A STUDY OF TAIJI PUSH-HANDS

By
Xiang Kairen
People who practice Taijiquan all know that practicing the form is the "body" (ti),
practicing push- hands is the "use" (yong). But are body and usage two different affairs?
In order to answer this question, we must first clarify what is body: what is usage?
Practicing the form, one never departs from the "13 Postures"; practicing the usage one
also never departs from the "13 Postures." Without the 13 Postures there is neither
Taijiquan nor push-hands. The 13 Postures are peng (ward-off), lu (roll-back), ji (press),
an (push), cai (pull-down), lie (split), jou (elbow), kao (shoulder stroke), jin (advance),
tui (retreat), gu (look left), pan (look right) and ding (central equilibrium). This is a
saying well known by all. But when the average individual practices Taijiquan or push-
hands, does he pay attention to each of these thirteen postures? Naturally there are some
who know that they must pay attention to this; but there are also many who imitate
mindlessly.

I dare say that even among those who practice the thirteen postures assiduously, there are
those who practice the form but cannot "get it" or who practice the usage but cannot
grasp the usage. Because of this the "Song of the Thirteen Postures" says, "If you don't
diligently search for the meaning, you will only waste your effort and sigh (from
disappointment)." Practicing the form is equivalent to understanding the essence of push-
hands usage. Practicing the push- hands one utilizes applications attained from form
practice. We can say that the entire body (or form) is functional and that the entire
function (all applications) has a body. Accordingly, is there no difference between
practicing form and push- hands? Yes, there is a distinction. Below, I will record what
ancient Taijiquan theoreticians have written regarding push- hands. After presenting my
interpretations, we shall draw some conclusions. And finally, I will present research
gleaned through my personal experience in push- hands. The Taijiquan Classic says,
"When the opponent is hard and I am soft, this is called zhou (yielding, moving away).
When I follow harmoniously and the opponent gets backed up, this is called can
(adhering)." "Hard" has the significance of an attack.

But this should not be a hardness that is forceful or stiff. Rather, a good example would
be the attacking movements of ward-off or press as used in push-hands. "Soft" has the
significance of protecting, guarding or conserving (shou). But this should not be a
softness that is weak or limp. Rather, a good example would be the defensive movements
of roll-back or push as used in push-hands. Although "hard" and "soft" are nouns which
stand in opposition as attack and defense, one should completely rely on Yi (intention,
mindfulness, inner meaning) and posture. One should never use stiff, forceful energy to
attack.
If the opponent uses ward-off or press to attack and oppress me, I should use the
defensive movements of roll-back and push to neutralize him. This kind of movement is
called Zhou (moving away). "Following harmoniously" and "getting backed up" reveal
the difference between maintaining or losing the stance. "Following harmoniously"
means the ability to keep the center of gravity and thus maintain the posture. "Getting
backed up" means losing the center of gravity and thus losing the posture. An example
would be my using ward-off or press to attack, intending to cause my opponent to lose
his stance. It is also said, "If the opponent moves quickly I must respond quickly; if the
opponent moves slowly, then respond slowly." This is a very pure way of speaking about
defense.

Scholars should not mistakenly believe that one is thus losing control. Slowness or speed
follows the attacker. You should understand that the attack depends on the opponent, the
response depends on oneself. If I can follow the speed of the attacker, then I can respond
naturally and easily, not losing the center. One could say that this is the ultimate in Taiji
push- hands skill.

It is also said, "If pressured on the left, empty the left; if pressured on the right, empty the
right." Taijiquan is thus a way of exercising the central pivot (or moving like the axle of a
wheel). Therefore the Explanation of Practice says, "The body is like a wheel; the waist is
the axle." Since the body is like a wheel, if there is pressure on the left, turn to the left. If
there is pressure on the right, turn to the right.

This is natural law. But if you want skillful practice, the hands responding as the mind
wishes--this is not a very easy matter. It is also said, "Looking up, he seems even higher.
Looking down, he seems even deeper. Advancing, he is even further away. Retreating, he
is even closer." The meaning of the first three sentences is that one leads the opponent's
force so that it comes upon emptiness. That is to say, if he attacks upwards, I lead him
even higher. If he attacks down, I lead him even lower. If he attacks straight in, I lead him
further. In each case, I follow his incoming posture and direct him to an empty place. I
neither struggle nor oppose. The fourth sentence explains the inability to retreat (from a
Taiji boxer). If the opponent advances and I retreat, I crowd myself into a corner.

No matter whe ther one practices the form or push- hands, one should avoid straight
advance or straight retreat. The Explanation of Practice says, "Advancing and retreating
require turning the body and changing the steps." The meaning is that one must not
linearly advance or linearly retreat. For instance, in the advancing motion of "Brush Knee
Twist Step", you must look to the left and right. Or in the retreating motion of "Repulse
Monkey", you must similarly turn and step towards the left and right. All of the other
advancing and retreating movements are like this. Because turning and changing allow
you to use the retreat as an advance, it is not a true retreat.

A true retreat would mean defeat. Therefore the ancient boxing treatises say, "Advancing
is advancing. Retreating is also advancing," In the Newly Written Annals of Service it is
said, "Every step advances forwards; then you are without peer under heaven." There is
also a saying, "A feather cannot be added, a fly cannot alight." That is to say, push-hands
must be practiced with completely refined and acute sensitivity. Then even if a feather or
something as light as a fly falls on the body, it will be felt. But one does not allow the
feather to stop or the fly to rest its feet. The feather cannot stop because it does not arrive
at a flat or stable surface, For the same reason, the fly cannot stand balanced; it will not
stop its fluttering wings and alight on the body. This is an extreme way of describing the
light agility of Taiji push-hands. The meaning is absolutely do not allow the opponent to
make use of your force (whether applying strength to you or "borrowing" strength from
you). This is the most important and basic theory of push-hands. It is also said, "People
do not know me. I alone know others." This is the realm of ultimate accomplishment in
push- hands. In order to apply push- hands techniques, it is important to train the
sensitivity. In technical terms this is called ting jing, "listening to energy". That is, use the
two hands, especially the tips of the fingers, to feel the path and intention of the
opponent's movements. Then I will be able to anticipate the opponent no matter where he
moves he will have no time to defend.

Chen Xin, a writer from Chen Village (Henan Province, Wenxian County), has an
excellent way of speaking about push- hands in his Taijiquan treatises: "My spirit allows
me to know what is coming. My wisdom allows me to hide the attack." "Spirit" simply
means using the nerves of the hands to feel the posture that the opponent is about to
manifest. Then, according to my own wise strategy, I conceal an attack. In this way we
arrive at the realm of "People do not know me. I alone know others." There is another
saying, "If you are single weighted, then you can be responsive. If you are double
weighted, then you are stagnant." In the practice of push-hands, it is most important to
pay attention to these two sentences. You must at all times, in every moment, use your
practical experience to really understand this. If you don't know this theory, then you
cannot say that you know Taijiquan; you have only had a superficial impression. And if
you don't spend several years in diligent practice of push- hands, you cannot speak of
"applying technique according to circumstance". The interpretation of these two
sentences is actually just common-sense and very easy to comprehend. Above, we have
said, "The body is like a wheel. The waist is like the axle." Consider a wheel resting on
the ground. Where can there be two heavy places? If there are two, then it cannot move,
Therefore the Taijiquan Treatise says, "Do not allow any breaks or deficiencies; do not
allow hollows or projections." The reason is that if there are breaks or deficiencies,
hollows or projections, then you cannot be circular. And if you are no t circular, then you
will be double weighted.

Some people explain double weighted as both feet touching the ground at the same time
or both hands striking at the same time. Thus, one hand and one foot means single
weighted. This explanation is the worst kind of misunderstanding. We should understand
that single weighted or double-weighted is not a matter of outer appearance but of the
inside. Taijiquan is only the exercise of a central pivot. When you have found where this
pivot is located, then your feeling will become spherical and every place will be single
weighted, If you do not find the center of gravity, then your feeling will become stagnant
and every place will be double-weighted. And it is not only the feet and hands--even one
finger will be double weighted,
Chen Xin's Boxing Treatise says it best, "When your practice is most refined, even the
smallest place is circular" Every sphere has its center. Within the sphere that issues from
this central pivot, there are no breaks, deficiencies, hollows or projections. So where can
there be double weighting? There is a saying, "Adhering is moving away. Moving away
is adhering." The term "Taiji" actually means the center of a circle, where the outer
portion is called yang and the inner portion yin [that is, outside the circle and inside the
circle]. Yang is applied by adhering and attacking. Yin is applied by moving away and
defending. Furthermore, adhering is preparation for moving away. and moving away is
preparation for adhering. Thus, we can continue, "Yin does not depart from yang; yang
does not depart from yin." It can also be said, "Yin and yang balance each other; this is
known as "comprehending energy" (dong jing). What is called "yin and yang, adhering,
moving away, hard and soft, following" and so on are all words referring to attacking and
defensive movements. Within the attack, there is defense, and within defense, there is an
attack. For this reason, we speak of "mutual balance". Recognizing this principle is
equivalent to "comprehending energy".

If we practice our kung- fu with comprehending energy" as the base, then the more we
practice, the more refined we become. A further saying is, "Originally, this is giving up
yourself and following others. But many people mistakenly avoid the near and seek the
far." In Taiji push-hands we respond according to circumstance. There should not be the
slightest bit of preconceived strategy. This is precisely what is called "giving up yourself
and following others." One could also say that only if we reach the stage of "lively
circularity, light agility" can we utilize adhering and moving away--without obstruction
or difficulty.

However, there are some practitioners who take "giving up yourself and following
others" as meaning that one should study the opponent's method of attack and
accordingly prepare a response. Now, this is "avoiding the near and seeking the far".

The examples given above are all based on the theories of push-hands presented in Wang
Zongyue's Taijiquan Classic. These are the highest, deepest and most accurate principles.
Without careful study of the above, it is not possible to have any push- hands
accomplishment. In the Mental Elucidation of the Thirteen Postures , it is said, "In order
to issue power, you must sink and relax and be concentrated in one direction." In order to
understand "issuing power" you must practice "issuing power" and the other kinds of jing
[methods of applying energy] while pushing hands. Then you will find out how to "sink"
and how to "relax". Furthermore, you must be able to sink and relax in order to have
internal strength. Your strength should not be awkward or muddled. The phrase "be
concentrated in one direction" looks very simple, but actually, this embraces the concepts
of time, place and direction. If one of these is not in harmony, then the inner feeling of
sinking and relaxing will not be crisp. Because of this, while pushing- hands, you must on
the one hand be prepared to receive the opponent's power, without either moving away or
neutralizing. On the other hand, the mind should be concentrated and ready to issue
power according to the Taiji principles. As you become familiar with this practice, you
will be able to discharge the opponent as soon as he touches you. Your power will be
centered and stable.
The Song of Push-Hands says, "In ward-off, roll-back, press, and push you must find the
real technique. If upper and lower are coordinated, the opponent will not be able to
advance." In the movements of ward-off, roll-back, press and push, you can find the
straight within the curved (or circular). These four movements embrace nine others: pull-
down, split, elbow, shoulder stroke, advance, retreat, look left, gaze right, and central
equilibrium. Thus when the text says to be conscientious in the practice of ward-off, roll-
back, press and push, this is equivalent to saying that one should be conscientious in
applying all thirteen postures.

The first sentence in the Song of the Thirteen Postures says, "'The thirteen postures
should not be regarded lightly." The meaning is that you should find the real technique in
each and every posture. If movements can be controlled by the waist, then upper and
lower will naturally coordinate. And if these can coordinate then you will be able to
neutralize the opponent's attack. Thus, the text-says, "The opponent will find it difficult
to advance." The second sentence in the Song of the Thirteen Postures--"The source of
life is in the waist." has the same significance.

It is said, "Lure the opponent's advance into emptiness; harmonize with him, then issue
power. Adhere, join, stick to and follow the opponent, without letting go or resisting,"
[that is, follow the opponent on both the vertical and horizontal planes]

Follow the opponent's incoming posture and lead him into emptiness. As I lead him in, I
issue my own attack. The word "lead" actually has two meanings. The first is to accord
with the opponent's posture and draw him further in order to take advantage [of his
momentum]. The second is to feign weakness, causing him to rush in brashly. We read in
Chen Xin's Boxing Treatise, "Entice the opponent with an 'empty basket'; then just make
one turn." Enticing with an empty basket is the same as "Lure the opponent's advance
into emptiness." " Turning" means striking the opponent.

The older generation says, "People who practice push- hands live according to the
principle of 'neither let go nor resist'." Not letting go means not quitting the opponent's
hand. Not resisting means not opposing him. This concept includes adhering and joining
on a vertical plane, as well as horizontal sticking and following. Adhering motions
belong to the category of "not letting go". Following and joining motions belong to the
category of "not resisting". That is to say, when the opponent advances, I follow and join
his motion. And if he retreats I adhere to him.

Although the Song of Pushing- Hands presents extremely simple and basic theories, if you
have not had direct contact with a teacher or heard his oral transmission, then your
understanding is like "theorizing with a map" [with no knowledge of the actual territory].
Even ten thousand words would be of no avail. Therefore the Song of the Thirteen
Postures has, "To enter the gate and be guided on the path requires verbal instruction. If
you practice your kung- fu without cease, then you can cultivate correct methods on your
own." What does the text mean when it speaks of "cultivating correct methods on your
own"? Just follow the principles presented above and you can cultivate on your own.
Without these princ iples, effort is wasted. In the Boxing Classic written by Li Changlo of
Ping Jing, it is said, "Studying but not practicing is to cheapen the teacher's transmission.
But to practice without principles is to become sick from one's art." It is obvious that to
practice push-hands one must attach great importance to this rule.

What I have written above are the most popular and familiar theories known by those
who love to practice Taijiquan, with the addition of some simple explanations. Since my
knowledge does have its limits, some of my explanations might not be as precise as I
should like. However, I am willing to make this guarantee to all my colleagues: there is
not one word that has not been personally transmitted by a famous master. I have only
added what I have gained through thirty years of practical study. Now I will summarize
my experiences and present a simple survey. This can serve as a reference for all who
enjoy push-hands.

Why do those of us who practice Taijiquan have to practice push-hands? This is a very
easy question to answer. It is because the practical usage and value of the hundred or
more movements in Taijiquan can all be comprehended from push- hands. But we should
recognize that push- hands is not the same as fighting, nor is it equivalent to the paired
boxing sets found in other styles of martial arts. One should absolutely refrain from
grappling as well as pushing and striking techniques from other systems.

Push-hands methods can be divided into four categories: 1. single-hand, fixed step, 2.
double- hand, fixed step, 3. moving step (nine palaces step), 4. Da Lu (pulling) [or more
literally, "large rollback". TWC]. The single- hand, fixed step pushing method is now
rarely practiced. But speaking truthfully, single-hand pushing is a necessity for beginners.
Although the method is simple--two people both using a single hand, one adhering the
other moving away-- it is of great help in beginning to "listen to energy" and increasing
the strength of the waist and legs.

Nowadays two-hand, fixed-step push- hands is popular. The theories about push-hands
presented above all pertain to this style. This method of pushing is the basic practice for
increasing one's skill. To realize the practical usage of Taijiquan you must lay a strong
foundation in this kind of push-hands. As a beginner "entering the gate" of study, you
must search for a way of unifying upper and lower. You must make sure that advancing,
retreating and all turning movements are rounded and lively, movements must not be
performed quickly. As you advance, you study ward-off, roll-back, press and push.
"When you adhere, I move away. When I adhere, you move away." In all of this, you
should not move too quickly. If there is too much speed, then your adhering and moving
away are not grounded, and it will be easy to overlook the real meaning of each move.
Furthermore, as you search for and listen to the opponent's energy, your responses will
not match the circumstances.

The four points listed below are the most important principles for developing the "knack"
of push-hands: 1. Slowness: Whether adhering or moving away, you must be searching
for, listening to the opponent's energy at each step of the way (whether the opponent
moves an inch or a foot). You must not disregard any part of your interaction. 2.
Circularity: It is most important to prevent your hands from forming right angles
(whether in your own posture, or in relation to the opponent). You must in all places
maintain the circular form. 3. Stability: In fixed-step push-hands, you are allowed to
alternate which leg is in front, but you are not allowed to step away. This is because the
purpose of push- hands is to make the legs and waist a strong foundation. If the opponent
oppresses you, you must be able to use leg power (literally, "sitting the legs" or "dropping
into the legs") and the turning of the waist to neutralize his posture. As you become
accustomed to this, the waist and legs will naturally have kung- fu. 4. Closeness:
Whenever you search for and listen to the opponent's energy (applying leg and waist
kung- fu), you must stay close in for your movements to be effective.

Now we come to moving-step push- hands: Advancing two steps, retreating two steps--
neither partner changes direction. I advance a step with ward-off and then advance a step
with press. My partner takes a step back with roll-back and then another retreating step
with push. The process is repeated over and over. The advancing and retreating must be
light and nimble. However, you will only be able to apply the power of your legs and
waist if you are certain not to change direction.

Finally, we have Da Lu, "big roll-back": Advance four steps, retreat four steps. Each
person advances and retreats towards the four corners. I advance a step with ward-off,
another step with elbow, a further step with press and a final, close step with shoulder-
stroke. My partner rolls-back with three retreating steps. Then he turns his body, stepping
behind me. This last step embraces the movements of pull-down, split and push. Because
there are three retreating steps utilizing roll-back, the exercise is called "big roll-back".

No matter what push-hands method you practice, it is most important not to neglect the
principles and not to use force in attack and defense. Furthermore, you should have
absolutely no thought of win or loss. Above, I have brought together what various authors
have had to say about push-hands. Although each school has its unique teaching, there is
no sense of ambiguity. You may have the impression that in order to have a correct
understanding, we practitioners and students of push-hands need deep insight and
penetrating research. Actually, this is not the case!

We only need to decide upon one exposition of theory and then devote our effort to really
understanding it. When we have thoroughly understood one section, then all the rest will
be understood at the same time. If you are persevering, you may suddenly come to a
comprehension of this principle. For instance, if you have a house with several doors
through which you can enter or leave, anyone who wants to enter the house only has to
go through one door. Although only one door is needed, if you don't reach this door, you
will never have a way to enter the house. We should also understand that among these
doors there is no distinction with regard to high or low, good or bad. From the east, we
enter the eastern door. From the west, we enter the western door. Each person enters the
one he is closest to. Studying theory is just the same. We just have to decide upon which
theory is closest, which one is easiest to grasp and then devote our effort and research
there. There is only one essential-- it is like a hunting dog chasing its prey. As soon as the
dog decides upon his object, he does not quit until he has it.