel to the ground. The toe tips point slightly inward. 推 ciple of ‘straightening in bending’.1      Qian Gong Bu … Forward Bow Step 太 This technique requires the soles of the feet to touch the ground. toe tips bent slightly inward. 手 the sole fully touching the ground. In this posture. This knee is turned slightly outward to provide a frame for all parts of the body. 6. 6. the Yong Quan point should be empty while the Dang 技 is open with the intention to close. 拳 The other leg bends with the intention to straighten. 6. the knee positioned approximately above the tip of the foot (Fig.7).7 安 175 . 法 王 西 Fig. One knee is bent so that the body is in a half crouch.3  Tuishou Footwork Techniques 陈 氏 6. following the prin.3.

Position both feet fully on 极 the ground. if the oppo- 西 nent presses on any part of your body with his or her hands or arms.3. knee bent slightly over the toe tips.3. 176 . • This step is always used in Shun step. 推 手 技 法 Fig. When the weight is 太 completely transferred. 6.2      Hou Zuo Bu … Back Seat Step 陈 氏 In this posture. big Lü and Luan Cai Hua.9). you can move your the weight back to transform their power 安 by raising your toe tip and hence causing the heel to touch the ground naturally.8). Keep the Yong Quan point empty so the straightened leg can be lifted later if the body weight is kept on the 拳 Bow leg (Fig. straighten the front leg so that the back leg becomes the Bow leg. body weight is transferred from the front Bow leg to the back leg during in Shun Bu Tuishou pairwork. for example: 王 • In Ping Yuan Tuishou (Tuishou in horizontal circles). 6.3      Qian Dian Bu … Forward Tipping Step In this step.8 6. 6. 6. the heel touches the ground with the toes pointing up at about 450 (Fig. toes grasping the ground. It is applied widely in Tuishou.

move your weight back and withdraw the front leg backward by stepping the toe tip back first.9 推 6.4      Hou Dian Bu … Back Tipping Step 手 This step is applied in three Tuishou techniques: 技 a) Shun Bu –Tuishou big Lü. 6.3.10 177 . followed by the sole then heel (Fig. 6. if an opponent applies Lü on you. 6.10). and Luan Cai Hua 法 For example. 陈 氏 太 极 拳 Fig. 王 西 安 Fig.

陈 氏 太 极 Fig. 王 西 安 Fig.11). in the ‘Dragon sweeps ground’ form.12 178 . Big Lü and Luan Cai Hua. Lü applied through large-scale move- 手 ments) (Fig. and is widely used in forward or backward movements (Fig. which now lies close to the ground. quickly ‘fall’ to the ground 技 with a large-scale ground sweep of the Bow leg. 法 c) Duli Bu (Standing on Single Foot) Duli Bu refers to having one foot raised while the other stands on the ground. This posture is applied to Shun step.e.11 拳 b) Pu Bu (Falling Step) 推 Pu Bu is only applied to Big Lü (i. 12). 6. When the opponent applies Big Lü on you. 6. 6. Hence the name ‘Falling Step’. For example. 6.

法 In addition. 王 西 安 Fig. The principle of Shun Chan is that with the elbows guiding the hands. with the little finger guiding energy as it points to the thumb when it is drawn 手 inward. with the other fingers slightly turned outward.4. you can also use Shun Chan to attack to the side or directly on to the opponent after drawing them into your territory. the term ‘reeling’ means to spiral energy. power rises from the heels up the legs. 推 Shun Chan means to spiral energy from the outside to the inside. where it returns to its original position of circulation. in Bei Zhe Kao (Lean with back). when the opponent executes Lü on you. exerting Ji and Na in confronting reelings). while simultaneously executing Kao on the opponent.4  Hand Techniques in Tuishou Reeling 陈 6.1      Shun Chan … Conforming reeling 氏 In Taijiquan. 6. enters the bone marrow through gaps 极 in the scapula and travels down the arms. 技 ing the elbows and the waist guiding the shoulders. For example. 太 In Silk Reeling technique. This move is called Shun Ji Shun Fa (i. 6. spirals around the waist and shoulders. It then rises from the internal to manifest externally through the skin and fine hairs until it reaches the 拳 fingers. the shoulders guid. you can use Shun Chan to gather energy and edge into the opponent’s territory. you draw the opponent inward into your territory.e.13 179 .

王 西 安 Fig. roll your chest slightly inward and lower your waist. In Ni Chan. 极 the shoulders to urge on the elbows and the elbows guiding the hands. by using the waist to urge the shoulder. 6.14 Fig. Note: to apply this technique precisely. 6. concentrate you energy in the wrist. Zuo Wan (descending wrist) technique is adopted (Fig.2      Ni Chan … Reverse reeling 陈 氏 Ni Chan is the reverse of Shun Chan and may also be called ‘Ni Silk Reeling Outwards’. the thumb gathers inward and guides the little 太 finger. 6. 6.3      Shun Ni Zuo Wan   推 Wrist descending in Shun and Ni directions 手 This technique consists of lowering the wrist gradually during the transi- 技 tion from Shun to Ni Chan. You then Ni reel to your right ribs and change the attacking hand into ‘八’ shape so that you can easily capture your oppo- nent.15 180 . shoulders and elbows. Here. 6.4. extend your right hand and guide the opponent to rotate in Shun reelings 法 towards your leftside. while the other fingers turn out slightly (Fig.4. 拳 6. In horizontal circle rotations with single hand. Ni Chan is used to open outward.14).15).

Lü. which is 氏 formed by pointing the little. to provide a closing and opposing force with the three fingers (Fig. Zhou.16 181 . in case of single hand rotation in the horizontal 手 circle. The wrist 太 is drawn inward to form a Diao Wan (Hooked Wrist). the Shun hand changes to Diao Shou (Hooked Hand). and adhere to him or her. Cai.6. ring and middle fingers vertically downward while the thumb and the index finger form a ‘八’ shape (Ba Zi). At this point. while trying to ‘listen’. through any of the four 法 front-oriented Si Zheng Shou techniques (Si Zheng Shou Peng. Ji. 极 Diao Wan has two functions: 拳 • Diao Wan can be used as one option to enhance the ability of Zhan Nian (adhering to the opponent). your right hand rotates at 90o towards the right side of body in Ni reeling. Diao Wan is also widely applied in response to a Lü attack.16). An) or four side-oriented Si Yu Shou techniques (Si Yu Shou. 6. 王 西 安 Fig. by holding on to the opponent 推 by the hand.4      Diao Wan … Hooked Wrist 陈 This technique is often used when the Ni Chan changes to Shun Chan. 6. Lie. then quickly switches to Shun reeling and you easily 技 seize the wrist of your partner by hooking hand. • For example. Kao).4.

陈 6.4.5      Shun Chan Yang Zhang  
Raised palm in conforming reeling
氏 This can be divided into inward Yang (palm rising) and outward Yang
太 (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 orient-
极 ed 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
拳 reeling, and then advance and press inwards by Shun reeling, raising the
hand while advancing. It is called Yi Yang Zhang (palm raised inward),
推 because at this time the palm is facing inward and upward.

手 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
技 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
法 facing upper outward, so it is called Wai Yang Zhang (palm raised outward)
Internally, whether in outward Yang or inward Yang, you should coordi-
nate 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.


西

Fig. 6.17

182

6.5  Tuishou Steps

6.5.1      Shang Bu … Forward Step 氏
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 resem-
bles 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). 法
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.


西

Fig. 6.18 Fig. 6.19

183

6.5.3      Gen Bu … Following Step

氏 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
太 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
极 distance. Gen is applied to the four front orientated techniques, Si Zheng
Shou (Peng, Lü, Ji, An), big Lü and Luan Cai Hua.
拳 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 with-
推 out the opponent’s awareness, a technique called Die Fa (a general concept
of body combat techniques, referring to the comprehensive techniques and
手 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
技 Tuishou is reflected in the saying, “You cannot reach the depth and secrets
of Tuishou without understanding Die Fa.”


西 Fig. 6.20

184







Chapter 7


Solo Practice 法
in Tuishou


西

185

陈 7.1  Introduction

氏 Solo Tuishou practice consists of individual practices useful for improv-
ing flexibility, agility and responsiveness to combat. Typically, body move-
太 ments are initially executed at a high stance, gradually lowering to mid then
lower stances. However, practitioners should practise according to their
极 body condition.

拳 Likewise, beginners should start with practicing at slow speed, gradually
working up to faster then very swift movements. At each stage, slow move-
推 ments should not become blocked, fast movements not energy-losing, and
very fast movements not chaotic. In other words, you should not lose ener-
手 gy in slow practice, nor be obstructed in fast movements. On the contrary,
you should keep the consistency, coherence and Liu He (the Closing and
技 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.
法 In solo Tuishou, you should act as though following your partner neat-
ly, 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.


西

186

empty the Yong Quan point. bend the left knee and draw in the lower abdomen slightly to stabilize the weight-bearing left leg. heel first with toes pointed up. straightening the neck and lifting the 拳 top of the head. • Maintain the vertical axis. precise and full of intention of listening. 7. in 王 preparation for the right leg step forward lightly. relax the crotch and lift the right knee. 法 • As your weight shifts.2.2  Solo Ping YuanWan Hua (Solo horizontal Coiling Flower) 陈 氏 7. • Step the right foot forward. 187 . 7.3      Part 3 • Maintain the vertical axis and lift the top of the head slightly. • Relax the arms and hang them at the sides.1      Part 1 • Stand at attention with toe tips pointing slightly outward to form 太 a “八” shape. 推 7. palms lightly touching 极 the sides of the legs.2). 7. • Continue relaxing the crotch. • Point the right toe tips down naturally as your weight shifts completely to the left and you stand with a left leg posture (Fig. so as to avoid empty stepping (i. eyes looking forward (Fig.2      Part 2 手 • Relax the crotch and bend the knees slightly to place the body in a squatting position.2.2. the left toes grasping the ground. stepping without thought) (Fig. 7. 7. 技 • Shift your weight slowly to the left leg.e.3).1). Your step 安 should be light. then 西 slowly roll down the rest of the foot to the ground.

7. • As the weight shifts. right elbow and wrist. thumb behind the fingers (Fig.2. • While the right arm moves. 7.4).4      Part 4 • Shift your weight slowly to the right leg to form a right Bow step.3 技 法 7. extend the right arm forward then bend the forearm about 450 inward while also lowering the shoulders.2 Fig.陈 氏 太 极 拳 推 手 Fig. 7. relax the left arm so that the left hand hangs down. 西 安 188 . 7. the left elbow and the right hand should move 王 coherently in collaboration with each other.1 Fig. Note: in later movements. Complete the movement by raising the right fingers to form the Li (erect) palm.

2.5 手 技 7.5). 7. • The right knee follows the movement of the right hand and rotates inward at the same speed (Fig. 王 西 安 189 .5      Part 5 法 • Focusing your right hand on the imaginary partner move it about 900 in Shun reeling to the left of the body. • As you reel.4 Fig. 7. 陈 氏 太 极 拳 推 Fig. 7. relax the left side of the crotch and shift your weight slowly to the left so that the inner side of the right foot touches the ground.

7.6).6 Fig. • When the right arm moves downward. the elbow in a slightly warding off (Peng) position in coordi- nation with the little finger. right palm facing down and wrist bending 450 inward using the little finger as a guide. The other fingers reel outwards in coordination with the elbow (Fig. draw the right knee slightly inward to prepare for an increased range of movement in the ensuing steps. This gesture enhances the movement by making the downward movement of the arm more precise and 王 structured (Fig. change from Shun reeling to Ni reeling and continue moving in a downward arc to the front of the left ribs.7 技 7. At this point.陈 氏 太 极 拳 推 手 Fig. the weight shifts complete- 西 ly to the left. • The right forearm now moves transversely in front of the abdo- men. 7.7). 7.6      Part 6 法 • As the right hand completes its reel to the left. 7. 安 • Step the right foot either flatly on the ground or with toe tips pointing up. 190 .2.

7. changing into Ni reeling. 极 • Rotate the waist to the right. • As the arm changes to Ni reeling. Ni.9      Part 9 • Now using Ni reeling.7      Part 7 陈 • Using the little finger to guide the energy. draw the chest slightly inward and relax the right side of the crotch. Return the bent arm and the bow leg to their original positions (Fig. 推 • Use the rightward rotation of the waist and torso to steer and guide the partner’s power into your territory towards your right 手 side so you can eliminate it. power is most concentrated and exerted on the external side of the thumb and index finger. then draw an arc to the left where you met yourtpartner at the begin- 王 ning the posture of palms.2.9). 技 7. Shun. that is. Ni. a 900 arc to the right side of body. 7.8      Part 8 法 • With the right hand. Then place the palm downward (Fig.2.2. extend the right hand slightly forward. using it as a pivot to rotate the right shoulder rightward. until it reaches the front 拳 of the right ribs. At this point. 7. 西 • The 3600 rotation of the arm follows this sequence of changes: 安 Shun. Shun. pointing the right knee slightly outward and moving it in a helix. • While the right arm reels. 191 . shift your weight to the right. continue reeling the right arm outward until the palm faces upward and the thumb and 氏 the first finger form a “八” shape. followed by the hand.7. bend the knees slightly to place the body 太 in a squatting position.8). three Shun reelings and two Ni reelings.

When you feel tired practicing on the right. The movement of every part of the body should be continuous and synchronised – when the upper body moves.陈 氏 太 极 拳 推 手 Fig. the arms rotate with the waist and the axis while the hand guides the energy. the lower body follows. Notes In these horizontal-circle rotations.9 技 • The left arm rotates from the left. that is. Relax the waist and shoulders. that is. the reeling sequence being Ni. Practice alternating rotations with both arms so that there is a feeling of balance. 7. 西 Practice until you reach a level where when one body part keeps still then all other body parts keep still. the upper body guides the lower body’s movement. Ni. all parts moving together collectively. Shun. when one body part moves then all other 安 body part follow. Ni. 7. three Ni reelings and two Shun reel- 法 ings. and ensure your body weight moves back and forth in synch with the body movements. 192 . practice on the left by switch- ing to the left leg and the left hand. Shun. 王 The middle body moves in coordination with the upper and lower bodies. rotate the wrist.8 Fig.

then switching to 90o 王 Shun reeling. 7. return your hand to the original Da Shou position (meet the opponent with the hand) (Fig. then turn the body to the left and raise the right hand in Shun reeling. These shifts are not immediately apparent as they occur mainly between the front 太 and back sides of the legs and feet. drawing an arc of about 90o to the left. 技 ing the ground. 7. 西 安 193 . 7. • Bend the left leg so that you squat slightly. Finally. • Extend the right arm forward (either below or above the head) 法 with the arm bending inward about 45o and with the left hand akimbo. 极 This vertical rotation may be developed to the quality of Silk Reeling and may be used as a combat technique or for listening practice. lower your Qi. • Next. with the rest of the foot gradually fully touch.12).10). It 氏 only requires vertial hand revolution and very small shifts in weight.11). switch to Ni reeling. with eyes looking forward (Fig. • Next. Focus the eyes on the right palm (Fig. heel first with the right foot. palm slanting upward with intention to gently guide and draw in. The whole movement is mainly guided by the rotating waist and relaxed shoulders.3  Solo Wan Hua (Flower Coiling) in Vertical Circle 陈 This is a single hand practice involving movements of a smaller range. relax the left side of the crotch. drawing an arc of about 180o which goes downward and then up to the right. The range and 拳 intensity in the arm rotations may be increased gradually depending of the level of the practitioner. 7. 推 手 • Keep your body weight on the left leg and step forward.

11 Fig. 7. • Practice rotating both arms in turn.10 Fig. then draw a 180o arc to the left side of the 技 body with palm facing left and finger tips slanted upward. reel in Ni to the right at 90o. 7. 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. return to the Da Shou position (meeting the opponent with your 法 hand) by a 90o upward arc in Ni reeling. then reel in Shun.陈 氏 太 极 拳 Fig. 王 西 安 194 . Finally. Vertical arm rotation is guided by spiraling movements of the waist and back.12 推 手 • When rotating in the opposite direction.

shift your the weight gradually forward.4  Double-Hand Flat Circle Wan Hua 陈 • Stand at attention with the body upright and relaxed. 7. 7. pushing both palms forward 手 (Tui Palm) at the same time.13 Fig. Shift your weight gradually to the left leg. 推 • Relax the left crotch and while focussing on the right crotch. then step the right foot forward while simultaneously extending both hands 拳 vertically in front of abdomen. 7. This body posture is now one of holding and collecting.14 Fig. 7.15). 7. Note: when applying Tui Palm. the forward shift of the body should stop once the palms reach their natural end position. toes 太 relaxed and pointing downward (Fig. in preparation for action (Fig.13).16). 7. the palms should move forward at an 技 inclined angle (see picture). 氏 • Raise the forearms 90o upward. 7. otherwise the shape of the 法 posture will be lost (Fig. palms facing to each other. 王 西 安 Fig.14). 7. eyes facing the front (Fig.15 195 . then raise the right foot. 极 • Bend the left knee to put the body in a crouching stance. Also.

7. • Continue shifting your weight backward while both hands return to the original position in front of the abdomen (Fig. then pushing both hands forward.陈 氏 太 极 拳 推 手 Fig.17 技 • Next. • Repeat the Tui Palm movement again. this time relaxing the right crotch and focussing on the left crotch. Practice this cycle.15) by drawing a circle by the sides of the body. 7. then lowering to the front of the abdomen.16 Fig. shift your weight backward and separate both hands to the sides of the body. 7. 王 西 安 196 .17). 7. imagining the hands seizing the opponent’s 法 wrists by Diao (Fig. palms vertical.

7. then raise the right foot.14). eyes facing the front.19 197 . 7. 7. 氏 • Preparation postures are the same as those of Double Hand 太 Horizontal Wan Hua. 王 西 安 Fig. Grasp the 法 ground lightly with the toes and face the eyes forward (Fig. draw the chest inward. palms facing to each other.5  Solo Double-Hand Wan Hua in a Vertical Circle 陈 One cycle consists of one Shun reeling plus one Ni reeling of each hand. lower the waist and shoulders. then step the right foot forward while simultaneously extending both hands 手 vertically in front of abdomen. in preparation for action (Fig. 极 • Raise the forearms 90o upward. stated as follows: Stand at attention with the body upright and relaxed.19). Shift your weight gradually to the left leg. 推 • Bend the left knee to put the body in a crouching stance. toes 拳 relaxed and pointing downward (see Fig. drop the elbows and sink the Qi downward. 7. 技 • While raising the hands. 7.18).18 Fig. 7. This body posture is now one of holding and collecting.

At the same time. extending the hands 法 forward so that the left hand crosses over the inner side of the right wrist.20). cross both hands slowly in Shun reeling.21). finish the weight shift to your 西 right leg. 7. continue to draw your chest inward. 7. stopping at shoulder level (Fig. step the left foot on the ground and shift your weight forward (Fig.陈 氏 太 极 拳 推 手 Fig. • During this process. both palms facing inward. palms facing forward. push the crossed palms over the head in Ni reeling. • As both hands separate upwards. 7.20 Fig. Then. open your back slightly and withdraw the elbows slightly inward so that power can easily reach the inner edges of the hands. the 王 palms descend to the sides. • Extend both hands forward in an ‘offering’ stance. with the inten- tion of supporting something upward. 安 198 . 7. • Next. after another small Ni reeling upward.21 技 • Next.

shoulders. 太 • Now the left hand reels in Ni while the right hand reels in Shun. strike out in succession to the sides so that the arms become a pulled bow. forearm. each associated body part strikes out in a Peng attack (Ward Off ) from the sides of the body. so 推 as to start a new cycle. With body gathering. upper arm. that is.Note: as both hands separate outward. palms cross together. finger-tips pointing down. 手 Note: Hand techniques are of the same as that of Solo Ping Yuan Wan 技 Hua. 拳 • Closing form: palms continue to Shun reel. You will feel the power 氏 after long practice. then hands. only that palms in the latter move horizontally. while weight totally switches to the left. the 陈 chest. 法 王 西 安 199 . palms facing each other. 极 Both hands then draw a downward arc to fall to each side of the abdomen.

22 Fig. Coordinate the movements of your hands.6  Solo Tuishou with sTatic Footwork 氏 Solo practice for He Bu Tuishou with static footwork is based on the four Zheng hands: Peng. then bend it inward 45o. 7. Extend the left hand transversely and place it on the middle of the right upper arm. act as if sparring with a partner. 7. Open every body part 极 to make your rotations natural and flexible. thumb pointing down and the little finger pointing upward. 王 西 安 Fig. eyes.23 200 . body and steps. 太 When practicing. Lü. palm facing forward.陈 7. with the foot gradually stepping fully on the ground. Ji. heel first. • Shift your weight to the left leg and lift the right foot to step 手 forward. and An. 技 • As the weight shifts. Note that one should practice with 拳 intention rather than by force. • Stand at attention. The key points are the same as those of solo 推 Tuishou. extend the right hand diagonally forward to 法 the right. palm facing in.

and so continue to Peng upward 推 before executing Lü. Meanwhile. 7. As the left hand rises. Shift your weight to the left slightly then to right. 陈 • Relax the right crotch and turn the body to the right. the left hand ahead of the 拳 right. During 技 this process.24). • Next. visualize placing the outer edge of the right hand on the outside of the opponent’s elbow joint 手 • 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. 法 王 西 安 Fig. 7. raise both hands in Ni reeling. lower the right shoulder 氏 and drop the right elbow. the arm opens like a circle. relax the left crotch. 7.23). as the left hand moves inward in Ni reelings. At the same time. coordinate and execution of Ji forward to the right 极 with the right hand acting as a joint force (Fig. • Move the right hand in Shun reeling. 7.25 201 . shift your weight left and focus your eyes on the front of the right hand (Fig. 7. focus your intention on meeting and holding the opponent’s hand.24 Fig. and the eyes look forward to the right (Fig. the wrist bent slightly inward 太 and palm facing inward.22).• The left arm intends to Peng outward.

pushing it outward. alternating left and right sides. the right hand executes Peng. 7. You will also need to use your left shoulder 法 to push and use the right hand to help press forward. eyes look- ing forward. 7. 太 • Execute An forward with both hands the palms facing each other 极 about 33 cm apart. The edges of the hands become power-exerting points. 推 • Now withdraw the left hand quickly and imagine placing it on the middle of the right upper arm of your partner (Fig.22). This is 手 the same as the starting posture of Da Shou posture.25). shift your weight forward to the right leg. 王 西 安 202 . • Repeat the process. and the left hand helps the right to execute Lü.陈 • Relax the right crotch and shift your weight to the right as the upper body moves and turns right. Peng and An are transitional actions executed in an instant. Note: In this movement. visualize your 氏 left hand pressing down on the hand of the opponent. As this happens. The right hand reels in Ni direction also with the inten- tion to push outward (Fig. 拳 • At this point. If the left leg is 技 in the front.

7. 技 • Lower the waist. Lü.26). Hand movements consist of four Zheng hands: Peng. moving forward is combined with Ji and An hand movements.27 203 . 7. 王 西 安 Fig. 推 where the pushing power is exerted.7  SHun bu Tuishou (Solo Tuishou with a forward and backward step) 陈 Shun Bu Tuishou consists of two basic steps – one moving forward and 氏 one moving backward. 拳 • As the weight moves forward. outward. Ji and An. • Step forward with the right foot then shift your weight forward. 太 In practice. Keep the eyes looking to the front right (Fig. raise both hands to attack by push- ing them to the front right of the body. Face the outer hand edges. sink the shoulder down- ward and drop the elbows. 7. 手 • Step the left foot on the ground with the inner side of the foot touching the ground. These actions drive two the hands 法 forward.26 Fig. 7. 极 moving backward uses Peng and Lü hand movements. draw the chest inward.

29). shift your weight to the left and lift the right foot. 7. the right hand moves upward in Ni reeling while 西 the right foot takes a step backward without turning the body. 王 • Relax the left crotch after pushing and shift the weight to the left. • As the arm moves. toes pointing down (Fig. The body moves forward following the shift in weight. Eyes look to the front right (Fig. 204 . • At the same time. 7. move the left hand downward then draw a forward arc to form a Lü posture with the right hand. withdraw the left hand gradually and place it on the middle of the right upper arm.28 Fig. and in preparation for moving.28). with the intention to close before opening. 7.29 手 • After the pushing attack. thumb pointing 技 down and palm facing down.27). tiptoe first. • Raise the right hand in Shun reeling. • Bend the left leg to squat further and extend the right foot forward. • At the same time. Push the shoulder forward. 7. 7. 安 • As this happens. turning the right elbow out and upward.陈 氏 太 极 拳 推 Fig. rotate the right hand slightly downward in Ni 法 reeling. followed by the arm and the hand (Fig. Note that Qi should not be allowed to float upward.

then 安 shift your weight to the right. 7. • Raise the right foot and take a step backwards to the right.31 推 • Relax the left crotch and shift your weight to the left. Eyes look to the left (Fig. 7. 205 . Both hands are about 33 cm apart (Fig. Next. 7.33).which takes place in an instant. • The front push of the right hand provides an instant defense. 手 • Next. 西 Eyes look to the front left (Fig. • Reel the left hand first in Ni direction.30 Fig. 7. The outer edges of the hands are power-exerting points. then in Shun direction downward to the left. 陈 氏 太 极 拳 Fig. 7. As the weight shifts. Withdraw the right hand quickly in Ni reeling and place it on the middle of the left upper arm. 7.32). 王 • While the right hand switches to Lü. gradually squat the body. raise the left hand in a spiral to form a Lü movement with the right hand. Then the right hand switches to Lü. then draw a circle downward. raise the right hand quickly to push forward together with 技 the left hand toward the left side of the body.31). Visualize sending the opponent’s right hand out to the left side of your body. thumb pointing down and palm facing forward. Eyes look to the front left 法 (Fig. the upper and lower body form a balanced block of strength with the waist as the boundary.30).

32 Fig. the right arm then bends to 450 inward. 7.34 Fig.34).33 手 • Both hands execute Lü from left to right following the body.陈 氏 太 极 拳 推 Fig. 王 西 安 Fig. 7. until 技 the left hand reaches the middle line of the body. Eyes look to the front left (Fig. 7. 7.35 206 . • At the same time. 法 • Raise the body gradually and slowly shift your weight to the left leg. take a step forward with the right foot. As the weight shifts. 7. extend the right hand to the right front of the body following the right foot.

38 Fig.35).37 推 • Simultaneously. Then shift your weight slightly rightward. thumb 手 pointing down. 7.36). 7. Eyes look to the front right (Fig. 7.36 Fig. 7. 技 • Continue shifting your weight to the right while pressing the right arm forward in a relaxed manner with descending energy. 7. Eyes look to the front right (Fig. 7. Note 法 that the waist power descends to the left first then the right. 王 西 安 Fig. 陈 氏 太 极 拳 Fig.39 207 . place the left hand on the right upper arm.

7. then execute Lü movement with both hands to the left side of the body until the right hand moves 太 in front of the right breast. raise the right hand quickly and exert An forward with 推 power.38). • Relax the right crotch and shift your weight to the right. 手 技 法 王 西 安 208 . At the 极 same time. 7.陈 • Relax the left crotch and shift your weight to the left. then move it out to the right.39). 7. • Next. visualizing that you are pushing the opponent’s 拳 hand outward to the right. move the right hand 氏 in front of the left hand quickly. execute Lü downward with the left hand. Start a new cycle (Fig.37). Eyes look to the right (Fig. Eyes look to the front right (Fig. • As soon as both arms finish pressing forward.

Bie. a good foundation in Taijiquan and solo Tuishou is required before you can become proficient in using Cai. Lie. The other picture demonstrates the big Frontward Bow Step. 7. 技 In this chapter. 王 西 安 Fig. If not. and Kao. literally meaning “big falling 法 step”. beginners should first practise the routines. Bie Zou. Zou. Kao with large-scaled body movements. 7. whereby Player B executes Lü on Player A. the only 极 difference being that the extent of the steps in Da Lü is bigger. As such. Lü Ji and An. Lü. 7. the 推 whole body will become stiff when you try to squat down in the big body movements. a major weakness with which you cannot even hope to attack 手 the opponent. Zhou.40 Fig.8  Solo Danren Da Lü Tuishou 陈 Da Lü is based on four hand techniques in the main directions – Peng. 太 The circulating of steps in Da Lü when practicing Peng. like the “dragon sweeps ground” routine in which Player A executes Lü on Player B. and Kao. we will only refer to two main Da Lü postures as shown in the pictures which follow. One is Da Pu Bu. 拳 Furthermore. It is not easy to practice Cai.41 209 . The other movements are the same as the movements in Shun Step (forward or backward step). Ji and An is the same to those in Shun Step (forward or backwards Step). then the fives methods of solo Tuishou practice. It uses the combat techniques of the four hand techniques in 氏 corner directions – Cai.

陈 7. Luan Cai Hua is also built on the foundation of Peng. and An. 7. 技 See how to execute Dian step in Figure 7. In the 极 Luan Cai Hua Tuishou practice.9  Solo Luan Cai Hua Tuishou 氏 The gait in Luan Cai Hu is called San Bu (scattered steps) or Hua Jiao Bu (steps in flower tracks). and also uses the Si Zheng Shou. 拳 The body movement and gait should be neat and swift.42. Lü. You need to rotate 推 neatly when executing a step forward as the partner changes his or her direction. This way you will not lose energy unnecessarily nor become stiff. and flexible. you should pay attention to the following points.42 210 . 法 王 西 安 Fig. precise rotation. It’s features include free movement with no fixed 太 direction. Ji. You should adjust your direction and position by applying small 手 Gen steps so that you can stick to the partner tightly and prevent their escape.

you feel the partner’s energy as you rotate. 手 You should practice listening repeatedly. heavy but not stiff. It is not easy to apply Die Fa. looking for the attack- 极 ing opportunity. getting close to their upper body while causing them to raise their lower body or slant it. Do not just practice at fast speeds or you will lose your 氏 energy or get stiff. An). When you apply Luan Cai Hua in Tuishou sparring. Lü. and thus impede any progress in Tuishou. the only difference being in the stances of the body. light but not empty and 太 floating. The 技 steps and gestures in Luan Cai Hua Tuishou are the same as Da Lü and in Shun Step. 法 王 西 安 211 . You try to sense the partner’s intention by through pressing 拳 and pushing precisely and lightly. the extent of the 陈 arm rotations should be small to match the changes in gestures and the revolving steps. Your movements should be quick but not chaotic. the steps are small but the speed is fast. If you are able to put the 推 partner in a passive position you can fullfil your intention without being noticed. Ji. and entice the partner to advance and show his or her weak points. When circulat- ing the four Zheng hand techniques (Peng.In this technique.

陈 氏 太 极 拳 推 手 技 法 王 西 安 212 .

陈 氏 太 极 拳 推 Chapter 8 手 技 Pair Practice in 法 Tuishou 王 西 安 213 .

then pair Tuishou may be described as “acting as if there is no partner although you have one”. gathering speed in the later stag- 拳 es. I hope that the reader will use this to practice diligently and 王 master the key points. In addition. If both part- 法 ners have Taiji proficiency. 技 If possible. where- by your actions should be precise. similarly. pair practice becomes beautiful to watch.陈 8. Lastly. Nian (sticking). Lian (connect- 手 ing) and finally Sui (following). development should follow the stages of San Shou to Zhan (coherence). movements in pair practice should start 推 simply before gaining in complexity. If solo Tuishou is described as “imagining you are fighting with a person though you are practicing alone”. moving as the partner moves. lowering to mid-height then low stance. An introduction to Tuishou pair practices has been provided in the follow- ing pages.1  Introduction 氏 Pair practice in Tuishou consists of applying a combination of techniques with partners and sparring. Faster progress may be made if your partner is proficient in Taiji. the practice stance should start high. agile. 太 Partners should pay attention to co-operating with each other and using 极 different practice methods at different stages in pair practice. Pair practice Tuishou improves combat skills. Pair Tuishou embodies the essence of Taiji Tuishou. flex- ible and rapid. flexible and without weaknesses. 西 安 214 . Like solo practice. so you must strive to concen- trate. like a flowing river: smooth. try to choose a partner of similar level for pair practice. pair practice should start slowly.

toes pointing slightly outward to form a 八 shape.1      Posture 1 拳 Both players stand at attention facing each other. 太 极 8. Player B 氏 refers to the female practitioner dressed in red. an arms length from each other so that their fists touch when arms are outstretched. The distance between both right feet should be about 10 安 cm. 8.1 王 西 Both players take a step forward with their right feet. gradually forming a front Bow Step. arms hanging relaxed by the sides. Their bodies are 推 upright.2. 8. 手 技 法 Fig. 215 .2  Single-Hand Horizontal Wan Hua in Pair Practice 陈 Player A refers to the male practitioner dressed in a dark blue. These may be shortened to ‘A’ and ‘B’.

with the middle fingers at nose level. and B continues to reel 90o in the Ni direction until her hand falls to the front of A’s lower abdomen. and his body 安 crouches slightly to form a closing power. The 氏 back of the palms touch each other.陈 While the right feet step forward. eyes focussed on the right hands. Alternatively. 拳 推 手 技 法 Fig. A’s weight shifts backward. 西 As both players draw this arc. 8.2 8.2. correspond- 极 ing with the rotation of the waist. 太 The right hand extends forward with the left hand akimbo. the left hand can also be placed naturally along side the body.2      Posture 3 Player A guides Player B to draw a 90o arc from the waist midline toward 王 his left. using the middle line of the nose as the boundary. Both players watch their hands throughout this step. B’s weight continues to move forward to form a single-hand An (pushing) power. 216 . both players raise their right palm and extend it forward.

8. B shifts her weight gradually backward while her hand draws an arc following Player 法 A. 王 西 安 Fig. 陈 氏 太 极 拳 推 8.3      Posture 4 Fig.3 手 Player A relaxes his right crotch and Shun reels 90o to the right. Repeat this cycle.2. then Ni 技 reels 90o to the front of Player B’s abdomen. 8. then she guides A’s hand to the front of his abdomen. At the same time.4 217 .

1      Posture 1 太 The preparation postures are the same as that of single-hand horizontal circle rotation. 8. 218 .3. 拳 推 手 技 法 Fig.3  Single-Hand Vertical Circle Wan Hua in Pair Practice 氏 8.2      Posture 2 After both players complete a Da Shou (meet partner with hand).3. both hands perpendicular to each other and eyes looking forward.5  8. Player 王 A guides Player B to move first in Shun reeling. before crouching again as they Ni reel downward 安 90o until their hands reach the front of the lower abdomen. then then draws a 90o arc to the left. the only difference being that here the Da Shou (meet part- 极 ner with hand) position is higher.陈 8. 西 Both players then rise.

For example.3      Posture 3 手 Player A relaxes his right crotch and turns his body to the right.7 219 . with eyes looking at the same direction. guiding Player B to Ni reel 900 to his right side. when A draws an arc to the right side.6  推 8. turning to the right (B’s left side). A continues to Shun reel a 900 arc 技 upward until he returns to the original Da Shou position. 8. 陈 氏 太 极 拳 Fig. B always adheres to A.3. Partner B relaxes the left crotch. 8. 王 西 安 Fig. 法 During the above process.

8 220 .4  Shuang Shou Ping YuanWan Hua (Horizontal Coiling Flower with Double Hands) 氏 8. they lower their waists. lower the shoulders and drop the elbows. ready to move and attack if hands touch. 技 Now both players wait in a defensive mode. with aim to form a front Bow 推 Step.1      Posture 1 太 Both players stand at attention facing each other. placing them outside A’s hands.4. Then Player B extends her hands forward. While waiting. heel first. 手 Player A raises two hands in front of his chest. 极 Both players step forward simultaneously with their right foot. draw their chests 法 inward and gather their ribs. eyes looking forward.陈 8. Both right feet start to uncurl to the ground. having first shifted their weight onto the left leg. 8. 拳 toes turned up (optional). 王 西 安 Fig.

He stops pushing when his 氏 hands are 20 cm away from Player B’s chest. Here. Player B “listens” to A’s power and 极 shifts her weight backward to force A to increase his pushing distance. B’s little fingers “stick” to A throughout the process. A’s weight shift to the right foot has been fully completed. her hands reel in Shun. with her little finger 拳 lightly hanging on A’s wrists to guard against any sudden attacks. 8. 太 As Player A pushes his hands forward.9 王 西 安 221 .2      Posture 2 陈 Player A relaxes his right crotch and continues to shift his weight forward while pushing his hands forward in Ni reeling.4. As B’s weight moves backward.8. In other words. 推 手 技 法 Fig.

4. his little fingers catching Player B’s wrists to the sides of 王 the body as the two hands draw arcs.4      Posture 4 Player A switches to Shun reeling and draws an arc inward. Then both players return to the original position. then separates Player B’s hands to the sides of her body at shoulder- 太 level. While Player A separates. He shifts his weight backward. She relaxes her chest as her hands separate.陈 8. 安 222 . 西 While A draws arcs. B moves her weight forward to form a Bow Step. 拳 推 手 技 法 Fig. using the outer edges of his palms.4. B senses the speed of A’s pushing and separating 极 power as her hands are tightly guided by his hands and separated by them to the sides.3      Posture 3 氏 Player A pushes first and then separates his hands by reeling in a Ni direc- tion. 8.10  8.

陈 氏 太 极 拳 推 Fig.11 手 技 法 王 西 安 223 . 8.

1      Posture 1 太 Player A and B stand facing each other. 224 .5. The positions of all 推 hands are higher than the eyes.陈 8. Now.12  8.5  Shuang Shou Li Yuan Wan Hua  (Vertical Coiling Flower with Double Hands) 氏 8.5. the weight for both parties starts to shift to the right. 8. 西 guiding Partner B to raise her hands. 手 技 法 Fig. The two parties’ eyes always follow their movements.2      Posture 2 王 Player A reels in the Ni directon and contitues to shift his weight forward. A’s weight 安 is all at the right foot. B has been shifting her weight to the left. Now. and separate hands to the sides of the body at shoulder level. draw a vertical circle outward. all eyes look forward. with the inner sides of both feet facing each other and 10 cm apart. Both 拳 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. then step their right feet forward 极 simultaneously.

8. 陈 氏 太 极 拳 Fig.13  推 8.5. his little fingers slightly catching Player 技 B’s wrists. 王 西 安 Fig. Player A draws outwards while Partner B draws inwards. she shifts her weight forward to form a front Bow Step.3      Posture 3 手 Player A switches to Shun reeling.14 225 . and draw arcs to the lower abdomen. 8. Both players’ eyes face forward. 法 While Player B rotates her arms downward following Player A. while he shifts his weight backward.

his hands crossing before the chest with both palms facing in. Both players face forward.陈 8.4      Posture 4 氏 Player A continues Shun reeling. 太 Player B follows Player A closely and feels his change. the body squats to prepare for openning. 推 Note: The steps are the same. 极 Then Player A returns to the original position by Ni reeling and separating 拳 his arms outward. whether Player A separates B or vice versa. Repeat this cycle. Both players can practice this in turn.5. 手 技 法 王 西 安 226 . and continues to move her weight forward.

and then extend their right hands forward so they cross each other. 8. 8.6.15 西 安 227 . Now. backs of the hands 技 touching. eyes looking forward. with the inner sides of both feet facing each other and 10 推 cm apart. 手 Both players then shift a little more weight to the right. 法 王 Fig. then step their right feet forward simultaneously. the weight for both parties are both in the left.1      Posture 1 太 The gait of He Bu Tuishou is the same to that of the Vertical Coiling 极 Flower with Double Hands.6  He Bu Tuishou   (Tuishou with coiling hands and static footwork) 陈 氏 8. yet start to shift to the right. 拳 Player A and B stand facing each other.

he places his left hand on the middle of the right upper arm. palm facing out and 太 thumb pointing down so that both arms form an outward Peng (ward off ) power posture.2      Posture 2 Player A shifts his weight forward. 8.6. While the right arm turns.陈 8.6. gradu- 西 ally switching from Peng (ward off ) to Lü leftward. During this process. then extends forward to press against A’s left forearm. 手 技 法 Fig. At the same time. 安 Player B withdraws her left hand quickly when Player A executes Peng and puts it on the middle of her own right upper arm.3      Posture 3 王 Player A holds the left hand of Player B to ward it off outward. 极 Player B places her left hand on the right upper arm of Player A as he 拳 moves. Player A relaxes his left crotch and moves his weight slightly leftward.16  8. both of 推 B’s arms form an An (Pushing) power. In this way. then turns his right hand left in Shun 氏 reeling following the turn of his body. Her right hand presses Player A’s right hand slightly downward. he places his right hand on the middle of B’s left upper arm. 228 .

and executes Lü (roll back) again.18 229 . Player B switches from An (push) to Peng (ward off ).17 推 8.6. 法 In response. 陈 氏 太 极 拳 Fig. Repeat this cycle. Player A executes 手 Lü on B’s hand and presses it downward. 8. 8.4      Posture 4 Player B executes Ji (press) on Player A. Partner A withdraws his pressing hand and places it on his own right upper arm. In response. shifting 技 his weight forward to add more pressure. Then Player B wards off Player A’s left hand upward. thus returning to the original position. then moves quickly forward to press the middle of Player B’s right upper arm with his left hand. 王 西 安 Fig.

19 230 . 8.1      Posture 1 太 Both players stand at attention. placing it on the outside of A’s right leg. so that both knees touch (A’s inner knee and B’s outer knee). A’s left hand then crosses 法 with B’s left hand.7. and places her left hand on the middle of A’s right upper arm. 技 Player B’s right hand crosses the outside of A’s right hand. 手 then places his left hand on the middle of his right upper arm. Player B 拳 steps her right foot forward at the same time.陈 8. bending it 450 inward.7  Pair Practice in Shun Bu Tuishou  (Tuishou with moveable footwork) 氏 8. 王 西 安 Fig. palm facing outward. 极 Player A steps his right foot forward to form a front Bow Step. Both players look at each other from the side. 推 Player A raises his right arm as his right leg moves.

20  8. Player B shifts her weight forward to double 太 her pressing power. he places his right hand on the middle of B’s left upper arm. and moves his weight leftward.8.7. Simultaneously. and switches both hands to double-hand Shun 氏 reeling to ward off outward gradually. shifts his weight slightly to the right. raises his left hand. As Player A’s body turns right. Both players look to the front. 安 Both players look to the front and gather themselves to prepare for futher movements. This switch from Peng to Lü happens in an instant. 231 .7. executing Lü (roll back) with his right hand. 8. At the same time.3      Posture 3 Player A relaxes his left crotch first. 极 拳 推 手 技 法 Fig. he lowers his left shoulder and left elbow. 王 Player B continues to move her weight forward when Player A applies Lü. and then wards off Player B’s left hand upwards.2      Posture 2 陈 Player A then relaxes his right crotch. turns his body to the right. then withdraws her right hand and puts it on the middle of her right upper 西 arm to form a Ji (press) power to counter Partner A quickly.

When Player A presses downward.22 232 . he presses Player B’s left hand downward to the front of 技 her lower abdomen. 法 A then extends his left hand up and forward and presses the middle of Partner B’s right hand. Player B exerts a strong Peng force to Player A’s right upper arm touching A’s right hand with her right hand. with the aim of getting her to fall to his right side.4      Posture 4 Fig. 8. At the same time.21 手 Player A relaxes his right crotch and turns his body slightly to the right. with the coordination of his right hand.7. then pushes her left hand rightward. 王 西 安 Fig.陈 氏 太 极 拳 推 8. 8. forming an An force.

In this move. 233 . then her foot gradually steps on the ground fully.8.6      Posture 6 西 Player A shifts his weight back to the left leg after pushing. A’s 拳 upper and lower body move as one. At the same time. 手 技 法 Fig. Player A moves his weight first to the left and 极 lifts his right foot quickly to step forward.7.5      Posture 5 陈 Player B’s left foot steps on the ground. his right hand switches to Ni reeling to force Player B to step back- 安 ward. both her hands follow the 氏 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. 太 As Player B executes Lü.23  王 8.7. and his forward push corresponds to the hardness or softness and speed of B’s Lü power. At the same time. tiptoe first. 8. 推 Note: both players should not move too quickly as this would hinder the rotation of the arms and result in blockages. her right crotch relaxes and she shifts her weight to the right. He then pushes his shoulder and upper arm towards B’s chest in response to B’s Lü.

8. Both players look to the side at each other. B also places her left hand on the middle of her right 拳 upper arm. 安 In response. B steps forward in 太 synch with A’s guiding hand. shifts her weight left- ward. shifting her weight gradually rightward.陈 At the same time.24  8. to form Ji (press) power with her right arm. turns his body slightly left and shifts his weight slightly leftward.7      Posture 7 王 Player A relaxes his left crotch. 极 Simultaneously. 推 手 技 法 Fig. palm out. Player B wards off slowly outwards with both hands in Shun reeling. so as to form Peng and Lü with both of his hands.7. then pushes Player B’s right hand first down then 西 left using the pressing power of his left hand. then takes a step forward with her right foot. 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. 氏 While this happens. Player B relaxes her left crotch. 234 . Both players look diagonally to the front.

then raises her left hand in an upward Peng on A’s left hand. Player B lowers her left shoulder and left elbow. 王 西 安 Fig. 技 At the same time.25  推 8. 8. then switches her left hand instantly from Peng to Lü. B also places her right hand on the middle of A’s right upper arm. 陈 氏 太 极 拳 Fig.26 235 .7. 8. 法 Simultaneously.8      Posture 8 手 Player A relaxes his left crotch then shifts his weight to the left.

王 西 安 Fig. In this instance.7. she presses 手 forward on the middle of A’s right lower arm. then 氏 quickly forms a pushing power towards B. 太 极 8.9      Posture 9 拳 Player B relaxes her right crotch and turns her body slightly to the right. Player A continues to shift his weight forward. Both players look to the sides.陈 As this happens. 推 At the same time.27 236 . His right hand then comes into contact with B’s right hand. Then with her left hand. A responds first by flowing downward. she presses Player A’s left hand first down to the front of his lower abdomen. 技 As Player B pushes A’s left hand downward. both A’s arms form an outward Peng power. then to her left. then raising his left hand upward onto B’s right upper arm to 法 warding off (Peng). then with- draws his right hand to place it on the middle of his left upper arm. Both B’s hands work togeth- er to form an upward pressure pose. 8. Both players look diagonally to the front.

lead- 安 ing to increased exposure to attacks. 237 .28 Notes: Player B’s upper and lower body should follow each other when pushing forward. 氏 Player A steps his left foot on the ground.8. 极 In response to A’s Lü. 推 手 技 法 Fig. following A’s Lü power. 王 Both players should defend and stick to defend their own territory. then steps forward quickly with her right foot and pushes her shoulder and upper 拳 arm forward toward A’s chest.10      Posture 10 陈 Both players keep moving and rotating. and the speed and extent of her forward push should be depen- dent on the speed and hardness or softness of Partner A’s Lü.7. 8. He moves in Lü until his left hand reaches the mid-line of his body. taking 西 care not to go beyond their territory as this would mean that the transfer- ring and changing of movements would not be as quick and flexible. relaxes his left crotch. shifts his weight to the right and rotates both hands to the right following the body 太 to execute Lü on the right side of Player B’s right arm. Player B shifts her weight first to the left.

Simultaneously.7. Both their knees connect. one full cycle consists of one step forward and one step backward. shifts his weight leftward. A relaxes his left crotch. 法 Posture 11 is the same as Shun Bu (moving forward and back in one step) Tuishou. foot gradually steps fully on the ground.11      Posture 11 氏 After pushing forward. for both of the two players. and are ready to start a new cycle. 技 Both playesr look diagonally to the front. 8.25.陈 8. 8. B places her left hand on the middle of A’s right upper 极 arm. 拳 As B shifts her weight backward. her two hands forming a Lü posture. as well as an accomplishment of one cycle of Peng. tiptoe first. to form a Ji power with his right arm. Lü. At the same time. then takes a step forward (Shang Bu) with his right foot to step 推 on the inside of B’s leg. her right hand changes to Ni reeling to force Player A to 太 step back. Player A places his left hand on the middle of his right upper arm.27. Finally. 手 At the same time. and 8.26. You may have found that. palm out. Ji and An. Player B shifts her weight backward to her left leg. both players return to their original positions. The rotating methods are the same as those on Figures 8. 王 西 安 238 .28.

技 法 Fig. and is based on Shun Bu Tuishou. which is Cai. you should combine Si Zheng Shou practice with Si Yu Shou. which is aimed at 极 reinforcing your lower body stance and leg power in this technique. 拳 Zhou and Kao. 推 The practice of Da Lü movements is very important in learning how to apply low body movements in combat without impacting on other combat 手 movements or losing agility and flexibility.8. requiring both 太 players to crouch on one leg while extending the other fully forward with calf touching the ground. 8. In this low body movement. This technique consists of larger scale body movement.29 王 西 安 239 . Bie.8  Pair Practice in Da Lü Tuishou (Large Scale Lü Tuishou) 陈 Da Lü Tuishou pair practice is the fourth technique of of Chen-style Taiji 氏 Tuishou.

up and down. If you choose not to attack under some circum- 安 stances. hence sweeping your arm horinzon- tally left and right after meeting your opponent in Da Shou (meet partner with hand). to place the opponent in a passive position unawares 推 by holding close to the upper part of their body while lifting their lower body). Shuan means to put an arm across the chest like a locked door bolt to protect against attack. With this method. nor the location of your body weight. Gun Shuan is an extension of Da Sao. 技 In Da Sao. Bi Ya (push and press) and so on. left and right. 拳 The technique also uses the deft and precise handwork of Shang Long Xia Ti (which means. try to feel the Gongfu level gap between you and your opponent by listening. Only this way. can you win consistently. Da means to put your hand on the hand of the opponent with 法 the intention of using it as a touchpoint and support.9  Pair Practice in Luan Cai Hua Tuishou   (Coiling Flower Tuishou) 氏 Luan Cai Hua is also known as Hua Jiao Bu. or power direction. depending on the 极 circumstances. push and press against the opponent to force them into a defensive 王 mode. 西 During combat. Sao means to sweep or clear away.陈 8. use your elbow or Kao (shoulder strike) to attack when you find a weak point. Instead of sweeping the arms hori- zontally. From this posi- tion. 240 . reel them in Shun and Ni directions. Gun Shuan (roll and seize). the opponent cannot discern your target. Other handwork techniques used to render opponents passive are: 手 Da Sao (support and sweep). so as to transform the opponent’s power. This Tuishou technique 太 combines the handwork of Si Zheng Shou and the footwork of Shang Xia Bu (moving forward and backward) in varying degrees.

agile and swift.Your footwork should be coordinated with your handwork. Actually. if the opponent retreats one step.30 拳 Shang Long Xia Ti. Place your. 法 This is an example of the Die Fa. Apply Ti (lift) and Long (holding close) 手 unpredictably and precisely. 西 安 Fig.31 the application during practical body combat. For example. These are the main methods and 王 purpose of Luan Cai Hua pair practice. direc- tion and angle of changes. which you think harmful to your opponent. 氏 self in a strong and active position by applying Dian Bu (adding half paces) 太 continuously when executing Shang Bu (stepping forward). there are no restrictions in Fig. trans- forming the power of your opponent 技 so that he or she becomes trapped in a passive position unawares. flex- ible. 极 Your Dian Bu should be light. 8. 8. you can advance two or three steps to gain a territorial advantage. coordinated with Fig.32 241 . 8. Combine the power of both your hands so that they 推 become one indivisible power. Your footwork 陈 should be based on the speed.

opposing and complementary. our world and the human body through the interac- tions. through Taiji forms and postures. Yang. Other books by INBI World: OLEG TCHERNE Philosophy of Taiji The philosophy of Taiji was developed in China at the height of the Daoist era between 700 bc to 200 ad. culminating in the modern-day Chen. of two fundamental forces: Yin and Yang. For this reason. Earth or Human realms. the philosophy of Taiji attempts to explain the work- ings of the universe. Sun and Wu Styles. This philosophy provides an alternative and deeply sophisticated paradigm of how human beings may be perceived in relation to their position within the cosmos. 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. While the Taiji form has undergone many changes through the ages. much of the theory in this book is based on the guidelines written by Yang Chengfu. that is. . At its foundation. Taiji Philosophy is most easily expressed and understood through the use of body language. 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. According to this philosophy. one of the pre-eminent representatives of Yang Taiji family.

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. www. 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.com .inbiworld. including his meticulous inscriptions for over 400 illustrations. A work of intense scholarship which took over fourteen years to complete. and a referential resource for Taiji instructors and practitioners for generations to follow.

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How do I purchase calligraphy or make a contribution A.Chen Village Restoration Project? A.com . An effort to preserve the heritage of Taijiquan by restoring Chen Changxing’s home in Chen Village. Q. Wenxian. Chen Changxing was the fourteenth generation Master of Chen family Taijiquan who taught Yang Lu Chan.chenxiaowang. Q. Who was Chen Changxing? A. By proceeds from the purchase of Master Chen Xiaowang’s calligraphy or through direct contributions. What is the Chen Changxing . Chen Village Restoration Project • Q. Through the website below and in person at Master Chen Xiaowang’s seminars worldwide. Henan Province. China. www. Q. All people who buy calligraphy or make a direct contribution will have their name and the amount carved into a stone tablet to be displayed in Chen village. How is the project being funded? A. founder of the Yang style.